Godflesh
Template:Short description Template:About Template:Good article Template:Use dmy dates Template:Use British English Template:Infobox musical artist
Godflesh are an English industrial metal band from Birmingham. The group formed in 1982 under the original title O.P.D. (later Fall of Because) but did not release any complete music until 1988 when Justin Broadrick (guitar, vocals, programming) and B. C. Green (bass, programming) renamed the band and decided to use a drum machine for percussion. Melding heavy metal with industrial music and later with electronic music and dub, Godflesh's sound is widely regarded as a foundational influence on other industrial metal and post-metal acts and as significant to both experimental and extreme metal.Template:Efn
The band signed to Earache Records in the late 1980s and released their debut album Streetcleaner (1989) to contemporary and lasting acclaim. After the release of their sophomore album Pure (1992) and their major label debut Selfless (1994), they started experimenting with live drums as well as hip hop and breakbeat sounds. The resulting albums, Songs of Love and Hate (1996) and Us and Them (1999), were followed by Hymns (2001), which saw a simplification of the band's style. Shortly after Green's departure in 2002, Broadrick ended Godflesh and pursued various other projects, such as Jesu. Broadrick and Green reformed Godflesh in 2009, releasing A World Lit Only by Fire (2014) and Post Self (2017) to critical acclaim. Their ninth album, Purge, was released in June 2023.
As pioneers of industrial metal, Godflesh's early sound was defined by harsh machine beats, production-emphasised bass, distorted guitar and sparse vocals delivered in a low, guttural fashion. The band performed for most of their career as a duo with Broadrick and Green playing over preprogrammed percussion, normally to a backdrop of apocalyptic scenery and Christian iconography. Godflesh's music has been regarded as especially heavy and grim, with Streetcleaner being named by several publications as one of the heaviest and greatest metal albums.Template:Efn
HistoryEdit
Formation and early years (1982–1988)Edit
The band that would eventually become Godflesh, O.P.D. (Officially Pronounced Dead),<ref name="eb1" /><ref name="pogo1" /> formed in 1982 when B. C. Green and Paul Neville, two young musicians living in cheap council estate housing in east Birmingham, started experimenting musically alongside a drum machine.<ref name="allmusicFoB" /><ref name="exclaimorig" /> In 1983, the band renamed to Fall of Because, named after a Killing Joke song and a chapter from an Aleister Crowley book.<ref name="vice1" /> The band found a live drummer, Justin Broadrick, who lived in the same council housing as Green and Neville. Broadrick joined the group in 1984 after organising a concert at The Mermaid in Birmingham.<ref name="exclaimorig" /><ref name="vice1" /> At that show, Fall of Because, Final (Broadrick's first musical act), and an early incarnation of Napalm Death performed before a crowd of twenty-five people.<ref name="vice1" /> In the months following that concert, Broadrick joined Napalm Death as a guitarist and Fall of Because as a drummer and altered the latter's sound by introducing albums from Swans, Sonic Youth and Discharge to Green and Neville.<ref name="exclaimorig" /><ref name="vice1" /> Only fifteen at the time, Broadrick said he "usurped" their band.<ref name="vice1" />
Fall of Because recorded a demo titled Extirpate in 1986, which contained several tracks that would become Godflesh songs.<ref name="allmusicFoB" /><ref name="godflesh2" /> Due to these recordings not being widely available until 1999, they were retrospectively recognised as "eerily" ahead of their time by Exclaim!.<ref name="exclaimorig" /> Later in 1986, Broadrick was invited to play drums for Head of David,<ref name="exclaimorig" /> leading to his departure from Napalm Death and soon after from Fall of Because in 1987.<ref name="allmusic1" /> Then, in March 1988, he left Head of David for being, according to Broadrick, "too noisy of a drummer",<ref name="chicago1" /> and contacted Green in April to reform Fall of Because as a duo.<ref name="allmusicFoB" /><ref name="press1" /> In that reformation, Broadrick took over on guitar, and the band went back to employing a drum machine for percussion.<ref name="allmusic1" /> It was then that the group was renamed Godflesh.<ref name="thomptrev1" /> Broadrick explained the new name by saying, "I heard someone once say that music is the voice of God. The word 'God' conjures something immense and inconceivable. The 'flesh' part is what effects you on a physical level. Our music is loud and destructive."<ref name="prop1" />
Self-titled EP, Streetcleaner and Pure (1988–1993)Edit
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Inspired by the bleak urban landscape of Birmingham and the extreme music Broadrick introduced to Green,<ref name="decibel2" /><ref name="metalsucks3" /><ref name="metro" /> Godflesh took on a distinctly heavier tone than the primarily Cure-influenced Fall of Because.<ref name="vice1" /> In 1988, the band established a presence in underground music by releasing their self-titled extended play (EP) through the Swordfish label.<ref name="allmusic3" /><ref name="HoM1" /> That EP, considered the source of industrial metal alongside Ministry's 1988 studio album The Land of Rape and Honey,<ref name="allmusic3" /><ref name="allmusic2" /> combined programmed industrial beats, distorted vocals, low guitar and driving bass riffs to create the sound that Godflesh would become known for.<ref name="allmusic1" />
Shortly after the Godflesh release, the band recorded another EP titled Tiny Tears comprising four short, rough songs.<ref name="digby2" /> Before Swordfish could release this EP, though, Godflesh were acquired by Earache Records, and the label's founder, Digby Pearson, convinced Broadrick and Green to shelve Tiny Tears and use the songs as bonus tracks on their first full-length album.<ref name="digby2" /><ref name="disund" /> The band agreed, and in 1989 they released Streetcleaner, which went on to receive critical acclaim and recognition as a landmark album in heavy metal music.Template:Efn Streetcleaner saw the reintroduction of Neville into the band, this time as the second guitarist, and it marked the band's first release of many on Earache.<ref name="streetnotes" /> The album further defined Godflesh's sound, standing out from other metal releases with unusual production that emphasised mechanical beats and percussive bass over guitar.<ref name="RS2" /> Streetcleaner is regarded as particularly heavy and bleak.Template:Efn
From February to March 1991, Godflesh were again in the studio, recording the Slavestate EP, which saw the band experimenting with dance and more electronic elements.<ref name="allmusicslave" /><ref name="blast1" /> Later that year in April, Godflesh embarked on their first tour of North America (a leg of Earache's Grindcrusher tour) with labelmates Nocturnus and Napalm Death.<ref name="press1" /> According to Mike Browning of Nocturnus, most of the shows of the 45-day tour were attended by 200 to 300 people.<ref name="choosde1" /> Godflesh missed the first concert due to permit issues, but they made it to the second date at the L'Amour in Brooklyn.<ref name="choosde1" /><ref name="volc1" /> The venue was full, and when Godflesh took the stage, their drum machine failed and the band could not continue.<ref name="choosde1" /><ref name="volc1" /> When a replacement machine was eventually found, Broadrick and Green hastily programmed in four songs to be ready for the tour's third show at the Channel in Boston.<ref name="choosde1" /> Despite these initial difficulties, the rest of the tour went well and Godflesh drew surprisingly positive reception.<ref name="exclaimorig" /> Slavestate was released in July after Grindcrusher had concluded. In August and October 1991,<ref name="blast1" /> both Broadrick and Green guested on Buried Secrets (1992), an EP by Painkiller.<ref name="painkillerallmusic" />
With the successes of Streetcleaner, Slavestate, a concert opening for Nirvana and the Grindcrusher tour,<ref name="exclaimorig" /><ref name="quiet5" /><ref name="pett" /> Godflesh started on their second album, this time without Neville, who chose to focus on his other project, Cable Regime, which featured Broadrick as a recurring producer.<ref name="allmusicbroadcredits" /><ref name="regimenotes" /> To fill the void, Robert Hampson of Loop was brought in to play on half of the new album's tracks as well as on Cold World (1991), an EP recorded in the same sessions.<ref name="allmusic5" /> The sophomore album, Pure, was released in 1992 through Earache and has since been recognised as an influential release in the post-metal genre.<ref name="fact2" /><ref name="revolver2" /> Musically, Pure was even more mechanical than Streetcleaner, further emphasising the drum machine and featuring production that augmented the percussion with a stark, bleak atmosphere.<ref name="roy3" /><ref name="fact2" /> Though Godflesh's most overt experiments with hip hop and breakbeats occurred later in their career,<ref name="wire1" /> Pure featured elements of both buried under the wailing guitar, shouted vocals and aggressively repetitive drumming.<ref name="allmusic13" /> The album continued its experimentation with atypical song structures on its conclusion,<ref name="bandcamp1" /> "Pure II", a twenty-minute ambient drone piece with a submerged beat that, as AllMusic's Ned Raggett said, "hits like a distant cannon".<ref name="allmusic13" />
Despite Broadrick's dissatisfaction with the mixing on Pure being "not heavy enough",<ref name="quietus10" /> many critics regarded the album as unrelenting;<ref name="allmusic13" /><ref name="RIP1" /> in a positive review, SpinTemplate:'s Mike Gitter wrote that "Hiroshima was probably more fun [than Pure]".<ref name="spin1" /> In support of the album, Godflesh planned to open for Ministry on another tour of North America, but instead ended up opening for the electro-industrial band Skinny Puppy on their Last Rights (1992) tour.<ref name="convulsion1" /><ref name="variety1" /> Due again to issues with entering the United States, Godflesh were forced to cancel a number of these dates;<ref name="skup" /> they later returned to those markets as headliners to make the missed shows up.<ref name="volc1" /> Broadrick retrospectively said that this era of the band stands as "the most honest representation of what Godflesh set out to achieve."<ref name="quietus2" />
Selfless, Songs of Love and Hate and Us and Them (1994–2000)Edit
After a year of minimal activity in 1993, Godflesh were approached by several record labels.<ref name="choosde1" /> According to Broadrick, Danny Goldberg of Atlantic Records invited them to London and expressed his desire to acquire the band.<ref name="choosde1" /> About this period, Broadrick said, "They really thought that Godflesh could be the next Nine Inch Nails and that we would be selling out fucking stadiums. The buzz at the time was ridiculous. It outweighed the sales, obviously. It was all hype."<ref name="choosde1" /> Ultimately, the band ended up with major record label Columbia for the release of the EP Merciless in 1994, the title track of which was originally a Fall of Because song.<ref name="LiSlinernotes" /> Another EP, Messiah was recorded during these sessions,<ref name="exclaimmess" /> but it was not released on a wide scale until 2003 through Relapse Records.<ref name="messiah2" /> Later in 1994, the band released their third album, Selfless, which represented a shift in the group to a more high-end production approach and to a greater focus on traditional heavy metal riffs.<ref name="BV2" /><ref name="allmusic4" /> Despite being the band's best-selling record with approximately 180,000 copies shipped, Selfless was deemed a commercial disappointment.<ref name="exclaimorig" /> This coupled with the ban of Godflesh's first major music video led to the end of their collaboration with Columbia.<ref name="RoughGuide" /><ref name="garth1" />
Feeling abandoned after being abruptly dropped by Columbia, Godflesh were briefly directionless in 1995.<ref name="MM1" /><ref name="exclaim6" /> In 1996, the band returned to Earache and created their fourth studio album, Songs of Love and Hate, which was Godflesh's first music made with a human drummer since the early Fall of Because days;<ref name="allmusic6" /> Bryan Mantia of Praxis provided the aggressive, non-mechanical drumming.<ref name="allmusic6" /> In retrospect, Broadrick believed Songs of Love and Hate marked the point where Godflesh lost sight of their original goal and started making "self-conscious" music.<ref name="quietus3" /><ref name="RAint" /> When it came time for the album's 1996 tour, Mantia made the move to join Primus, and Godflesh recruited Ted Parsons of Prong and Swans to perform on the tour in his place. Along with the album's follow-up remix release, Love and Hate in Dub (1997), Songs of Love and Hate moved away from Godflesh's industrial roots into experimentation with conventional verse-chorus format, hip hop, dub and drum and bass.<ref name="quietus1" /> The remix album was supported by a one-off concert on 4 October 1997 at The Garage, London where Broadrick operated a mixing desk, Steve Hough played guitar, Green played bass and Diarmuid Dalton provided support on a Moog synthesiser.<ref name="terror1" />
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This experimentation continued and increased with Godflesh's next album, Us and Them (1999). While live drumming was dropped again in favour of percussive machines, Us and Them saw the group going further with electronics and drum-and-bass-oriented sound than ever before.<ref name="allmusic7" /> Broadrick was quick to admit that he "hated" the album and that it was an "identity crisis".<ref name="CoC1" /><ref name="terror3" /> Retrospectively, though, he revised his thoughts, saying that his hatred was overstated despite him still having issues with the album.<ref name="CoS1" /> Shortly after releasing Us and Them in 1999, Godflesh began work on a proposed remix album, Us and Them in Dub.<ref name="MH1" /><ref name="avalanc1" /> While this album was never released, two tracks from it appeared on the 2001 compilation In All Languages.<ref name="IAL1" /> Also in 1999, Life Is Easy, an album compiling Godflesh's recordings as Fall of Because, was released on the Alleysweeper label and distributed via Martin Atkins' Invisible Records label.<ref name="LiSlinernotes" />
Hymns and dissolution (2001–2002)Edit
Following the release of the double album compilation In All Languages, Godflesh released their sixth studio album, Hymns (2001) through several different labels.<ref name="hymntsnotes2" /><ref name="hymntsnotes3" /> The album again saw Godflesh with a human drummer; Parsons returned to provide the live percussion and, according to Broadrick, the inspiration for Godflesh to continue.<ref name="CoS1" /> Hymns marked a dramatic shift away from Godflesh's recent experimentation, moving instead into the realm of direct heavy metal, with only a few tracks revealing hip hop or electronic influence;<ref name="GC1" /> Broadrick wanted Hymns to be more of a rock album than any other Godflesh releases.<ref name="EPol1" /> The album was recorded in a professional studio and a producer outside of the band was brought in to oversee the process, two firsts for Godflesh that Parsons believed to be mistakes.<ref name="decibel1" /><ref name="parsonsint1" /> Despite receiving positive reviews, the final product of Hymns was ultimately dissatisfying for Broadrick, so much so that he restored it to a state resembling its demos on the 2013 reissue.<ref name="hymnslinernotes" /> With the band disheartened by Hymns' troubled production and dreading an upcoming tour, the direct future of Godflesh was unclear.
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In October 2001, the same month Hymns was released, Broadrick received a call from Green just two weeks before Godflesh were set to tour with Strapping Young Lad and Fear Factory.<ref name="CoS1" /> Over the phone, Green expressed frustration at having to open for young bands despite being in the business since 1982, as well as being forced into a tour for an album that was manipulated from the outside. Green tearfully left Godflesh to return to university and focus on his relationship with his partner.<ref name="CoS1" /><ref name="RAint" /> To cope with the departure of his friend, Broadrick devoted all of his effort to maintaining the band. It was quickly announced that Green would be replaced by former Killing Joke and Prong bassist Paul Raven.<ref name="revolver1" /> Though this configuration of Godflesh came up with some ideas for another studio album (namely the usage of a rhythm from Public Enemy's "Shut 'Em Down"), Broadrick was "always aware that a new album was never going to happen".<ref name="terror3" /> Not long after this short-lived incarnation of Godflesh performed a handful of shows that Broadrick later said "felt completely wrong",<ref name="RAint" /> he experienced a nervous breakdown the day before departing for another tour of North America, this time with High on Fire and Isis.<ref name="mtv-Godflesh_Breaks_Up" /><ref name="wond" /> He recalled the breakdown as a "real Brian Wilson moment"<ref name="guardian" /> and said, "I felt paralyzed by the stress, which had been building for several months, and I literally couldn't get out of bed. I was numb and couldn't move, so when the car came to pick me up to take me to the airport, I ran and hid at another friend's house in Birmingham."<ref name="breakup-1" /> All of the shows were called off,<ref name="mtv-Godflesh_Breaks_Up" /> and Godflesh officially disbanded on 10 April 2002.<ref name="BThCo" />
The cancelled tour caused a number of problems for Broadrick; his thirteen-year relationship with his girlfriend dissolved,<ref name="RA1" /> and a bus driver who had been hired for the tour threatened his life. In a panic, Broadrick remortgaged his house and amassed approximately US$35,000 to pay the driver and everyone else who had been affected by the cancellation.<ref name="breakup-1" /> Broadrick, at a low point in his life, was left with little to do but work on new, different music. About the period, he said, "My only solace, my only escape at that time was recording the first Jesu album."<ref name="CoS1" /> "Jesu", the closing track of Hymns and, until 2014, the last original Godflesh song, ended with a hidden passage of unusual peacefulness and melodicism.<ref name="treblezine1" /> Broadrick's next project, bearing the same title of Jesu, adopted that shoegaze sound and the new band's first EP, Heart Ache, was released in 2004. On promotional material for Heart Ache, a message from Broadrick read, "Godflesh is dead, long live Jesu."<ref name="heartache" />
Reformation (2009–2013)Edit
After Godflesh's dissolution, Broadrick and Green rarely spoke.<ref name="MI2" /> Though there was no falling out between the two members, Broadrick assumed the project permanently dead, believing that Green's interest in it was gone.<ref name="MI2" /><ref name="fact5" /> Regardless, Broadrick decided in 2009 to approach Green with an offer to reform, something that promoters had been pushing for years.<ref name="fact5" /> Green responded to Broadrick's call within a few hours, saying he would love to do it.<ref name="MI2" /> Both members quickly agreed that the most important thing for the reunion's integrity was that they return to a drum machine for percussion.<ref name="fact5" /> In November 2009, the reunion was made public when Godflesh announced they would perform at the 2010 edition of the Hellfest Summer Open Air in Clisson, France.<ref name="MI1" /> Asked in a February 2010 interview about Godflesh's future, Broadrick replied, "Godflesh will not commit to anything but Hellfest currently. I am unsure as to where we will go from there, if we go anywhere at all."<ref name="blabb1" /> He also revealed that the likelihood of new material was "fairly minimal", but that the possibility still existed;<ref name="blabb1" /> though later, in 2014, he insisted that "ultimately, the whole reformation thing was pretty much fundamentally about wanting to make new music".<ref name="terror3" /> On 18 June 2010, Godflesh performed for their first time since 2001 at Hellfest. The show was fraught with technical difficulties, ending up as a forty-minute set instead of the intended sixty minutes.<ref name="BV1" /> Despite the frustration of the return performance, Godflesh continued to play festivals throughout 2010 and 2011,<ref name="SMA1" /> including the 2011 edition of the Roadburn festival in Tilburg, Netherlands, where they performed their first album, Streetcleaner, in its entirety.<ref name="terrorizer1" /> This performance was later released as the group's first live album in 2013.<ref name="decibel7" />
In December 2010, Broadrick revealed to Decibel magazine that Godflesh were gradually assembling new ideas for a studio album.<ref name="blabb2" /> He explained, "It's something we're discussing all the time, and I do have bits and pieces of material. But it's something we'd really like to develop. It'd be quite easy to knock out eight to ten in-character songs and release it as quickly as possible to capitalise on the popularity of the group, but it would feel entirely wrong."<ref name="blabb2" /> In 2011, Godflesh (along with Black Sabbath, Napalm Death, Judas Priest and Led Zeppelin) were recognised by the UK-based Home of Metal archival project as significant contributors to the heavy metal genre.<ref name="HoM1" /> With this accolade absorbed, Broadrick continued to confirm the existence of a new Godflesh album throughout 2012, saying it would most likely be out in 2013 after a new EP.<ref name="etDyn" /> In 2013, Godflesh released their first new recording in over twelve years, a cover of Slaughter's "F.O.D. (Fuck of Death)", through Decibel magazine's flexi disc Series.<ref name="decibel3" /> The flexi disc was included in the November 2013 issue of Decibel.<ref name="metalsucks2" /> Later in 2013, Godflesh performed Pure in its entirety at Roadburn, featuring Hampson on guitar for part of the set.<ref name="roadburnarc" /><ref name="roadburn" /> In 2014, Broadrick said that disbanding Godflesh was the best thing they had ever done and stated that the upcoming album was his favourite since 1994's Selfless.<ref name="iX56J" /><ref name="exclaim3" /><ref name="terror3" />
A World Lit Only by Fire and Post Self (2014–2021)Edit
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From 2012 to 2014, Godflesh were in Broadrick's private studio, working on their seventh album.<ref name="MaF1" /> The process was slow due to Broadrick's commitment to making a proper Godflesh album instead of a hollow exploitation of the reformation's media attention.<ref name="shaman1" /> After a long revision process, the 2014 EP Decline & Fall and the 2014 album A World Lit Only by Fire came out of those sessions,<ref name="IO1" /> both of which featured Broadrick on an eight-string guitar.<ref name="MS1" /> The album was the band's first to chart in the U.S.,<ref name="billlboard1" /> and it was met with critical acclaim,<ref name="mc1" /> drawing praise for its extreme weight and being lauded as the ideal return for Godflesh.<ref name="exclaim1" /> Musically, Broadrick stated A World Lit Only by Fire was most similar to Streetcleaner and Pure, and Green added that it was "spiritually" close to those first few releases.<ref name="blab" /> About the album's sound, Broadrick said, "It's extremely minimal and very, very brutal — a fairly unforgiving record, really, I think."<ref name="blab" /> Decline & Fall and A World Lit Only by Fire were heavy, distorted, riff-driven industrial releases that Broadrick saw as a return to the direct simplicity of Godflesh's original form.<ref name="vice2" /> All of the recording, engineering, artwork and packaging was done by Godflesh through Broadrick's own label, Avalanche Recordings.<ref name="pitchfork3" />
Following a number of tours in support of A World Lit Only by Fire and an attempt at an In Dub remix release with Parsons providing additional drumming,<ref name="MI2" /> Godflesh returned to the studio in 2016 for a new album.<ref name="overdose1" /> Post Self, the band's eighth studio album, was released on 17 November 2017, shortly after another performance of Streetcleaner in its entirety.<ref name="brookveg" /> Unlike A World Lit Only by FireTemplate:'s focus on making a bombastic comeback, Post Self proved more introspective and moody.<ref name="minvader" /> Most of the traditional metal riffs were dropped in favour of atmosphere, noise and experimentation.<ref name="allmusic8" /> Post Self received similar high praise as its predecessor,<ref name="mc2" /> and both appeared on several publications' year-end lists.<ref name="AOTY1" /><ref name="AOTY2" /> After the release of Post Self, Broadrick avoided interviews, hoping to give listeners time to form their own opinions on the music and to retain some of the album's "mystique".<ref name="decibel2018" /> Godflesh embarked on a few brief tours and played scattered festivals, including the 2018 edition of Roadburn where they performed all of Selfless live for the first time.<ref name="roadburn2" /> Broadrick spent a month reprogramming the album's percussion from scratch since the original drum parts no longer existed.<ref name="roadint" /> In an interview with French magazine New Noise, Broadrick said that Selfless was the last Godflesh album he wanted to play in its entirety.<ref name="newnoise" />
A compilation album titled Long Live the New Flesh was released in July 2021. The album featured most of the band's studio material released since reformation in 2010.<ref name="newf2" /> A shortened digital edition, New Flesh in Dub Vol 1, comprising the majority of Godflesh's reformation-era remixes alongside two otherwise unreleased tracks from the Post Self sessions, was released ahead of the full compilation.<ref name="newf1" />
Purge (2022–present)Edit
Godflesh had started work on a new album by January 2022, and a live album documenting the performance of Pure at Roadburn 2013, titled Pure : Live, was released in November that year.<ref name="fb1">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="purelive">Template:Cite AV media notes</ref> The band's ninth studio album, Purge, was released in June 2023,<ref name="purge1">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> preceded by the singles "Nero" and "Land Lord".<ref name="nero2">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="nero1">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Near the end of the following year, on 6 December 2024, Godflesh released A World Lit Only by Dub, a remix album of 2014's A World Lit Only by Fire that had been in the works since 2013.<ref name="bydub">Template:Cite AV media notes</ref>
Style and influenceEdit
Musical style and legacyEdit
Drawing inspiration from early industrial and noise groups such as Throbbing Gristle and Whitehouse, as well as from ambient musician Brian Eno, noise rock band Swans, post-punk innovators Killing Joke and also Siouxsie and the Banshees and Public Image Ltd., fellow Birmingham heavy metal band Black Sabbath and a wide range of hip hop artists such as Public Enemy, Eric B. & Rakim and Run-DMC,Template:Efn Godflesh were among the pioneers of both industrial metal and post-metal and are considered a significant experimental metal and extreme metal band.Template:Efn Broadrick and Green have both distanced themselves from the industrial metal title, though they concede that the label is accurate on a literal level.<ref name="le106tv" /><ref name="drugmetal" /> They consider Godflesh to be a continuation of post-punk, specifically in regard to furthering Killing Joke's sound.<ref name="le106tv" /> When asked in 2005 how he felt about being one of industrial metal's founders, Broadrick said, "I think I accidentally formed this genre. I don't even really know what this genre is; I just make music."<ref name="RR1" /> He expanded upon this statement in 2018 by calling the term industrial metal "limiting".<ref name="MT1" />
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Godflesh's sound is characterised by a combination of programmed drum machine beats, percussive bass and distorted heavy metal guitar.<ref name="allmusic2" /><ref name="guardian" /> Though the band would later employ human drumming for Songs of Love and Hate and Hymns in 1996 and 2001 respectively (a decision that Broadrick believed compromised the group's musical identity),<ref name="MI2" /> Godflesh's early sound was dominated by artificial, stiff drum loops and an uncommon focus on bass.<ref name="fact1" /><ref name="MI2" /> On those early influential releases, the rhythms, synths and samples were credited to "Machine" or "Machines" despite being done by Broadrick. Initially, the employment of mechanical percussion was done out of necessity.<ref name="APmag1" /><ref name="xl1" /> When Broadrick rejoined Fall of Because with Green to form Godflesh, the beats he desired were too difficult to play acoustically, so he instead used an Alesis HR-16 drum machine;<ref name="chicago1" /> this decision would prove defining for both Godflesh and for industrial metal at large.<ref name="allmusic3" /> Godflesh's writing and recording process is guided by Broadrick and generally happens without the aid of a professional studio or producer.<ref name="yrDnW" /><ref name="terror3" /> According to Broadrick, "50% of the Godflesh material was often born from rhythms and grooves", and he called the hands-on recording process "primitive".<ref name="terror3" />
About the band's tuning, Green said in a 1997 interview, "We would just tune down as low as we could. We couldn't hear anything! But eventually we had to pick a pitch to tune to, so we chose C-sharp. It's low and heavy, but you can still make out the notes."<ref name="bassplayer1" /> For the early Godflesh albums, the guitars are tuned down to B. Starting with 2014's A World Lit Only by Fire, Broadrick started using an 8-string guitar tuned to F sharp.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Mike Patton of bands Faith No More and Mr. Bungle is a fan of Godflesh's sound, calling them "ridiculously heavy" and "one of the few bands that can make you wonder whether or not your batteries are running out on your stereo."<ref name="MTV1" /> Patton invited Broadrick to join Faith No More as guitarist after Jim Martin left the band in 1993.<ref name="exclaim5" /><ref name="treb1" /> He was also asked to join Danzig shortly after Godflesh toured the U.S. with them and Type O Negative in 1994.<ref name="vice2" /> In both instances, Broadrick declined the offer in favour of continuing to reside in the United Kingdom and work on his own music.<ref name="askear1" /> Other artists such as Metallica, Fear Factory, Korn, Isis, Neurosis, Pelican, Prurient, Helmet, Prong, Nailbomb, Code Orange, Mortiis, Devin Townsend and Converge were inspired by Godflesh,Template:Efn and in 2014 MetalSucks wrote, "Everyone from Nine Inch Nails to Fear Factory to Batillus probably owes these dudes a couple of checks".<ref name="MSleg" /> Despite acclaim among critics and fellow musicians, Godflesh have only experienced minimal commercial success; in 2002, shortly before the band dissolved, Broadrick said he had no illusions about selling out stadiums.<ref name="EPol1" /> The goal of Godflesh, according to him, was simply to put out good albums.<ref name="EPol1" />
Visual styleEdit
Being interested in horror and art house cinema, both Broadrick and Green incorporated many references to such films in Godflesh.<ref name="revolver1" /> The image on the front of 1988's Godflesh EP is a still from the 1966 John Frankenheimer film Seconds.<ref name="justavis1" /> StreetcleanerTemplate:'s cover is an image from the movie Altered States, a 1980 horror film by director Ken Russell,<ref name="chicago1" /><ref name="BV2" /> and the album's liner notes feature frames from David Lynch's Eraserhead (1977).<ref name="godflesh4" /> The cover of Merciless is derived from the 1943 experimental film Meshes of the Afternoon, by Maya Deren.<ref name="BV2" /> Broadrick repeatedly cited another Russell movie, The Devils (1971), as an influence of Godflesh's sound.<ref name="decibel1" /> Additionally, Godflesh appeared in the 1995 film Hideaway;<ref name="imdb1" /> during one of the movie's club scenes, Broadrick and Green can be seen playing onstage in the background, performing the song "Nihil" from Cold World.<ref name="insider1" />
Apart from cinema, Christian iconography helped inform Godflesh's visual style. Broadrick, originally anti-religious, found churches and their related imagery intimidating.<ref name="RA1" /> In a 2006 interview, Broadrick said, "The imagery of religion, the feeling of like when you walk into a cathedral, the huge feeling of intimidation that you get from Christian religion – everything to do with religion I find totally obsessive."<ref name="NS1" /> Broadrick described the worship setting as "suffocating" and "claustrophobic", saying it played a large role in forming Godflesh's style.<ref name="RA1" /> The covers of Streetcleaner, Songs of Love and Hate, Love and Hate in Dub and A World Lit Only by Fire showcase such Christian imagery, as do Godflesh's live performances.<ref name="decibel6" />
Vocal style and lyrical themesEdit
{{#invoke:Listen|main}}
Early Godflesh vocals came in the form of screaming and death growls,<ref name="obelisk1" /><ref name="allmusic9" /> and lyrics were scarce.<ref name="slug1" /><ref name="newmet1" /> Over time, Broadrick's delivery expanded to include singing, softness and moments of melody, all things that he would further explore with Jesu.<ref name="allmusic10" /> Songs of Love and Hate and Hymns saw Godflesh's greatest profusion of vocals, while A World Lit Only by Fire and Post Self returned to Broadrick's predominantly succinct style.<ref name="allmusic8" /> Broadrick's voice has been compared to Killing Joke singer Jaz Coleman's,<ref name="LGR1" /> a self-proclaimed vocal influence in addition to Kelvin Morris from Discharge and Michael Gira's early work with Swans.<ref name="MT1" /> Godflesh lyrics are cryptic, bleak and generally sparse.<ref name="slug1" /> Many of Godflesh's themes deal with inner conflict, violence,<ref name="allmusic9" /> destruction, corruption,<ref name="wirestreet" /> religion, loss, emotional extremes and fear.<ref name="allmusic6" /><ref name="fact3" /> In 2012, Broadrick stated that singing was "a necessary evil" to him and that he never felt he could do it properly; the role of vocalist came to him simply because he was bold enough to approach the microphone.<ref name="RA1" />
In a 1990 review of the band's self-titled EP, Simon Reynolds of Melody Maker noted that Godflesh's music rebelled against the overt masculinity found in most metal; he wrote, "Rather than feminise themselves, they'd rather their masculinity was defeated, their strong bodies crushed and pulverised".<ref name="MM2" /> Broadrick echoed this sentiment in the same year, insulting the "celebration of male ego that comes with most metal" and distancing Godflesh from masculine expression;<ref name="GP1" /> he reinforced his stance in 2012, saying, "Godflesh isn't that all-conquering male thing, on stage with a fucking sword and saying they're going to 'rape and pillage'. Pure comedy."<ref name="ATTN1" /> Throughout the group's career, Broadrick continued to emphasise the defensive quality of the music over its offensive quality, citing aggression as a shield against the traumas of the world.<ref name="treb1" /><ref name="MT1" /><ref name="ATTN1" />
Broadrick has taken significant lyrical and thematic inspiration from Leonard Cohen. Both artists have an album titled Songs of Love and Hate, and the Godflesh track "Avalanche Master Song" combines two Cohen song titles.<ref name="vice3" /> In the song "Mothra" (from Pure), Godflesh borrows the lyrics "Your pain is no credential here / It's just the shadow of my wound" from the song "Avalanche" on the aforementioned Cohen album.<ref name="purenotes" /><ref name="cohennotes" />
Live performancesEdit
Godflesh typically perform as a duo, with Green playing bass and Broadrick providing both guitar and vocals while the percussion is relayed over the speakers,<ref name="IO3" /> often at a notably high volume.<ref name="quietus12" /><ref name="chictrib1" /><ref name="bayer1" /> This lineup, however, has not been constant over the band's career. In concerts supporting Streetcleaner, Neville occasionally came onstage and played second guitar, and Hampson did the same for Pure.<ref name="thomptrev1" /> For the tours in support of Selfless, Songs of Love and Hate and Hymns, the band played with a live drummer, though Broadrick believed this incorporation to be a misstep.<ref name="MI2" /> In a 2014 interview, he clarified that the percussive additions of Mantia and Parsons brought "something amazing" to Godflesh, but that the band's name should have changed so as to not dilute the original focus on machine drums.<ref name="MI2" /> A handful of other musicians have briefly performed with Godflesh: Mick Harris in 1991;<ref name="digby3" /> Diarmuid Dalton in 1997, 1999 and 2001;<ref name="terror1" /> Steve Hough in 1997 and 1999<ref name="terror1" /> and both Paul Raven and Jaz Coleman of Killing Joke in 2002.<ref name="LGR2" />
The band's stage show is, like their music, minimal and focused.<ref name="IO3" /> Godflesh only occasionally employ a smoke machine, and the lights are generally static;<ref name="quietus11" /> Toby Cook of The Quietus highlighted this unusual approach in a review of a 2014 concert, writing, "Over-lit and with no dry ice in sight, they look alarmingly exposed".<ref name="quietus11" /> Images of industrial urban sprawls, Christian iconography and apocalyptic landscapes cycle through the projector.<ref name="decibel6" /> The music itself is presented as noisy and overwhelming, with some critics calling the sound even more cacophonous and dissonant than the band's studio work.<ref name="quietus12" /><ref name="decibel7" /><ref name="NME2" /> Gaps between songs are normally filled with feedback, and the band rarely speak to the crowd.<ref name="skinnymag1" /><ref name="montrock1" /><ref name="spectrumrev1" /> In response to a question about Godflesh's laconic stage presence, Broadrick said, "I don't communicate with people. We just make music. We come on stage and I don't say anything to anyone. And that alone made people really mad. I find it really bizarre. I can't believe that people would disown a band because I'm not telling them how much I'm going to kick their asses tonight."<ref name="EPol1" />
In a 2011 interview, Broadrick called playing live "a necessary evil" that is "so rarely right and so frequently wrong", but at the same time said that Godflesh "is probably even more so a live band than it is a recorded band" because those imperfections only work to accentuate the grinding chaos of the music (which is something that critics have noticed, too<ref name="kerrang1" />).<ref name="obelisk1" /> Broadrick went on to say that it was the "rage" of Godflesh that made it work in a live setting.<ref name="obelisk1" />
MembersEdit
Current lineupEdit
- Justin Broadrick – guitars, vocals, programming (1988–2002, 2009–present), drums (1984–1987)
- B. C. Green – bass, programming (1982–1987, 1988–2001, 2009–present), vocals (1982–1984)
Template:Col-begin Template:Col-break
Former membersEdit
- Paul Neville – guitars (1982–1987, 1989–1991), vocals, tape (1984–1987)
- Robert Hampson – guitars (1991–1992)
- Bryan Mantia – drums (1994–1996)
- Ted Parsons – drums (1996–2002)
- Paul Raven – bass (2002; died 2007)
Former touring musiciansEdit
- Mick Harris – drums (1991)
- Steve Hough – guitars (1997, 1999)
- Diarmuid Dalton – keyboards (1997, 1999, 2001)
TimelineEdit
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id:band value:black legend:Band_name id:vocals value:red legend:Vocals id:guitar value:green legend:Guitars id:bass value:blue legend:Bass id:drums value:orange legend:Drums id:bars value:gray(0.95) id:studio value:black legend:Studio_album id:other value:gray(0.7) legend:Other_release
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PlotData =
width:11 bar:OPD from:start till:01/01/1983 color:band bar:FOB from:01/01/1983 till:02/01/1987 color:band bar:GOD from:04/01/1988 till:04/10/2002 color:band bar:GOD from:11/01/2009 till:end color:band bar:Justin from:06/01/1984 till:02/01/1987 color:drums bar:Justin from:06/01/1984 till:02/01/1987 color:vocals width:3 bar:Justin from:04/01/1988 till:04/10/2002 color:guitar bar:Justin from:11/01/2009 till:end color:guitar bar:Justin from:04/01/1988 till:04/10/2002 color:vocals width:3 bar:Justin from:11/01/2009 till:end color:vocals width:3 bar:Paul from:start till:02/01/1987 color:guitar bar:Paul from:06/01/1984 till:02/01/1987 color:vocals width:3 bar:Paul from:06/18/1989 till:09/01/1991 color:guitar bar:Robert from:10/01/1991 till:12/01/1992 color:guitar bar:GC from:start till:02/01/1987 color:bass bar:GC from:start till:06/01/1984 color:vocals width:3 bar:GC from:04/01/1988 till:12/01/2001 color:bass bar:GC from:02/01/1996 till:03/28/1996 color:vocals width:3 bar:GC from:11/01/2009 till:end color:bass bar:Paul2 from:01/01/2002 till:04/10/2002 color:bass bar:Bryan from:10/01/1994 till:05/31/1996 color:drums bar:Ted from:06/01/1996 till:04/10/2002 color:drums
</timeline>
DiscographyEdit
{{#invoke:Labelled list hatnote|labelledList|Main article|Main articles|Main page|Main pages}}
- Streetcleaner (1989)
- Pure (1992)
- Selfless (1994)
- Songs of Love and Hate (1996)
- Us and Them (1999)
- Hymns (2001)
- A World Lit Only by Fire (2014)
- Post Self (2017)
- Purge (2023)
NotesEdit
ReferencesEdit
External linksEdit
- Godflesh on Bandcamp through Avalanche Recordings (2003–present)
- Godflesh on Bandcamp through Earache Records (1988–2001)
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