THE MACHINIST

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If you were to ask if the world could really get any worse since 2020, you’d be hard pressed to imagine it. Yet somehow it has.

It’s more apparent now than ever that the world belongs to oligarchs and an elite few. But make no mistake, these are not shadowy people who hide behind elaborate conspiracies, these are brazen people in full sight for all to see. These are people who state their intentions clearly, and leave absolutely no room for any kind of creative interpretation.

On top of all this? It’s becoming increasingly obvious that we are heading towards an ecological disaster that will make being a human being on planet earth very difficult indeed, yet there is no appetite to reverse this or even entertain the threat. We’d rather pay a billionaire shyster to sell us fantasies about moving to dead planets.

The real pisser? This is what we wanted. This is what we asked for. This is what we voted for. This is what we bought. These people are who we gave our money and attention to. We brought this on ourselves. These people hate you, hate your life, and hold you in their utmost contempt. 

Hailing from Manchester, U.K, The Machinist mix intense death metal, Black Metal and industrial music. 

“Contempt For Life” is the furious follow up to 2020’s debut album, “I Am Void”.

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Razor sharp and deliberately electronic programmed drums form the backbone to a thick layer of 7 string guitars, along with liberal use of synthesisers.  The members are let off the leash with more technical riffing and solos, making the album broader in scope, the songs having more richly varied textures and dynamics, but each with a core of blackness at it's heart that makes “I Am Void” look like a walk through the daisies. 

It’s colder, darker, bleaker, more complex, more technically accomplished and much much angrier, with ferocious production and mastering by George Nerantzis (whose credits include Dark Funeral). It also features the last vocal performances  for the band by Scott Walton, who sadly had to step down before this album could be completed. His contributions have been left in place, untouched and unedited.

It’s not a record that’s concerned with whether or not we can save ourselves, or whether we can prevent disaster. It’s more concerned with how ugly the future will be. We’ve bought and paid for our future. Let’s see how ugly it can get.