Crafting a New Sound in the Furnace of Birmingham

In the industrial heartland of Birmingham, England, a revolutionary sound was brewing in 1988, one that would stretch the boundaries of metal and industrial music. Godflesh, formed by Justin Broadrick and G. Christian Green, emerged as pioneers, melding the mechanical fury of industrial beats with the raw aggression of metal. This innovative amalgamation not only influenced a myriad of artists across diverse genres but also solidified Godflesh’s status as a pioneers of industrial metal.

Before Godflesh came into existence, the seeds were sown in the early 1980s. The band’s initial incarnation, O.P.D. (Officially Pronounced Dead), was founded by B.C. Green and Paul Neville in East Birmingham. These early days involved experimental sessions with a drum machine in their council estate housing, laying the groundwork for what was to come.

In 1983, the group transformed into Fall of Because, drawing inspiration from a Killing Joke song and an Aleister Crowley book. The industrial backdrop of Birmingham, combined with the nascent extreme music scene, heavily influenced their emerging sound.

Justin Broadrick, a resident in the same council housing, joined the group in 1984, initially as a drummer. His involvement brought new influences to the band’s music, echoing the sounds of Swans, Sonic Youth, and Discharge. This integration marked a significant shift in their sonic landscape.

“Extirpate”, a demo recorded in 1986, featured tracks that would later evolve into Godflesh songs. These early recordings, not widely recognized until 1999, were acknowledged for their groundbreaking nature.

Broadrick, after leaving Napalm Death in 1987 and subsequently Fall of Because, reunited with B.C. Green in 1988. They rebranded Fall of Because as Godflesh, with Broadrick switching to guitar and employing a drum machine for percussion. The name “Godflesh” itself, inspired by hallucinogens, hinted at their avant-garde approach, specifically from a definition of “Peyote” as “god’s flesh” in a drug dictionary.

Broadrick’s musical journey began in childhood, influenced by his parents’ punk-rock tastes. He was drawn to the unconventional sounds of Lou Reed’s “Metal Machine Music”, Can, and the experimental facets of Pink Floyd. His first demo tape was recorded at the tender age of 11, following a Crass concert, marking his early foray into music production. By 12, his exploration extended to industrial pioneers like Throbbing Gristle.

In 1982, Broadrick and Andy Swan, under the name Atrocity Exhibition (inspired by a Joy Division track), began publishing tapes, culminating in the “Live in the Studio” recording and the establishment of Post Mortem Rekordings. This venture eventually evolved into Final, another of Broadrick’s projects, further embracing power electronics and industrial music.

Their debut album “Streetcleaner” is revered as one of the heaviest and most influential metal albums.

Godflesh’s early sound was a relentless assault of machine beats, bass-heavy production, distorted guitars, and guttural vocals. Their live performances, featuring Broadrick and Green against a backdrop of apocalyptic imagery and Christian iconography, were set to preprogrammed percussion. Notably, their debut album “Streetcleaner” is revered as one of the heaviest and most influential metal albums.

The decision to use a drum machine, inspired by the digital beats of Run DMC and Public Enemy, initially bewildered and sometimes antagonized live audiences with its slower, deliberate style. Yet, this choice was instrumental in defining the unique sound that Godflesh would become renowned for.

Godflesh’s Early Releases

In 1988, Godflesh unleashed their self-titled debut EP, marking a dramatic departure from the conventional metal sound prevalent at the time. This release was a bold foray into uncharted musical territories, blending heavy guitar riffs, relentless drum machine beats, and bleak, dystopian lyrics. This distinct sound was further refined and honed in their 1989 debut album, “Streetcleaner”, which stands as a seminal work in the industrial metal genre.

The Godflesh EP

Released through Swordfish Records and later reissued by Earache Records, the “Godflesh” EP achieved unexpected underground success, peaking at position 20 on the UK Indie Chart. Crafted over two months in Birmingham by Broadrick and Green, the EP resonated with audiences seeking something new and audacious.

Regarded as one of the pioneering releases of industrial metal, the EP set a new genre standard. Its sound, characterized by programmed drum beats, heavy metal guitar, and a dominant bass, drew inspiration from bands like Swans, Big Black, Killing Joke, and Throbbing Gristle. Critics lauded the EP for its discipline, restraint, and the “cruelty of denial” it embodied.

The use of the Alesis HR-16 drum machine, initially out of necessity, became a signature aspect of both the album and Godflesh’s overall sound.

Streetcleaner

“Streetcleaner”, released on November 13, 1989, through Earache Records, received widespread acclaim and is often cited as a landmark in industrial metal. This album, reissued in 2010 with additional unreleased material, was recorded in three distinct sessions, some tracks being refined from pre-Godflesh demos. The use of the Alesis HR-16 drum machine, initially out of necessity, became a signature aspect of both the album and Godflesh’s overall sound.

The album’s fusion of heavy metal with industrial music featured production-emphasized bass, distorted guitar, and machine percussion. The guitar in “Streetcleaner” produced a screeching noise rather than discrete riffs, while the drums and bass were mixed louder than typically found in metal albums. This groundbreaking work was supported by a series of concerts, including a tour with Napalm Death, helping the band gain international recognition.

“Streetcleaner” has influenced numerous metal bands, including Neurosis, Fear Factory, and Isis, with Rolling Stone naming it the 64th greatest metal album of all time in 2017. For Broadrick, “Streetcleaner” remains a landmark release, one that he describes as one of his most alienating and significant contributions to Godflesh’s legacy.

Exploring New Horizons

As Godflesh progressed into the early 1990s, their musical journey reflected a continual refinement and evolution of their sound. The albums “Pure” (1992) and “Selfless” (1994) marked significant milestones in the band’s discography, blending traditional metal elements with their established industrial framework. This amalgamation led to broader recognition, with “Selfless”, featuring tracks like “Mothra”, showcasing a more accessible yet undeniably heavy side of the band.

Pure

In “Pure”, the industrial influence was more pronounced, especially in the drum programming. The album steered away from typical metal beats, leaning towards thick, punching rhythms. The integration of samples and field recordings added a new dimension to their sound, further diversifying their musical palette.

Notably more melodic and groovy than their previous work, “Pure” stood out for its transitional nature. Tracks like “Baby Blue Eyes” were lauded for their groove and melodic chorus, bridging the gap between Godflesh’s early heavy industrial sound and their later melodic tendencies. The album was a foray into experimentation with feedback and noise manipulation, subtly altering drones to signal nuanced changes in the songs.

Highlight tracks from “Pure”, such as “Spite”, “Mothra”, “Predominance”, “Pure”, and “Baby Blue Eyes”, were celebrated for their distinctive qualities, each contributing to the album’s unique soundscape.

Selfless

“Selfless” marked a noticeable shift towards a more expansive and accessible sound. The album featured more identifiable riffs, moving away from the dense and claustrophobic atmosphere characteristic of “Streetcleaner”. The use of clean singing through effects, particularly in tracks like “Crush My Soul”, retained a connection to traditional industrial sounds, while other songs were described as more hallucinatory, moody, and ethereal. This progression indicated a path that would later be explored in Broadrick’s subsequent project, Jesu.

The production of “Selfless” received praise for its crispness and beauty, allowing more room for movement in the guitar riffs and a rhythmically anchored bass. The complexity of the drum machine patterns in “Selfless” was a notable departure from simple metronomic beats, adding to the album’s depth and appeal.

Blending Metal, Hip-Hop, and Electronica

In the late ’90s, Godflesh embarked on a bold journey of sonic experimentation, marking a significant shift in their musical trajectory. Albums like “Songs of Love and Hate” (1996), “Us and Them” (1999), and “Hymns” (2001) saw the band incorporating elements from electronic music, dub, and ambient, showcasing their adaptability and desire to transcend their industrial metal beginnings.

Songs of Love and Hate

“Songs of Love and Hate” marked a departure from Godflesh’s previous reliance on drum machines, introducing live drums played by Bryan Mantia. This change stemmed from Justin Broadrick’s dissatisfaction with mechanical percussion’s limitations.

The album melded a heavy metal sound with distinct hip-hop influences, reducing the industrial and mechanical elements of earlier releases. Described as more fluid than mechanical, “Songs of Love and Hate” brought Broadrick’s guitar riffs and Green’s bass guitar to the forefront, with the drumming occasionally adopting a funky style.

Us and Them

“Us and Them” ventured further into experimentation, infusing ’90s “big beat” and electronica into their dense, metal-centric sound. With unconventional use of drum samples and electronic textures, “Us and Them” was noted for its diversity.

The album featured looped samples, breakbeats, and low-end grooves, with tracks like “Bittersweet” and “The Internal” evoking the post-metal vibe of “Songs of Love and Hate”. Broadrick’s vocal style started shifting towards cleaner vocals, indicating a transition towards a more melancholic songwriting style reminiscent of his later project, Jesu.

Hymns

“Hymns” continued the transition seen in previous albums, the album moved towards a more accessible sound with heavy riffing and entrancing atmospherics. The album’s tone varied significantly, ranging from old-school Godflesh negativity to more hopeful, uplifting tracks.

Described as the antithesis of “Streetcleaner”, “Hymns” featured a warmer, stoner-influenced rock/metal style with live drums. The record was seen as more organic compared to most industrial music, with less precise guitars and raw, loose drums, creating a sound palette that was both heavy and melodic.

Throughout these albums, Godflesh demonstrated their remarkable ability to evolve and experiment, integrating an array of musical elements while retaining their core essence. This period marked a pivotal shift in the band’s approach, exploring a wide range of influences and resulting in a rich and diverse discography.

Godflesh’s Hiatus and Broadrick’s Creative Ventures

In 2002, Godflesh entered a hiatus, a decision influenced by a blend of Justin Broadrick’s health concerns and internal band conflicts. This pause in Godflesh’s journey arrived amidst challenging circumstances for Broadrick, including a nervous breakdown just before a planned North American tour. The breakdown was a culmination of financial struggles, the end of a long-term relationship, and the sheer exhaustion from his deep involvement in Godflesh.

This pause in Godflesh’s journey arrived amidst challenging circumstances for Broadrick, including a nervous breakdown just before a planned North American tour.

The anticipated tour, which was to feature Paul Raven from Killing Joke on bass and Ted Parsons from Swans on drums, never materialized. Its cancellation brought significant financial difficulties for Broadrick, marking a tumultuous period in his career.

During this hiatus, Broadrick shifted his focus to Jesu, a project that ventured into more ambient and experimental realms. Jesu represented a stark contrast to the abrasive soundscapes of Godflesh, often weaving in elements of shoegaze and post-metal. This project was a testament to Broadrick’s versatility and willingness to explore new musical landscapes.

In addition to Jesu, Broadrick embarked on another project, JK Flesh, which saw him diving into the world of techno music. Under this moniker, he released three full-length albums and several EPs, demonstrating his skill in experimenting with a variety of textures and sounds. Albums like “Posthuman”, “Rise Above”, and “New Horizon” under the JK Flesh banner marked a significant departure from the more traditional metal and industrial genres that Broadrick was previously associated with.

Broadrick’s musical explorations also extended to Techno Animal, an industrial hip-hop group formed alongside Kevin Martin. Between 1991 and 2001, Techno Animal released five full-length albums and a series of EPs and singles, playing an important role in Broadrick’s musical journey prior to Godflesh’s hiatus.

A Reunion Fueled by Creative Renewal

In 2010, Godflesh made a momentous return to the music scene, initially reuniting for live performances. This resurgence was solidified with the release of “A World Lit Only by Fire” in 2014 and “Post Self” in 2017. These albums, greeted with critical acclaim, saw Godflesh reverting to their heavier and more industrial sound while integrating the insights and experiences garnered during their hiatus.

The decision to reform came after a period of diverse musical exploration for Justin Broadrick, including his work with Jesu and releases under various aliases. B.C. Green, the other founding member, had focused on personal life and education during the band’s hiatus. Their reformation was officially announced in November 2009, with their first post-hiatus performance scheduled for the Hellfest festival in France in 2010.

Initially, Broadrick and Green hadn’t intended to record new material. However, Broadrick later revealed that the primary motivation for reuniting was indeed to create fresh music, marking a new chapter in Godflesh’s legacy.

A World Lit Only by Fire

This album, released on October 7, 2014, was Godflesh’s first full-length release since “Hymns” in 2001. Returning to the band’s heavier and more industrial roots, it featured machine percussion, eight-string guitars, and distorted bass.

The themes of the album revolved around human brutality and the corruption of power, reflecting the band’s longstanding interest in exploring darker aspects of humanity. The album received a perfect score from Exclaim! and was named the best album of 2014 by Terrorizer.

Post Self

Released on November 17, 2017, “Post Self” marked Godflesh’s continued evolution since their reformation. The album delved less into the metal side of the band’s sound, focusing more on industrial and post-punk elements.

Its tone centered more on atmosphere and noise, with less emphasis on discrete riffs. The album was compared to earlier Godflesh releases like “Us and Them” for its experimental and hip-hop influences, and “Pure” for its sparse atmospheric quality.

With these releases, Godflesh demonstrated their unwavering ability to evolve and experiment, seamlessly integrating diverse musical elements while retaining their core essence. The band’s resurgence marked not only a return to form but also a continued exploration of new musical horizons.

The Pioneers Who Shaped Industrial Metal and More

Since their inception, they have been a beacon of innovation in the industrial metal genre, with their influence resonating far beyond their own discography. Their groundbreaking sound, characterized by a fusion of heavy guitar riffs with industrial elements like programmed drums and sampling, crafted a new musical language that was both dystopian and mechanically intense.

This unique sound of Godflesh, heavy yet industrial, has significantly steered the direction of the industrial metal genre. In the realm of post-metal, their influence was more about ethos than specific sound—experimentation and boundary-pushing. Their willingness to incorporate unconventional sounds and structures into their music paved the way for post-metal bands to explore and expand the boundaries of metal music.

In the realm of post-metal, their influence was more about ethos than specific sound—experimentation and boundary-pushing.

The band’s innovative approach, melding heavy metal with industrial music and later integrating electronic and dub elements, has left a lasting impression in both experimental and extreme metal genres.

Major names in heavy metal, like Metallica, have recognized the inspiration drawn from Godflesh. Bands like Fear Factory, known for blending industrial and metal music elements, owe a part of their sound to Godflesh’s innovations. Nu-metal pioneers Korn drew upon Godflesh’s use of heavy, down-tuned guitars, while post-metal band Isis reflected Godflesh’s experimental spirit and soundscapes in their work.

Metalcore band Converge also found inspiration in Godflesh’s music, showcasing the wide-reaching impact of their sound. Additionally, a diverse array of bands spanning various metal and industrial genres, including Neurosis, Pelican, Prurient, Helmet, Prong, Nailbomb, Code Orange, Mortiis, Devin Townsend, Danzig, Faith No More, Pitchshifter, and Ministry, have cited Godflesh as a key influence.

Godflesh’s enduring legacy stands as a testament to their role as innovators and their significant influence in shaping not just a genre, but a broad spectrum of music that continues to resonate and inspire musicians and fans alike.