Highlights practically litter this mechanical monster from ‘98, with the band hitting particular peaks on the electrified, sensory overload Shock, the drilling punisher Smasher/Devourer and the emotive epic Resurrection. The closer entitled Final Exit, comes close to reaching the heartfelt sentiments of mainstays like Resurrection and Invisible Wounds (Dark Bodies), a delightful way to wrap up a record of such crushing proportions.
From there the group proceed to decimate everything in their wake, obliterating the sound barrier with sonic bombs like the rhythmic exploder Powershifter, the frantic belter Controlled Demolition and the whiplash inducer Designing The Enemy. You only need to go as far as the off-the-walls intensity of the title track (a song that couldn’t be any more pulverizing if it tried) to see that this was a major return to form. Many would forgive the seasoned veterans for changing their style to reach a wider audience, but with 2010’s Mechanize, the band did the complete opposite. As far as debuts go, they don’t come much more loaded with ambitious intent than Soul Of A New Machine. Nobody else was merging the toxic combination of death and industrial metal except Fear Factory, much less producing genuine heavy hitters like the scalp scraping Scapegoat or the primitive growler Flesh Hold. It was clear from the group’s debut album in 1992 that they were a different beast altogether. Don’t go thinking they’ve gone all soft on us though – songs like Soul Hacker and Protomech are some of the heaviest compositions in the band’s arsenal. Bell expertly applying his trademark clean vocals to tracks like Anodized and Dielectric. It possesses the melodic components that the group effortlessly mastered in the 90’s, with frontman Burton C. There seemed to be renewed vigour when the band signed with Nuclear Blast, a move that gave them razor sharp focus on Genexus.
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