| | Fear Factory Archetype CD Fear Factory Discography of CDs
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Fear Factory: Burton C. Bell (vocals); Christian Olde Wolbers (guitar); John Bechdel (keyboards); Byron Stroud (bass guitar); Raymond Herrera (drums).
Additional personnel: Rhys Fulber, Steve Tushar (keyboards, programming, electronics).
Fear finally became a factor for Fear Factory fans in 2001 when the band abruptly broke up over bad blood between guitarist Dino Cazares and vocalist Burton C. Bell. Longtime label Roadrunner dropped them; the future of Fear looked bleak. Luckily, bassist Christian Olde Wolbers was willing to take on the guitar spot, and the remaining Fear mongers hired ex-Strapping Young Lad Byron Stroud for the bass position. The result of this tumult is Archetype (Liquid 8), an angrily coiled album that balances its human-mechanism percussion and blistering guitar work with subtle keyboard backgrounds and Burton's bipolar vocal turns, at once unleashing hell-bound screams and heavily reverbed, near-Goth turns toward singing (think vintage Sisters of Mercy). The echoing melodies of "Bite the Hand That Bleeds" and "Undercurrent" are oddly alluring, but they're really no match for the aorta-exploding pummel of "Slave Labor" and "Drones," or "Cyberwaste"'s absolutely incredible death metal stomp. It's a sound that's been done before -- some might even call it dated. But those are the same weaklings that will cower before "Act of God" and its automated guillotine verses. "Default Judgement" too, with its near-atonal bassline sludge, serves as a worthy introduction for Stroud. But throughout Archetype, it's his rhythm section compatriot that impresses. Raymond Herrera opens fire with an array of double bass kicks and stuttering snare rolls, giving industrial-tinged cuts like "Bonescraper" a hardcore bottom end. In other words, he's more human than inhuman. The same goes for the entirety of Archetype, which grapples lyrically with the very human experience of getting jerked around by a record label. "Drones"? "Slave Labor"? "Corporate Cloning"? These are the acerbic reflections of a band run down and left for roadkill. Longtime Fear Factory fans should enjoy this return to a more organic sound from the band. Archetype's final statement might illustrate this best. The Bleach-era Nirvana cover "School" rears up after the elegiac, lengthy synth piece "Ascension" for just over two furious minutes, full of cracked tooth-spitting anger, but also flush with rock & roll power. It even departs from the album's wall of muted guitar, turning out a brief solo and touches of punk-ish feedback. Archetype is a rousing return for Fear Factory. It's well in line with what the band's done before, but with something new to rail against, they're revitalized and newly furious. ~ Johnny Loftus
As influential originators of a revolutionary and oft-copied hybrid of metal and industrial dance music, Fear Factory is one of the few groups that could release an album entitled ARCHETYPE without a hint of self-aggrandizement. The music contained within lives up to the disc's name, but the band also continues to evolve, expanding its sound without making the slightest concession to music-industry pressure or prevailing trends.
Despite the absence of guitarist/founding member Dino Cazares (who left the group before this record), Fear Factory sounds tighter and more ferocious than ever, kicking out robotic, skull-crunching grooves with superhuman efficiency. In many places, the group tempers its sonic onslaught with melodic choruses and surprisingly clean guitar effects, occasionally sounding like an unlikely jam between early Depeche Mode and TEST FOR ECHO-era Rush. The album finishes off with a gorgeous ambient instrumental track and a Nirvana cover ("School"), making clear that despite ARCHETYPE's title, Fear Factory will never be content to stick with the original model.
Q (p.97) - 3 stars out of 5 - "It runs the full metal gauntlet from death to industrial, fueled by machine-gun double bass drums..." Archetype Music Review Average Rating: (4.2 out of 5 stars)   List All Reviews Return To Form
I heard a few of the songs on a radio
station when Fear Factory were in England, they sounded good so i bought the album. Every track is great, especially Slave Labour, Cyberwaste, Act Of God and Drones. To be honest I am only familiar with albums like Demanufacture and Obsolete, but I am sure that this is the best stuff they have done in a while. Raymond Herrera's drumming is really tight he definately shines on this album, the bass and guitar work on the songs is also top quality includind Burtons's vocals. All in all I did'nt expect it to be this good, very good album I recommend buying it.
Submitted by David Rodgers (London, England)
Was This Review Helpful? Yes No 1 of 1 found this helpful.  The BEST Hard Core
Yes, I am another massive fan over DEMANUFACTURE. No other record has matched it's killer potency of rage. Not until Archetype. Of course, Soul Of A New Machine and the remix follow up record Fear Is The Mind Killer were the heaviest, but they actually started to become good with Demanufacture. Then, it seemed like they went in a totally different direction with Obsolete and Digimortal, also great records, but not exactly what I would call true Demanufacture metal. With Archetype, they brought back the incredibly skilled, true metal Demanufacture sound. I always compare metal music to Demanufacture, whether it be Fear Factory or some other metal band. Burton continues to reign supreme with his vocal transitioning, Raymond still reams hard on the drums, Christian shedds some mean guitar, and the new guy rips hard on bass. This is going to be all I'll listen to for a LONG time! Get this CD.
Submitted by mattdavid18 (Cypress, CA U.S.A.) 
Was This Review Helpful? Yes No
Great Album
Slave Labor For Life \m/
Submitted by Chimairaddict (ChimLands)
Was This Review Helpful? Yes No Factorys best album...
Their best album...
Submitted by jacekt56 (Lund,Sweden)
Was This Review Helpful? Yes No Amazing
one of Fear Factory's best! This album expresses their amazing combination of heavy verses and melodic choruses more than any of their other albums!
Submitted by A.06 (Mid-World)
Was This Review Helpful? Yes No List All Reviews | Have you heard this album? |  |
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In the tradition of John Bucchino's "Grateful," "Magnum Opuss" is a compilation of 15 original cabaret songs by Boston-based singer-songwriter B. Iris Tanner. The studio recordings feature 6 prominent cabaret singers from the New England area - Sophia Bilides, Jon-Daniel Durbin, Will McMillan, Jan Peters, Jinny Sagorin and Mary Scarlata-Rowe - as well as several songs performed by Iris herself. The songs encompass an extraordinary variety of moods and subject matter, ranging from the adorably silly "Pets are Better" and "My Lover the Car" (which focuses on the connection between cars and sex) to the outrageous humor of "The Trouble with Men" and "Warning Labels" (which men should really come with), to the quietly inspirational tone of "The Only Way Out" and "Connections." And of course, there are a number of songs about taking a chance on love, several with surprising twists. Musical theater aficionados should appreciate the bouncy tunes and clever lyrics; fans of cabaret and easy-listening music should be charmed by the quality and drama of each rendition.The CD's title is a play on the concept of a "magnum opus," meaning the chief work of a writer or artist, and the fact that Iris is also a licensed cat show judge who bred and exhibited the rare and beautiful Turkish Angora cats. Which may explain why the cover photo shows one of her cats posing with a magnum of champagne. A portion of the proceeds from CD sales is being donated to the Winn Feline Foundation to fund research into a genetic disorder that has recently shown up in this rare breed.Iris's musical background encompasses many years of childhood piano lessons, accompanying experience for high school and college musicals, eight years of flute lessons, seven years of classical voice lessons and several solo concerts in her former incarnation as a lyric soprano. However, it includes no songwriting training whatsoever. This has not held her back in the slightest. Her songs have been performed at the 2002 Boston Cabaret Festival at Scullers, TCAN (The Center for the Arts in Natick), Blacksmith House at the Cambridge Center for Adult Education and Jimmy Tingle's Off Broadway Theater. Her song "Warning Labels" was selected for inclusion in the Boston Sings Boston III revue performed by Centastage at Club Café in fall ...
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