Since the beginning, there was Godflesh. For those uninitiated into this sect of popular culture, starting with their 1988 self-titled debut, the British duo paved the way for metal’s industrial revolution. Despite many trials and tribulations with the industry that led to a lengthy hiatus during the 2000s (which happened to coincide with the genre’s dwindling commercial prospects), vocalist, guitarist and machinist Justin Broadrick has banged heads with bassist Ben Green for longer than this keyboard warrior has been alive.
As expected, Godflesh‘s first full-length for Relapse Records and tenth overall shows little sign of rust, but it carries new weight now that we know they’ve got just one more album left in them. It’s true what they say; the end of Godflesh is nigh. Thankfully, Decay assures that the band will not go gently.
To start this review by saying that Godflesh are going out on their own terms doesn’t tell the whole truth. They are effectively ending at the behest of Broadrick’s doctor. Apparently, shouting like mad for 40-plus years does quite a number on the ol’ abdominal wall. In the interest of avoiding another hernia, back in March, Broadrick announced that Godflesh can not and will not perform live and, uh, in the flesh (groan all you want!) ever again, which puts Decay in a unique position.
Though bound to physical formats for all eternity, being confined to Avalanche Studio frees the album to pursue greater extremes. The lengthy opener, “Master and Slave”, re-establishes its power dynamic again and again. The drum machine’s cold crack only reinforces its impenetrable trance.
Godflesh carved Decay from the same pandemic-era recording sessions that eventually birthed Purge in 2023. As far as earthly concerns go, not much separates either album from any other in the group’s considerable discography. Once again, using as few words as humanly possible, the lyrics stress that the world is beyond repair. “Whoever you side with,” Broadrick cautions, albeit ever so bluntly, “They side with lies.”
So, out of respect for his wishes, I must admit his harsh vocals are sorely missed. Given the circumstances, it’s an unfair criticism. Besides, it’s not like his inside voice isn’t capable of sending shivers down the spine, but the band’s message hits hardest when it comes from his gut. “Living/Ending” brings the pain as he barks commands over a hard-ass riff that will drill through the thickest of skulls.
However, while of the same mind as Purge, in terms of execution, Decay resembles its evil twin. Whereas Godflesh’s previous creation presented a satisfying but relatively standard plate of industrial metal, this album repeatedly attempts to improve upon the band’s benchmarks. Roughly half of the 40-odd minute runtime is broken into five easier-to-digest chunks. Each one hammers away at their patented design from a different sharp angle.
Over a groove that boils like blood, “Feral Colony” raises the BPM to a feverish degree. As if to demonstrate that there’s more than one way to skewer a capitalist pig, “Fodder” reverses gears, rattling like death beneath steaming piles of sludge. Of these songs, the most successful, by a thin margin, comes in the form of “Fear of Man”, which strikes a happy medium between creeping dread and soul-crushing chugs.
There’s nothing left for Godflesh to prove. Unlike Ministry and Nine Inch Nails, the band never rose above the lower reaches of the Billboard charts, but they were revered by Faith No More and Metallica long before Phoebe Bridgers was singing the praises of Jesu. If you’ve gathered here today in light of Broadrick’s surprise appearance on Lost Weekend, then I’m sorry, but you’re in for a rude awakening.
Like so much good extreme metal, Decay sacrifices nothing for mass adulation. Rather, the album is compelling, ultimately, because it imposes its will, without mercy, to the bitter end. Even the lengthier closer “Consume Me” drags out the gate, but once the whip comes down, it brings all who follow to their knees with each tortured scream. “Become me.” Alas, many have tried and fallen hopelessly short. Godflesh are returning to dust, but Decay proves once again that when it comes to industrial metal, no band shall come before them.