One-man industrial wrecking machine James Hammontree is back and those who like the thudding, abrasive, jackhammering side of the genre are no doubt keen to hear how the Oklahoman has developed ideas from 2020 debut ‘Hallucination Machine’. Truth is, not a great deal but then again you could equally say if it ain’t broke why fix it? Songs are short, well honed and on the whole bludgeoning here, with an average 3-minute running time each. Those well versed in the style are going to enjoy this more as they tumble through it with memories of all the pioneers that should already be in their collections. If you are looking for originality, something discussed in the review of the last album, well you are not going to find it here. That aside I have still enjoyed this album’s short and crushing tumult as it took me back to the future of the rise of the machines in much the same way as successive but unnecessary chapters of The Terminator franchise.
‘A History Of Drowning’ broods in and cuts off the oxygen flow, drums thumping in a mid-paced flow and clean vocals tempering the assault as everything builds with controlled cohesion. From one of the longest to one of the shortest songs and ‘Violent Mechanix’ does not betray its title ramping up the pace and bouncing the listener all over the shop. A hate song that takes in facets of Nine Inch Nails, Marilyn Manson with its rasped chorus and a touch of Ministry with its samples. There’s a bit too much noise used here and there, at the end of songs and as the last number ‘Dowsing’ brings the album proper to a close. It’s almost like its being utilised to draw the running time out to an acceptable level. ‘Floating In Nothing’ is a perfect example of these drawing things out unnecessarily. It seems like ‘Incubate’ could have been written for the exact purpose of a garnering a Justin Broadrick remix as an extra track thrown on the end with its dub laden beat and chanted out vocals. Guess what, yep that’s exactly what we get.
Drawing on stylistic ideas from greats such as Skinny Puppy on the eerie dystopia of Hermetix and punishing beats of KMFDM on ‘Wolverine Dreams’ the album is a bit of a box ticking exercise and I have to admit rather than growing on me over repeated listens its formulaic approach has kind of worn me down. Even when a slow burning ballad ‘Sold Me Sad’ is eased in I can’t help thinking of it as the Misery Loves Company song of the album, still it’s a good counterpoint to the Reznor pillaging of ‘Last Curse’ I guess and if any of the aforementioned bands roll into Oklahoma, they have the perfect support act waiting patiently. There’s kind of a lesson to be learnt here, the originals are always the best and emulating them is never a great idea.
(6/10 Pete Woods)
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