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archetypeFear Factory'Archetype'
By Brian from onegoldenspoon.com
Published 2004-02-21 14:37:31
April 20th, 2004 Liquid 8 Records

Fear Factory is not a band I'm all that familiar with. I've heard them on MTV's Return of the Rock in the past. I've seen videos here and there and I was impressed, but not impressed anough to seek out their music.

That has changed. Upon listening to this album, I have become a fan. This shit is loud! On par with rivals Static X and current tourmates Slipknot, Fear Factory will explode onto the scene once again when this album drops.

Powerful guitar riffs and thundering double-bass drumming are a trademark of this genre. Fear Factory does it extremely well. There's good reason that this band has been among the forefront of the nu metal revolution since the beginning. Title track 'Archetype' is blisteringly loud, with switches to passionate hard rock vocals during the chorus. 'Ascension' is a long (7 minutes) interlude that I could live without. There's no music, just some subtle flowing sounds with the occasional background noise. 'Bite the Hand That Bleeds' starts with a whisper and works its way into a soft yet intense metal ballad. Verses are done in quiet whispers with clean guitars, and the electric guitars and strong, reverbed vocals of the chorus are striking. 'Bonescraper' lives up to its name with immediate chunk and quirky riffs. 'Corporate Cloning' is similar in its loudness but the vocals are done completely differently. Start-stop and attitude.

I could go on but you get the idea. Nu metal kids and fans of the almighty chunk will eat this album up. It will be everywhere. And deservingly so.

9/10

Cons: Nothing entirely groundbreaking, though it does stand atop the peers of its genre.




archetypeArchetype review from 411mania.com
Posted By Gloomchen on 02.20.04

Kurt's got to be smiling in his grave.


Call them the forefathers of nu-metal, call them a wake-up to the bland world of mid-'90s metal, call them what you will. A world of metal kiddies wept at the news that Fear Factory had decided to call it quits a couple of years back. Even moreso, these kiddies wept when the abominable compilation Hatefiles was released to fulfill contractual obligations, leaving a horrible taste in the collective mouths of the metal community. And while their last real effort, Digimortal, was nearly universally panned even by their greatest supporters, nobody wanted them to just up and disappear. Nobody wanted them to go out like that.

Considering all of this, it was understandable that the news that Fear Factory had reunited (for the most part; lead guitarist Dino Cazares is gone with Christian Olde Wolbers moving up from bass, and Byron Stroud of Strapping Young Lad coming in to handle bass duties) and were releasing new material was met with a bit of trepidation. Did we need another disc of rap guest stars and lukewarm, bland melodies? Would this once-legendary band disintegrate into another Sepultura story, one of heroes turned crap that simply would not stop putting out bad albums? Or, could one really hope for a great comeback?

Feel free to let out your held breath. Archetype will not make you cry.

Actually, this disc actually represents a big change in the traditions of Fear Factory. Whereas previously, the band had been universally known for growing and stretching and innovating without bounds, Archetype actually takes a step back to their previous works. One immediately feels the raw power of Demanufacture in the first few tracks. As the disc progresses, the lyrical content and techno-touches of Obsolete are revisited as well. Thankfully, they seem to stop there with the reminiscence and steer clear of incorporating their more mainstream-reaching later work. There are only good memories concentrated here.

Yet, one could not imagine Fear Factory releasing an album without some kind of growth. Rather than stepping out into territory that previously alienated their audience, the band seems to have innovated simply by one-upping their trademarks. Where the double-bass blastbeats of Raymond Herrera were always present, they're biting harder than ever. Burton C. Bell's clean vocals step in naturally among some of their hardest growling to date, managing to marry death to the mainstream without coming off as either too obnoxious or too soft. More than anything, it seems that instead of trying to step in and be completely revamped like Metallica did last year, they've played to their past strengths and let them flourish accordingly.

This isn't to say that some of these "trademarks" don't become tiresome. Fear Factory fans own the old albums; if they want to hear them, they'll play them. This becomes an increasingly prominent thought as Archetype has its share of formula: hard verse, clean vocal chorus with keyboard-laced backdrop, hard verse, repeat. By falling into repetition as such, it becomes difficult to discern one track from the next when going back to claim which songs are standouts.

Still, with all of Fear Factory reliving their past high points, they do manage to throw in a few new touches here and there for delightful surprises. "Bite The Hand That Bleeds," a track which could almost be called a ballad, marries some orchestral doom to their easily recognized sound. The desire to show more technical prowess shows its head during "Drones," as minor harmonies round out and fill their sound. "Bonescraper" is a highlight in drum skill as well as a showcase of pure heaviness that tops their own previous notoriety for power.

While one might call much of this showing of Fear Factory "predictable," the band did leave one oddball up its sleeve. The second to last track, "Ascension," is seven minutes of programmed ambience, nearly lulling one to sleep. This is followed by what is easily the biggest surprise to date: a cover of Nirvana's "School." As opposed to their previous cover of "Cars," the band doesn't go for a glamourous techno showcase of nu-metal mediocrity. Instead, one finds a nearly true-to-original cover that could only be making Kurt Cobain smile in his grave. The power of the band combined with the absurdity of the lyrics make it all some bizarre trip into a world that should not exist on any plane. It may not be the best cover tune, but the sheer boldness of choice can't be given anything less than the tip of a hat.

One heavy question remaisn: will Archetype draw in new fans? It's hard to say -- this isn't a band that has typically received a lot of mainstream promotion, yet their fanbase has remained loyal and continues to pull in hard-rock fans who are looking one step beyond the radio-friendly nu-metal of Godsmack or Nickelback. Having a new album that is widely supported among their current fans will be what attracts new listeners. By going on tour with Slipknot this summer, this could potentially be a combination that brings Fear Factory to the type of legendary status associated with a band like Slayer.


The 411 .::. What can I say -- Fear Factory is back, and with a vengeance. They picked up where they left off back in 1998 and managed to at least make this reviewer forget they had once headed down a very sour path. It might not be earth-shatteringly unique, but it's a return to form that their fans have so desperately wanted. It's exactly the kind of comeback album they needed to have.

Final Score: 8.0

concrete FEAR FACTORY - CONCRETE
ROADRUNNER RECORDS
 Roadrunner is sticking the knife in our hearts again as we say another sad good-bye to one of the best bands to front the heavy metal scene, FEAR FACTORY. CONCRETE will be the last material to be heard by the band yet the music and CONCRETE as an album is actually the band's first CD. It was recorded in 1991 but had never been heard or rarely talked about. The disc was recorded and produced by Ross Robinson less than a year of the band's formation. It secured the signing to Roadrunner for the guys and had songs on it that introduced melody to the heavy metal universe. The signature industrial lashes of chaos that FEAR FACTORY based their future on also was made to disc on this disc.
For new fans that got into the band via OBSOLETE, you may find this disc a little hard to swallow due to the fact that the intense choke n puke death metal vocals swallow you up. But don't fear, the angel like melodic ability by Bell still reign throughout the disc. It captures the intense drumming of Herrera (who at the time was still in high school). It's a disc that fans of the band will cherish if they had been old skool fans. A lot of these tracks were rerecorded for later efforts or done for band's late albums. Tracks like BIT GOD/RAPED SOULS, ARISE ABOVE OPPRESSION, SUFFER AGE, SELF IMMOLATION all have been heard since they were on the band's first national release SOUL OF A NEW MACHINE. PISS CHRIST may sound familiar but really is a whole different track from the song on DEMANUFACTURE disc. The song ECHOES OF INNOCENCE is dark and moody and has a familiar beginning as it was taken and placed in A THERAPY FOR PAIN song on DEMANUFACTURE. SOULWOMB was rerecorded as SOULWOUND an out take from the ABSOLETE recording sessions. That is just a few of the surprises from this sixteen song based disc.
Like I said before, for newer fans this disc may shock you, but it will explore where and how FEAR FACTORY started and it will also show the progression and overall great talent the band had from the death metal days to the industrial/metal years. I will always cherish the first day of hearing DEMANUFACTURE to the fist time hearing Burton C. Bell hold those precious notes live. It has been a great pleasure being part of all their shows and the interviews that have been done. My hope is the men of FEAR FACTORY will miss it and come back with a vengeance.
by: Stephanie Stevens


digimortal FEAR FACTORY - DIGIMORTAL
ROADRUNNER RECORDS
Getting a brief preview of new songs off of DIGIMORTAL when I saw FEAR FACTORY at Sno-Core, I was highly anticipating the new disc and seeing what the heaviest band in the world (besides Mesuggah) had in store. At first listen you know it's FF just by the frantic double bass and Burton's distinct vocals. Although this album has incorporated more melodic riffs then before, the boys have not lost it's edge at all. Another continuing factor is the conceptual thread of man vs. machine. On DIGIMORTAL the concept of the album this time around deals with the natural evolution of humanity and how over time technology has been absorbed into our natural evolution. Although the concept is still there, there is no story that follows the sequence of the songs like OBSOLETE did. I have loved FEAR FACTORY since the close beginning of their success but one thing that Burton, Dino, Ray and Christian have done that has only created a more solid side for the band, is adding Rltys Fulber (X-Frontline Assembly) to the family. His hard work and industrial stamp on DIGIMORTAL is classic. This whole album just oozes with underground hits like WHAT WILL BECOME, HURT CONVEYOR, DIGIMORTAL and of course the first single LINCHPIN. (MEMORY IMPRINTS) NEVER END, the last track on the disc shows off Burton's singing ability and is a very, can I say, pretty song. That also goes for INVISIBLE WOUNDS (DARK BODIES), although more on the heavier side. This has to be my favorite tune on the disc. The only tune that I really can say is not my cup of tea has to be BACK THE FUCK UP. First off, the rapping shouldn't be in a FEAR FACTORY album, but if we got rid of that it would be a pretty intense tune. As usual, the boys didn't fuck around while writing this album and I am ready to crank this shit up this summer. Watch for FEAR FACTORY touring till the end of time.

hatefiles FEAR FACTORY -HATE FILES
ROADRUNNER RECORDS
This CD contains the last marking of the mighty futuristic metal Gods FEAR FACTORY. HATE FILES contains everything you need to complete your FF collection. From rare, hard to find or deleted tracks showing the electronic side and metal side of the band that ruled the planet through the 90's. TERMINATE opens the disc and is one of the last songs to be recorded by the full lineup with a change of vocal appearance, more laid back and straight forward. The song stings you with sonic blast. FREQUENCY rages with futuristic appeal and that heavy backdrop. DEMOLITION RACER brings in a recognizable chorus due to it becoming the chorus for ACRES OF SKIN. INVISIBLE WOUNDS is probably a standout (for me) of FF career. This track contains the future mix which was the radio remix done by Ritys Fulber. RESURRECTION, EDGECRUSHER, BODY HAMMER, ZERO SIGNAL, DARK BODIES are all remix versions and done with thought in mind, not making the song wuss out or become dancy poppy shit. They are still hard, edgy and violent sounding. ZERO SIGNAL, I must admit I'm happy they didn't use, the vocal approach off this track for the actual CD. CARS made the disc also, always loved the song back in the day and I'm happy to see the boys didn't make it too "metal". A nice change for the guys. REPLICA, the boys "classic" tune, turns up on the disc loud and live. Like many know what you hear on CD is translating in a live setting superbly. All I can say is masterful. The rest of the disc has tracks basically that got cut. Some found on European singles, some out-takes but this ending is what makes the disc special and an item for the true fan. HATE FILES made me miss the FEAR FACTORY boys and I have fingers crossed they reemerge in the near future.
by: Stephanie Stevens