|Studio album by|
|Released||17 November 2017|
|Singles from Post Self|
Post Self is the eighth studio album by English industrial metal band Godflesh. It was released on 17 November 2017 through frontman Justin Broadrick's own record label, Avalanche Recordings, and was the band's second album since reforming in 2010. The single "Post Self" was released for streaming on 31 October 2017, and a second track, "Be God", was released for streaming on 11 November 2017, six days in advance of the full release. Godflesh avoided interviews in the wake of Post Self, hoping to retain some of the album's purity and give listeners a chance to digest the music in a vacuum.
Musically, Post Self explores less of the metal side of Godflesh and instead focuses on the band's industrial and post-punk elements; thematically, it covers anxiety, fear, loss of self and similar topics. The album was critically acclaimed, appeared on several publications' year-end lists and peaked on Billboard's Top Heatseekers chart at 23. It was followed by various scattered tours across Europe and North America.
After Godflesh released their return album, A World Lit Only by Fire , in 2014, frontman Justin Broadrick formed the band Zonal (a continuation of a previous project, Techno Animal) and created a number of solo albums; under the moniker JK Flesh, Broadrick released two albums, two EPs and a series of remixes. Jesu also released two collaborative studio albums with Sun Kil Moon. During this period of activity, Broadrick and Godflesh bassist G. C. Green were simultaneously working on Post Self. In a February 2017 interview with Vice , Broadrick said the then-upcoming album, recorded from 2016 to 2017, would be "more ambient, experimental, less riff-oriented. It should be a very interesting album, the next one." It was Broadrick's plan from the beginning to approach the new music as sampled and electronic tracks rather than as typical metal compositions.
—Justin Broadrick on the band's direction for Post Self
Tonally, Post Self is centered more on atmosphere and noise rather than the discrete riffs of its predecessor, A World Lit Only by Fire;Joe DiVita, a writer for Loudwire , said that the music "hinges less on burly, cement-cracking grooves from the overdriven distortion of Green's bass and more on lurching low-end that provides the foundation for abrasive layers of swirling, droning notes." Multiple critics compared the album to previous Godflesh releases, most notably 1999's Us and Them for its experimentation and hip hop influence, and 1992's Pure for its sparse, desolate atmosphere. As Broadrick wrote in the album's original press release, Post Self was an exercise in mood, compiling previous experiments under the Godflesh title into a new, more coherent package. With the album's focus on generating a bleak tone, comparisons were drawn between it and one of Broadrick's other projects, Jesu. As Stephen Wyatt said in his review of the album for Under the Radar , Post Self balances the shoegaze qualities of Jesu with Godflesh's mechanical beats and thick guitar sounds.
In the album, Broadrick's guitar takes on many different tones and styles, but rarely does he use it to create a traditional metal riff.Instead, Green's bass provides the order and much of the musical direction; this technique was also used in the group's debut album, Streetcleaner (1989), when the band employed a second guitarist to create the warbling background noises while the bass was left to guide the songs. As such, Post Self eschews many trademarks of both the heavy metal genre at large and of Godflesh's most commonly-attributed subgenre, industrial metal. The label post-punk is often applied to Post Self, and Broadrick's vocals show similarity to Jaz Coleman, singer of the influential post-punk band Killing Joke.
Structurally, Post Self's first three songs are the album's most metal-oriented.PopMatters saw the album's opening and title track as a microcosm of Post Self at large, saying that the song's structure "begins to transform, becoming more abstract as each second passes. The guitars slowly melt away, the rhythm subsides, and abstract notions appear molded through noise and feedback. This introduction presents the narrative that Post Self follows, stripping away its metal side and focusing on atmosphere, industrial structures and electronic elements to a higher degree." In keeping with that progression, Post Self expands into many experimental territories; "Mirror of Finite Light" discards the conventional metal heaviness of the first three tracks in favor of drone, "Be God" is bleak and reminiscent of doom metal, "The Cylic End" follows an unusual structure and employs spectral guitar tones, "Pre Self" and "Mortality Sorrow" showcase the abrasive industry of Godflesh and the final two tracks return to hip hop and introspective experimentation. Thematically, Post Self stems from, according to Broadrick, "loss of self" and "feeling like an alien in one's own skin," something that he has experienced throughout his life. According to the press release, "The album deals with themes of anxiety, depression, fear, mortality, and paternal/maternal relationships."
A few weeks prior to the release of Post Self, Godflesh performed all of Streetcleaner at a special Hospital Productions 20th anniversary show.Despite this proximity to the album's release, the band would not go on road again until April 2018. The first concert of a loosely connected, "selective" series of Post Self shows was in Rennes, France on 12 April 2018. At that show, most of the songs had never been played before or had not been played since the 1990s; the first five tracks from Post Self were performed, as well as "Gift from Heaven" from Songs of Love and Hate (1996), the title tracks of the Merciless (1994) and Messiah (2000) EPs, "Spinebender" from the band's 1988 self-titled EP, "Head Dirt" from Streetcleaner and "Mantra" from 1994's Selfless . Outside of a 20 April 2018 performance at Roadburn Festival where most of Selfless was performed, this set list remained mostly constant through the Post Self shows. The band played nine European shows as well as Maryland Deathfest during the first half of 2018 and six North American shows in August. Godflesh then followed with a Spanish and four Scandinavian shows before heading back to North America to do a six date West Coast tour in December.
Upon release on 17 November 2017, Post Self was available as a black vinyl LP, a white vinyl LP limited to 1,000 copies, a CD and a digital download. The album was later released as a cassette through Hospital Productions.Supported by two singles, the title track and "Be God", Post Self placed on Billboard's Top Heatseekers chart; it was Godflesh's second album to do so after A World Lit Only by Fire. Broadrick deliberately avoided most interviews after the album's release in an attempt to help the music maintain a sense of mystique. About the choice, he said, "It did give listeners a chance to form their own opinion about what you’re trying to achieve, which was something I loved about records in the late ’80s, particularly post-punk albums. Having no context; coming to it completely clean. Everything is so overloaded these days. I just wanted to do the polar opposite and shroud it in mystery."
|Under the Radar|
Post Self was met with critical acclaim; it received an average score of 84/100 from 8 reviews on Metacritic, indicating "universal acclaim".Initial reception of the album's two singles, "Post Self" and "Be God", was positive. Brock Thiessen of Exclaim! magazine said that the title track is "right in line with what you'd expect from Godflesh, and that's definitely not a bad thing." Regarding "Be God", MetalSucks co-founder Axl Rosenberg said, "You can’t tell if everything is getting bigger or just closer, and the fact that you can’t tell only adds to your sense of panic, your total loss of control."
Reception to the album proper was highly positive. AllMusic reviewer Paul Simpson said, "Post Self is more moody than direct, and isn't the most hard-hitting, immediate album in the Godflesh catalog, but for anyone who equally appreciates Broadrick's metal and electronic sides, the album is as stunning as one would expect."Denise Falzon of Exclaim! wrote that Post Self is "a masterful release from two musicians who seem to be incapable of creating anything short of exquisite." Jason Pettigrew of Alternative Press appreciated the sonic variety of the album and highlighted its "chilling" atmosphere. Writing for Pitchfork , Zoe Camp said, "brisk, 47-minute runtime aside, Post Self is a daunting listen, as well as an essential one, even by Godflesh’s sterling standards." The PopMatters review for Post Self was highly positive, praising how the album remains true to Godflesh's sound while still breaking new ground. Similarly, Resident Advisor writer Andrew Ryce highlighted the album's ability to simultaneously reference old Godflesh material while still innovating. Juan Edgardo Rodríguez of No Ripcord wrote, "Simply put, Post Self is another stunning addition to Godflesh’s uncompromising thirty-year run"; Metal Hammer's Tom O'Boyle, on the other hand, wrote a more lukewarm review of the album, criticising its spare minimalism and lack of innovation. Jami Morgan of the band Code Orange suggested that Post Self was Godflesh's best album.
After its release, Post Self appeared on several year-end lists. On The Quietus' 2017 Albums of the Year breakdown, Patrick Clarke positively noted how the album was a more refined, "spartan" approach to nihilistic music than previous Godflesh records, and decided that the gloom of it all was "even more sickeningly intense for it".The same publication put Post Self at position 9 on their Best Metal Albums of 2017 list, praising the album's subtlety and writing that it is "extraordinary that, almost 30 years after the release of their first EP, Godflesh are still releasing utterly vital records that continue to reshape and reimagine their sound". For both Revolver's and Rolling Stone's year-end summaries, Dan Epstein and Kory Grow respectively appreciated how the bleak, "dystopian" soundscapes of Post Self managed as much impact as the band's earlier, heavier material.
|2017||The Quietus||United Kingdom||"Albums of the Year 2017"||59|
|"The Best Metal Albums of 2017"||9|
|Revolver||United States||"20 Best Albums of 2017"||6|
|Rolling Stone||"20 Best Metal Albums of 2017"||10|
All tracks are written by Justin Broadrick and G. C. Green.
|4.||"Mirror of Finite Light"||4:23|
|6.||"The Cyclic End"||4:51|
|9.||"In Your Shadow"||5:08|
|10.||"The Infinite End"||5:16|
|Bandcamp and Japanese bonus tracks|
|11.||"Parasite" (Alternate Version)||4:09|
|12.||"The Cyclic End" (Dub)||7:08|
|13.||"In Your Shadow" (JK Flesh Reshape)||6:08|
Credits adapted from Post Self liner notes
|US Billboard Heatseekers||23|
Godflesh are an English industrial metal band from Birmingham, England. The group formed in 1982 under the title Fall of Because but did not release any complete music until 1988 when Justin Broadrick and G. C. Green (bass) 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 innovative sound is widely regarded as a foundational influence on other industrial metal and post-metal acts and as significant to both experimental metal and extreme metal.
Justin Karl Michael Broadrick is a British singer, songwriter, guitarist and drummer. He is best known as a founding member of the band Godflesh, one of the first bands to combine elements of extreme metal and industrial music. He was briefly in the English grindcore band Napalm Death when he was a teenager in the mid-1980s, writing and recording guitar for Side One of Napalm Death's debut album, Scum. Broadrick has also maintained a parallel career as a producer, producing records and remixes for groups such as Pantera, Isis, Mogwai and Hydra Head labelmates Pelican. Since 2012, he has been releasing hard techno music under the solo moniker JK Flesh. Broadrick has set up record labels such as HeadDirt, Avalanche Recordings, Post Mortem Productions, Lo Fibre and Heartache.
Streetcleaner is the debut studio album by English industrial metal band Godflesh. It was released on 13 November 1989 through Earache Records and was reissued with a second disc of previously unreleased material on 21 June 2010. The album is widely acclaimed by critics and is often cited as a landmark release in industrial metal; though not the genre's first release, Streetcleaner helped define what industrial metal would become.
Slavestate is an EP by industrial metal band Godflesh. It was released in July 1991 through Earache Records. The EP saw the band experimenting with more samples and electronic sounds than their predominantly industrial metal prior releases.
Pure is the second studio album by English industrial metal band Godflesh. It was released on 13 April 1992 through Earache Records. Though originally labeled only as industrial metal, the album has since been recognised as one of the earliest post-metal releases. Musically, Pure is rhythmically mechanical and features harsh guitars, with protracted songs and an abundance of deliberate repetition. Like much of Godflesh's music, it is regarded as particularly heavy and aggressive, and these elements helped it gain critical acclaim.
Selfless is the third studio album by British industrial metal band Godflesh. It was released on 26 September 1994 in Europe and on 18 October 1994 through Earache and Columbia Records. Being the band's major-label debut, the record features a more conventional and rock-oriented sound compared to Godflesh's previous releases. It spawned two singles, "Xnoybis" and "Crush My Soul". The music video for the latter was directed by photographer Andres Serrano.
Songs of Love and Hate is the fourth studio album by English industrial metal band Godflesh. Released on 20 August 1996 through Earache Records, it is the band's first album to feature live drums, played by drummer Bryan Mantia, and a more traditional heavy metal sound, generally lacking the experimental and mechanical elements of previous releases. The cover is a photograph of Cancer Alley, Louisiana.
Hymns is the sixth studio album by English industrial metal band Godflesh. It was released on 23 October 2001 through Music for Nations and was the band's final album before breaking up in 2002. In 2010, Godflesh reformed and in 2014 released their comeback album A World Lit Only by Fire. Hymns had a troubled production and was intended to be distinct departure from Godflesh's intensely regimented industrial sound to something more traditionally hard rock. It was the band's second and final album to feature a live drummer rather than a drum machine.
Paul Neville is an underground experimental industrial metal guitarist and musician from Birmingham, England.
Godflesh is the debut extended play (EP) by English industrial metal band Godflesh. It was originally released in 1988 through Swordfish Records and later saw several reissues on Earache Records with two additional songs. An unexpected underground success, the eponymous EP made it onto the UK Indie Chart and peaked at position 20. Though not supported by any singles or music videos at the time, a fan-made video for "Avalanche Master Song" has since been made official by the band.
In All Languages is a compilation album by British industrial metal band Godflesh, released on 24 July 2001 through Earache Records. It is a double album, and a companion music video DVD was also released in 2001. In All Languages' first disc acts as a greatest hits collection spanning from Godflesh's 1988 self-titled EP to their 1999 studio album, Us and Them. The second disc compiles rare and unreleased tracks.
The English industrial metal band Godflesh have released eight studio albums and six extended plays along with a number of singles, compilations and remix and live albums. The group formed in 1982 under the name Fall of Because, but they did not release any music until 1988 when Justin Broadrick and G. C. Green changed the project's name to Godflesh and recorded a self-titled debut EP. That EP, released through the independent label Swordfish, was met with underground success and has since been recognised as one of the first industrial metal releases, if not the first.
Disconnected is the debut album by experimental music act Greymachine, featuring Justin Broadrick, Aaron Turner, Dave Cochrane and Diarmuid Dalton. Produced by Broadrick, it was released on 4 August 2009 via Turner's own record label, Hydra Head Records. In February 2018, Disconnected was reissued as a limited 2xLP with unique artwork and clear vinyl.
Decline & Fall is an EP by English industrial metal band Godflesh. It was released on 2 June 2014 through frontman Justin Broadrick's own record label, Avalanche Recordings. The EP is the second release by Godflesh since Hymns (2001), following the 2013 single "F.O.D. ". It precedes the group's seventh studio album, A World Lit Only by Fire (2014), and the two were recorded in the same sessions.
A World Lit Only by Fire is the seventh studio album by English industrial metal band Godflesh. It was released on 7 October 2014 through frontman Justin Broadrick's own label, Avalanche Recordings, and was the band's first full-length album since 2001's Hymns. It was preceded by the digital singles "New Dark Ages" in August 2014 and "Imperator" in September 2014, and it was followed by several international tours.
NV is a collaborative studio album by Dragged Into Sunlight and Gnaw Their Tongues, released on November 13, 2015 by Prosthetic Records. The music on NV is predominantly influenced by the album Streetcleaner by the British industrial metal band Godflesh, with Justin Broadrick, Godflesh's frontman, acting as producer for the album.
Streetcleaner: Live at Roadburn 2011 is the first live album from English industrial metal band Godflesh. The release was recorded on 14 April 2011 at the Roadburn Festival in Tilburg, Netherlands. Apart from being the group's debut live album, it was also the first time they played Streetcleaner in its entirety.
"Post Self" is an industrial metal song by the band Godflesh, taken from their 2017 album of the same name. It was released ahead of Post Self on 31 October 2017 through frontman Justin Broadrick's own label, Avalanche Recordings, as a digital download.
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