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Fear Factory Album: “Archetype [Japan]”
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Release Date:2004-06-22
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Type:Unknown
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Genre:Hard Rock, Metal, Cover Art
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Label:JVC Japan
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Explicit Lyrics:Yes
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UPC:4988002458714
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Review - :
Fear finally became a factor for {$Fear Factory} fans in 2001 when the band abruptly broke up over bad blood between guitarist {$Dino Cazares} and vocalist {$Burton C. Bell}. Longtime label {@Roadrunner} dropped them; the future of {$Fear Factory} looked bleak. Luckily, bassist {$Christian Olde Wolbers} was willing to take on the guitar spot, and the remaining {$Fear Factory} mongers hired ex-{$Strapping Young Lad} {$Byron Stroud} for the bass position. The result of this tumult is {^Archetype} ({@Liquid 8}), an angrily coiled album that balances its human-mechanism percussion and blistering guitar work with subtle keyboard backgrounds and {$Bell}'s bipolar vocal turns, at once unleashing hell-bound screams and heavily reverbed, near-{\Goth} turns toward singing (think vintage {$Sisters of Mercy}). The echoing melodies of {&"Bite the Hand That Bleeds"} and {&"Undercurrent"} are oddly alluring, but they're really no match for the aorta-exploding pummel of {&"Slave Labor"} and {&"Drones,"} or {&"Cyberwaste"}'s absolutely incredible {\death metal} stomp. It's a sound that's been done before -- some might even call it dated. But those are the same weaklings who will cower before {&"Act of God"} and its automated guillotine verses. {&"Default Judgement"} too, with its near-atonal bassline sludge, serves as a worthy introduction for {$Stroud}. But throughout {^Archetype}, it's his rhythm section compatriot that impresses. {$Raymond Herrera} opens fire with an array of double bass kicks and stuttering snare rolls, giving {\industrial}-tinged cuts like {&"Bonescraper"} a {\hardcore} bottom end. In other words, he's more human than inhuman. The same goes for the entirety of {^Archetype}, which grapples lyrically with the very human experience of getting jerked around by a record label. {&"Drones"}? {&"Slave Labor"}? {&"Corporate Cloning"}? These are the acerbic reflections of a band run down and left for roadkill. Longtime {$Fear Factory} fans should enjoy this return to a more organic sound from the band. {^Archetype}'s final statement might illustrate this best. The {^Bleach}-era {$Nirvana} cover {&"School"} rears up after the elegiac, lengthy synth piece {&"Ascension"} for just over two furious minutes, full of cracked-tooth-spitting anger, but also flush with {\rock & roll} power. It even departs from the album's wall of muted guitar, turning out a brief solo and touches of {\punk}-ish feedback. {^Archetype} is a rousing return for {$Fear Factory}. It's well in line with what the band's done before, but with something new to rail against, they're revitalized and newly furious. [This Japanese release includes bonus material.] ~ Johnny Loftus, All Music Guide
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