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As the post-Creed world begins its mourning, partaking in many the same substances their leader liked to take in before certain Chicago gigs to make their feelings warm, one of the formidable giants, and coiners of the “cyber-metal” genre has lurked back onto the scene. Minus the ticker tape parade, but to much fan fare, the group make their come back with a new 13-track offering.
With a bad review few and far between, Fear Factory return in stellar form with their latest release “Archetype” (released April 20, 2004). With now former guitarist Dino Cazares conspicuously absent as tension boiled over in 2002, a few internal maneuvering of members, and the invitation of former Strapping Young Lad bassist Byron Stroud into the fold, the group have in hand one of their finest collection to date.
With Burton C. Bell abruptly leaving after the now public, then private, internalized struggle between the factions of the group came to an end as Fear Factory “permanently” disbanded. Exploring the
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various side project in the time since, late 2003 saw the official return on the touted Texas Chainsaw Massacre Soundtrack. A couple months later, on many a teen’s favorite holiday, as well as the birthday of both Marilyn Manson and Hitler, Fear Factory put on their battle armor and released their new epic. The battle lines had once again been drawn, as they sounded the horn to charge against the machines.
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With Christian Olde Wolbers changing from bass to guitar for the latest release, and handling both bass and guitars in the studio, the new comer Byron came in later and played another essential roll of helping the band tear shit up on their glorious return, on the Jagermeister Music tour 2004. Steam rolling through the tracks that lead them to the forefront and paved the way for such acts as Static-X and Spineshank (just to name a few), and catering to more then 100k fans in 31 cities was the perfect kick off.
A combination of the kick in the nuts that once left fans teetering on the edge of sanity years ago with the release of classics such as “Obsolete” and “Demanufacture”, to
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the melodic and clean styles that the group incorporate with more finesse and confidence then ever before.
The group have brushed off the industrial sludge and emerged into a grim new world, one that is very promising for a band that paved the way for many bands, has returned to the throne to rule again.
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