But somehow, SM balance everything with superb melodic edge that retains the hummability factor. Then, “Side F/X” is two minutes of machine age meltdown, with Skold wailing in impotent rage.
“Rain” and the brilliant “Jihad” are two examples of songs that bulge with industrial hammerings and special effects. Put the Pistols into a blender with Pantera and Ministry, and you have SM ’93. It’s his most guttural performance to date, the shadow of someone as ugly as Al Jourgensen never far away. Meanwhile, vocalist Tim Skold, originally an effenimate bass player, screams somewhere back in the mix like a man grappling with his sanity. His performance throughout the album is easily on a par with the likes of Warrior Soul. What the hell has guitarist Harry Cody been eating? He’s evolved from a closet pose-cutely into a total animal. As with “I’m A Gun”, “Sex”, “I Come In Peace”, and practically all the 12 tracks, it’s an aural clubbing of sledgehammer proportions.
Take ‘Enemy In Me’ a whirling plunge into paranoid horror. That Shotgun Messiah share their initials with a painful form of pleasure is no longer any coincidence. It is arguably the most effective release of the year.įor those who thought ‘Second Coming’ an aggressive album, ‘VNB’ will be like being hoisted onto a meat hook. ‘Violent New Breed’ is a disturbing masterstroke, more enervating than the most persistent nightmare. Like McLaren’s Sex Pistols, Shotgun Messiah are a band who have benefited from that doctrine. Terrorize, threaten and insult your own useless generation
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