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.
