By Rick Polo (Editor-in-Chief)
Album: Crazy Eyes
Release Date: 4/8/16
Few survivors of the industrial rock scene have remained as consistent as Filter. Since their debut in 1995, the Richard Patrick-led project have pumped out one great record after another. With the industrial scene eventually fading into the background of metal or goth-techno by the late-90s, and genre pioneers like Skinny Puppy and Nine Inch Nails taking long hiatuses, there was little representation of the golden age of industrial rock; save for Filter. Despite waxing and waning mainstream attention, the band have retained a core audience that spans the likes of alternative, industrial and heavy metal listeners.
At the core of Filter is Patrick, the one-time Nine Inch Nails guitarist who exited the band on the eve of their most commercially-successful era. He formed Filter, looking for a less synth-driven and more guitar-driven sound. Their iconic 1995 debut, Short Bus, dropped at the height of the industrial-alternative crossover, when the sound was at it’s peak popularity. The follow-up, 1999’s Title of Record, was a massive success propelled by the crossover hit, “Take A Picture.” But for much of the 00’s, addiction issues and an evolving alternative scene kept Filter out of the limelight, despite releasing the underrated gems The Amalgamut and Anthems For the Damned. In 2011, Filter came back hard with the slamming The Trouble With Angels record, boasting a return to the sound that brought Filter to fruition. 2013’s The Sun Comes Out Tonight further featured the rage and socio-political disdain that was synonymous with industrial rock. Few artists have captured the heaviness of the original industrial scene as well as alternative rock sensibilities quite like Filter.
With their latest release, Crazy Eyes, Filter dive head first into a classic industrial rock sound with pulsating synths, distorted bass lines, mechanized drums and grinding guitars, matched with a primal rage against a failing system. Tracks titles like “Pride Flag,” “The City of Blinding Riots” and “Your Bullets” quickly indicate the social commentary that’s to come, while “Nothing In My Hands” and “Welcome To the Suck (Destiny Not Luck)” tease up the anger and disdain.
Crazy Eyes opens with the classic industrial slammer, “Mother E,” a synth-heavy stomper that finds Patrick screaming the refrain; “I got my reasons and my reasons are sound,” as a wall of swelling synths build to a head-banging groove. “Nothing In My Hands” looks at the Ferguson and Michael Brown case, while capturing all of the socio-political angst the industrial scene had/has to offer. From there, the more accessible, and dare I say, poppy, “Pride Flag,” keeps in tune with the album’s feel, looking through the glass at a society spiraling into chaos.
Tracks such as “The City of Blinding Riots” and “Welcome To the Suck (Destiny Not Luck)” feature a more atmospheric, KMFDM/Combichrist-esque stomp, while “Take Me To Heaven” and “Head of Fire” boast a more groove-heavy bass-driven feel, with sneering hooks in the vein of NIN. “Tremors” is also write with Ministry-style mechanical percussion, circa Land of Rape and Honey.
Most of Side B on Crazy Eyes leans a little more in the rock direction, with tracks like “Kid Blue From the Short Bus, Drunk Bunk” and “Your Bullets” featuring the more classic Filter sound of heavy alt-metal, most prevalent on Title of Record. The album concludes with “Under the Tongue,” a slow-building heavy groove tracks that spirals into a wall of distortion, before descending into the acoustic comedown of “(Can’t She See) Head of Fire, Pt. 2.”
All in all, Crazy Eyes may be Filter’s strongest album since Title of Record. While the last few records clearly showcase Patrick showing his teeth and muscles, it’s few and far between they feature his ability to write really interesting songs. Crazy Eyes ebbs and flows, and although it’s consistently heavy and brooding, both sonically and lyrically, it ties together many small concepts into a central theme. Standout tracks are difficult to pinpoint, but would certainly include “Mother E,” “Welcome To the Suck (Destiny Not Luck)” “Your Bullets” and “Pride Flag.” For fans of the golden age of industrial rock, this will surely spark an interest in a scene long stagnant.