Industrialypse is a confrontation which grips the passions from its opening moments and proceeds to enslave their greedy hunger through twelve inventive and explosive slabs of industrial/nu metal. The album is more than that though, a wealth of styles and essences laying seeds within its insatiable sound conjured and sculpted with craft and enterprise by Russian band Bog[~]Morok. It is a refreshing and thrilling release, a sort of merger of the essences of Fear Factory, Korn, Sybreed, and Dir En Grey, a blend which ignites the imagination and sets the emotions ablaze.
The band started as a solo project for Rybinsk musician Morok in 1997, his intent to create a death/black metal exploration. Debut album Azoic in 2003 drew good attention as at the same time the project expanded to a full band. A death/doom presence emerged but one honed by the influence of modern and industrial metal, a sound which has continued to evolve across the band’s five albums, Stadiae II of 2005 and Syn.thesis two years later the stand out highlights before Industrialypse, though Decadence of 2010 potently continued the expansion of sound and stature of the quintet. The new album is another plateau cast, a riveting exploit which shows Bog[~]Morok as one of the very best industrial metal cored bands still to be discovered by the masses, something which Industrialypse with luck can amend.
The title track opens the encounter, cyber sounds and industry the entrance for thumping rhythms and voracious riffing to corrupt ear and air. Soon into full stride the track expels a rigorous rapacious charge ridden by the excellent expressive vocals of Morok. Swinging between aggressive and respectful, carnivorous and seductive, the song is an intensive industrialised slab of extreme metal with electro temptations and melodic persuasion. A mix of demanding rhythms and scything cuts of guitar wrapped in a warm melodic synth lure, the song easily persuades especially with its unpredictable and ever shifting attack as it grows into the first towering hook of the album.
The following Gliese 581d and Не вижу зла (Stadiae III) continue the powerful start, the first a rampant stretch of melodic ambience and senses staggering metallic brute force created with skill and imagination as is the synth spawned warm textures and enticements aligned to the stringent intensity. Its successor opens with compelling almost sinister electro bait, its person cinematic soaked in atmospheric intrigue. That lure leads the imagination into an inciting dramatically melodic narrative with an additional teasing within its sinewy embrace, which plays like a mix of Biting Elbows and Limp Bizkit. It is an absorbing provocation building an industrial soaked landscape that is simply irresistible and transfixing.
After the bruising challenge of the pleasing Neizbezhnost, the album provides another major pinnacle to match the starter in the toxic shape of Hellstarter. An initial reasonably gentle coaxing only hints at the imminent hellacious ravaging of the senses to come, a rabidity increasing the urgency and aggression of the guitars and rhythms whilst there is an insidious temptation to the keys. As ever with Bog[~]Morok there is no resting on singular assaults and the song soon twists and launches blackened violations and industrial causticity around a melodic and nu metal taunting. It is an ingenious torrent of inventiveness and addiction causing enterprise, a triumph only matched, after the contagious Fear Factory like Shapeshifter, by the sadistically tantalising Bloodsucker. It is another track to chew and seduce the senses whilst bringing an ethnic curiosity to its sonic acidity and adrenaline fired predation; simply a masterful ferocity of corrosive and magnetic craft.
The mix of English and Russian sung songs adds to the frenetic allure of the album, especially with when the likes of Свет В Конце Тоннеля, another track which brings thoughts of Korn to mind this time in collusion with The Browning, and the melodically enticing Звездопад sound so good and convince a greater appetite to come play with their individual and unique gifts.
IDDQD unleashes another intensive metallic fury of rampaging riffing and equally pungent violent rhythms whilst Undream brings the album a melodic slowly burning treat, its smouldering and emotive beauty a delicious wrap for the imagination and heart. It is part of a great ending to Industrialypse , a finale completed by the blackened ruinous interpretation of the Fantomas’ song, Der Golem. Heavy, dark, and dirty, it is an extreme storm which maybe hints at the earlier days of Bog[~]Morok. Industrialypse is an outstanding release, one bringing metal and certainly industrial metal an invigorating excuse to get excited, and one all should take the time to search out and enjoy.
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