Ruthlessly centered on metallic’s future since 1989, FEAR FACTORY deserve much more credit score for his or her profound affect on heavy music. Simply over three many years on from the discharge of “Soul Of A New Machine”, Dino Cazares‘s crew are at the moment sprinting into a brand new period, with new frontman Milo Silvestro totally assimilated and, hopefully, new materials on the way in which.

Earlier than that, nevertheless, there may be unfinished enterprise to take care of. Initially launched in 2012, FEAR FACTORY‘s eighth album “The Industrialist” was by no means the best album to like, largely because of the band’s use of programmed drums. It may appear an odd factor to complain about, given FEAR FACTORY‘s futuristic aesthetic and affiliation with the world of commercial rock, however the choice to remix, remaster and change these drums with the true factor (performed by former member Mike Heller) makes excellent sense.

Now titled “Re-Industrialized”, the album is remodeled. These had been all the time sturdy songs, after all, however this new model imbues all the pieces with the identical energy and conviction that Cazares and co demonstrated on their greatest information, and the likes of “Recharger” and “Virus Of Religion” are ripe for reassessment. Bolstered by a bunch of bonus materials that fills in any remaining technological blanks (“Fade Away” — a remix of “Recharger” by Cazares and long-time collaborator Rhys Fulber — is especially exhilarating),&nbsp it now appears like a worthy successor to “Mechanize”, initially launched in 2010. That album was arguably a much bigger milestone for FEAR FACTORY, as Cazares returned to the fold after a two-album absence, and instantly restored the band’s sturdy identification, each with the assistance of a brand new lineup (Gene Hoglan!) and among the strongest FF songs since “Demanufacture”. The title monitor, “Industrial Self-discipline”, “Worry Marketing campaign” and “Christploitation” are all top-tier, to not point out ten occasions heavier than something on FEAR FACTORY‘s earlier album (the flawed and patchy “Transgression”). Though it tails off ever so barely towards the tip, the closing “Last Exit” saves the day, and is as epic, emotional and cinematic as something within the band’s catalogue. As an added deal with, re-recorded variations of three songs from “Soul Of A New Machine” are tagged on on the finish, and function a vivid reminder that Cazares and Burton C. Bell had been true revolutionaries again within the demise metallic day. A chaotic historical past might have dented their legacy to some extent, however when you’re confronted with information as brutal, imaginative and singular as these, the one sane response is to bow down.