Review Summary: Arguably more approachable, still undeniably bleak, almost classic.
Godflesh's often overlooked entry despite no major discernible flaws, Selfless, may have been the bands major label debut but it carried no indications of mellowing their usual colossus of noise. There are slight hints of accessibility here and there but even so, this was an expansion on what they were already established for creating; crushing, continent-sized barrages of industrial metal.
Pure, the bands 1992 release is a stunning album and arguably should be wearing the classic label as often as Streetcleaner does, however, sometimes it did seem a little stripped down in terms of noise made. The claustrophobia-inducing sound scapes weren't as present as before or after. This is probably due to the fact it was recorded on 8-track technology, something Broadrick was reportedly disappointed with. Selfless reunited the band with the absolutley unrelenting walls of noise that hadn't been as prominent since the antecedent mentioned Streetcleaner, only this time around the production was considerably better. This didn't detract from the quality or harsh aesthetics that shaped other releases.
On Selfless, Broadrick's guitar sounds thick and abrasive, suitable for the monstrous riffs which he delivers and Green's bass sounds like a tractor and serves as a protrusive backbone all the way through Selfless; an element that could have made Pure's sound that little bit better. As per usual, bar a couple of releases, the drum machine was employed but on this occasion the percussion serves a less primitive role giving the album a slightly more organic feel. Despite this though, Selfless seems still to be directed by the familiar mechanised blueprints so it never strays fully into the void of uncharted territory. In terms of lyrics, Selfless provides the usual; mainly concerning introspection, bare emotions and dark matter all delivered in Broadrick's typical minimal fashion (one or two words for a verse is no exaggeration in some cases). This is, contrary to the conventional, perfectly suited for this type of music, it lets the uncompromising sonic onslaught paint the bleak pictures in our minds and not the words.
The album ignites with `Xnoybis', the rickety yet thoroughly engaging opener which although may concern with its imminent accessibilty is a prime example of a grower. Godflesh had never sounded so inviting of an album with the first track. This mood has changed by the time we get to `Black Boned Angel', practically bordering on drone with its slow, bludgeoning doom riff which is the mainstay of the song. Similar can be said about the monolithic `Empyreal' only this time it's much, much denser. This is familiar Godflesh territory. `Toll' and `Anything Is Mine' both harness deliciously sludgy Sabbath-esque riffs and although the latter is again quite catchy and inviting considering the band, both are relentlessly aggressive.
Selfless comes to a head with `Go Spread Your Wings', a track of epic proportions. In the same vein as `Pure II' (the last track on Pure) we are again given a 20 minute plus finale. This time around we have a huge slab of oblivion bookended by long, protracted drone segments with drips of piano for a tense atmosphere. `Go Spread Your Wings' is a very interesting and claustrophobic listen in its own right.
Regardless of Selfless for whatever reason still being overlooked when compared to the likes of Streetcleaner and Songs Of Love And Hate it is a solid part of Godflesh's back catalogue that simply doesn't get much recognition. Despite this, Selfless is a huge sounding and arresting album, almost 20 years since its release, it will still be prone to startle the veteran metal connoisseur and raise the floorboards for everyone else.
