The latest offering by iconic and adventurous band Godflesh sees the english duo step back from the experiments of “Post Self” in order to deliver what can be uncontroversially labeled a more contained package of the style they’ve settled on (and partly defined) for the past few releases.
On a first impression, the model at work here doesn’t seem very far removed from an updated, modernized version of the foundation laid by works such as Streetcleaner or Pure, with the main and most immediately noticeable difference being the use of electronic loops and percussion in place of the austere programmed drums and guitar-based distortion of the band’s iconic early albums. The endpoint, however, will sound just as familiar to fans or anyone acquainted with these avenues: the repetitive structures, mechanically precise rhythms, shouted slogan-lyrics and thick layers of distortion, all contributing to give a definite form to the indistinct fury of human voices in the process of being absorbed by all-devouring cyberspace and feverish factory hellscapes.
The deployment of certain loops more reminiscent of hip-hop and electronic music, whose mechanicalness allows them to blend in with the industrial machine-rage, still seems intended to create an effect of stylistic incongruity in combination with the caustic harshness inherent to the project of this type of music; here, this ingredient mostly manifests itself through the intensity of the production and its treatment of the percussion and electric guitar feedback, as well as Justin Broadrick’s characteristic vocal style. The ambiances evoked by the album likely won’t sound particularly menacing or innovative to listeners experienced with these excursions of industrial music, both commercial and experimental.
“Lazarus Leper” (track 4) covers more familiar ground with a dissonant riff and vocals aiming for a sinister tone in the style of post-metal and modern renditions of industrial. The following tracks introduce some vocal variety (an element that has been with the band ever since the first album) and atmospheric touches naturally demanded by the dramatic and spacious nature of such an endeavor like this.
Overall, “Purge” sees Godflesh go for new tricks while remaining firmly within the musical zone defined by a plethora of elements and tropes that they helped to define, and with which they’ve played with throughout their career to varying degrees of success. While the musical content certainly won’t be surprising for most of the followers and fellow-travelers, the textural interplay is occasionally endearing, but it’s up to each listener to determine if this is enough for the album to stand out both in the band’s discography and the now overcrowded world of imitators, imposters and dry derivatives.
