Review Summary: After 35 years, Front Line Assembly still manages to surprise (a bit).
Front Line Assembly never shied away from incorporating small doses of various genres into their signature sound and offered a quite high variety in sound throughout their 35 years. There are traces of metal on Millenium, big beat influence on FLAvour of the weak and drum´n´bass patterns on Artifical Solider. But even though Dino Carazes (Fear Factory) makes an appearance on the new album "Mechanical Soul", this is not a guitar driven record. The guitar only appears on "Stifle" without dominating the song and has been interwoven into the electronic sound design, resembling the guitar sound used on "Improvised Electronic Device".
No, this is not another metal influenced record. This time, it seems, Bill Leeb and Rhys Fulber are the (only) driving forces behind this album. And by that, I first and foremost mean Rhys Fulber. If you followed Rhys´ recent solo endeavours, you might get an idea how some of the songs on this album sound. Not only the sound design, but also the structures resemble songs like "Slip it in". "Glass and Leather" is a prime example of the stylistic devices that were used here: Repetitions, a straight beat and a subtle increase of intensity throughout the song. It is a blast and best consumed with a more than decent pair of headphones. "Rubber Tube Gag" and "Komm, stirbt mit mir" share a similar structure. Also, Bill´s vocals have been rather used as a spice and oftentimes treated with a wide range of effects. Even though enjoyable, these two songs don´t reach the intensity of "Glass and Leather". Side note: I have no idea what "Komm, stirbt mit mir" is supposed to tell me. Directly translated it means "Come, dies with me". It is grammatical nonsense - which harmonizes with the abysmal lyrics. If you don´t understand them, you are better off.
The other songs deviate from the above mentioned structure and give us some more classic FLA songs. At best, this results in a song like "Unknown" that offers a memorable chorus, fantastic usage of effects on the voice and in the background as well as a typical lyrical painting of a dystopian landscape we know from FLA. "Unknown" in particular reminds me of moments evoked on bleak albums like "Civilization" or "Epitaph". The following "New World" shares its narrational DNA, but presents itself as a slow paced ballad.
Unfortunately, some songs fail to make a lasting impression like the opener "Purge". A bass sequence welcomes the listener and is used throughout the whole song. Alas, there is hardly any progression to be found here nor do the vocals anything to keep your attention. "Stifle" with Dino rushes by in a similar way. So, what does the other feature holds in store for the listener?
One of the better features with guest musicians came in form of the song "Future Fail" (Artificial Soldier) with Jean Luc-de Meyer (Front 242). So I was curious to learn if Barbarians holds up to the 2006 song. Having said that, we don´t get a completely new song, but the same vocals from its predecessor with a slow instrumental basis that sounds like it has been assembled from parts of "Prophecy" (Implode). It works fairly well, but considering that this album also comes with a remix of an already known song, less recycling would have been appreciated.
Even though this album might not be in their top tier and doesn´t reach the consistency and greatness of the 2013 masterpiece "Echogenetic", there is no doubt that this album yet again delivers a paramount example of a well produced album with astonishing dedication to detail. It is packed with effects (stereo-panning, reverb etc.) that keep your attention, even in some arguably weaker songs. The technical supremacy in combination with a high-class stereo or top notch headphones adds notably to the enjoyment throughout listening and kicks off 2021 with another enjoyable release of this acclaimed electro industrial legend.
