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Godflesh, "Decline & Fall"
After what almost seemed like a begrudging festival reunion to play Streetcleaner, it was exciting to see that the pieces were coming together for a true Godflesh reunion, and even more so when the likelihood of new material appearing got higher and higher. Unexpectedly announced as a precursor to the upcoming full-length album, Decline & Fall sounds as if it could have been recorded around 1993 through 1995, because it has such archetypical Godflesh sound, which is reassuring to say the least.
These four songs (none of which are expected to appear on A World Lit Only by Fire this fall) rigidly stick to that early Godflesh template of Justin Broadrick's screeching, barely controlled guitar harmonics, chugging riffs, Ben Green's blown speaker-cabinet bass and the rigid, unflinching percussion of a drum machine (which sounds like it is still the venerable Alesis SR-16).There are no surprises or unexpected diversions to be heard, likely because Broadrick has compartmentalized all of his favorite genres into their own specific projects.Godflesh is pretty much officially reserved now for just industrial tinged metal sounds.
I have mixed feelings about this, because I find many of my favorite Godflesh songs to be the ones that push out of those boundaries, like the (post)punk-y Tiny Tears EP, the techno-tinged Slavestate and the glorious untitled bonus song hidden at the end of Hymns.At the same time, though, anyone who followed Godflesh knows the identity crisis that started happening at the hip-hop influenced Songs of Love and Hate into the dour electronics of Us and Them (which I feel, while not perfect, is very underrated) and the straight forward, bland metal of Hymns lead to diminishing returns.
Which is why I pegged Decline & Fall as sounding specifically from that aforementioned timeline, because it was then their sound was most consistent."Ringer" is not far removed from the rock tinged from Selfless, but lacking that sterile, clinical sheen that at first turned me away, and then endeared that record to me.It is a bit less depressive than Selfless, but darker than Messiah and its prototypical groove direction, channeling the aggression that Broadrick had been holding back on the Jesu records.
The hip-hop drum machine shuffle blended with the idiosyncratic guitar melodies and barked/growled vocals of "Dogbite" resemble a further refinement to the sound of Pure, but livelier and more energetic in comparison, and more than a passing resemblance to "Mothra.""Playing with Fire," on the other hand, sticks with the bleak, depressive Godflesh sound that arose heavily on Us and Them, but without the electronics, and an overall arrangement more consistent with the Selfless era and a good pairing of Broadrick's singing/screaming vocal dynamic.
The title song is perhaps where the album stands out the most unique: a frenetic jerky rhythm that bounces between slow to fast with Broadrick’s guttural vocals.The voice sounds like a conscious attempt for a Streetcleaner throwback, but the music itself is harder to pin down, with a constantly changing tempo and melodic passages, but sounds definitively like Godflesh.Both the Japanese Daymare pressing and the digital download direct from Avalanche include two bonus dub remixes, one for "Playing with Fire" and the other being "Ringer".Like other mixes from Broadrick, he sticks with the classic definition of a dub mix, stripping back the guitar to emphasize the drums and bass, extra effects on both and minimized vocals.Neither are essential, but they do give a different perspective on the songs.
The most striking aspect of Decline & Fall is how Godflesh-y the whole thing feels.I was expecting a trajectory more like Broadrick's long-time influence Swans' return after a similarly long absence peppered with side projects, where finding their specific identity took a bit of time.This EP does not have any overt moments that sound like Jesu, or Pale Sketcher, or JK Flesh, or [insert project here]: it is purely a distillation of the early days of Godflesh.If this reactivation is for the long term, as it seems to be, I am not sure how this strictly compartmentalized approach will be.For the span of an EP it works wonderfully, and it is reassuring that Broadrick and Green have not simply tried to capitalize on their past glories by resurrecting the name.However, my concerns are how this very specific adherence to their old sound will be over the span of one or many full-length albums.Given who it is, and how much of a fan I am of their entire discography, I have no problem giving them the benefit of the doubt though.
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