A release to crush skulls and overload synapses, Floodlights the latest album from Australian industrial rock band TheDevilzWork leaves nothing but wreckage in its wake. The album is an eight track corruption which violates and blisters every sense and emotion, an insidious aural decay using sonic manipulation as a weapon and evocative breath.
Formed in 2008 the band was soon firing up crowds across the regions of Melbourne and Australian Capital Territory, as well as releasing a self produced 11-track demo Bad Moon Rise. Shows supporting the likes of Voices of Masada and MzAnnThropik increased the awareness and following for the band, which with the release of Floodlights and some deserved fortune should see greater acceleration in its growth.
The album is a devastating tempest of industrial terrorism brought with malicious strains of diverse agitations from metal and death metal to harsh EBM and cyber crust. The result is as venomous and dangerous as the band name suggests and just as diabolical.
The opening Monochrome immediately seduces and obliterates the ear, its crunching march a delicious intrusion and the melodic whips of sound it unleashes an acidic wash of pleasure. Sounding like a fusion of Sepultura, Young Gods, Suicide Commando, and Skinny Puppy distilled through a sonic wind tunnel, the track ruptures the air with pure abrasive intensity. It is as hypnotic as it is caustic and leaves the senses pulsating and smarting in raw pleasure. The vocals of Tobias and Nailhead crawl and scrape the edges of its recipients as keenly and deeply as the sounds, making for a fully impactful and addictive pleasure.
The following Bulldozer continues the assault with equal heavy malice, its grasping grip twisting and pulling the senses in every direction whilst its overall presence rubs its serpentine sonic salt into the already opened wounds from its predecessor. The vocals rasp and strip the air of any safety whilst the sounds and beats consume with rabid intensity and spite.
The album continues to show no mercy on its victims but does pull back on the oppressive assault with Machine Says No, though it is only for its opening breath. Into its full rampage the track is like a fetid brewing storm devouring every pore, its energy a burning touch to leave further scars of delight. The album like the track is a raging fire of noise and demonic passion which gives equal pain and greedy content.
Through the likes of the sonic bleed that is The Pit and the corrosive instrumental Gibbet, the release explores and unleashes further devastating soundscapes of misery, malcontent and gratification. With acidulous grooves and even stronger ruinous energies the album is not an easy listen at times and one which many will fall before by the time the release is only getting into its stride, but it is so rewarding if one survives its immoral spoils.
With the early Killing Joke/Ministry like Scab and the treacherous melodic seduction of Hive continuing the staggering heights of the opening pair of tracks, the album ignites only deep satisfaction. Every track on Floodlights is staggering and though some steal the highest platforms of acclaim, as a whole the album is a white hot scorching grazing to revel in, and a sonic storm which shows TheDevilzWork as a band where no sound or emotion is off limits to deconstruct and twist to their own sadistic intent.
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