Icon of Coil: Machines Are Us
Review by Rob Levy

Label: Metropolis

Norway’s EBM punishers Icon of Coil have been building momentum for three years now. Since their inception they have undertaken the prodigious task of releasing an album a year. Despite the increased press, constants touring and increased sales, Icon of Coil still dwell in the underground. Comparisons to other industrial/techno hybrids (i.e. Haujobb, Covenant, VNV Nation) have dogged the band in recent years. However all of this could change with their new album, Machines Are Us. Machines Are Us is their third and most complete sounding album to date. IOC’s sound, although formulaic, is comprised of rage-fueled synthesizers, fierce percussion and vocalist Andy LaPlegua’s lyrical anger, loss and pain. They could best be categorized as futurepop or postindustrial, both catchphrases that aptly describe the combined fusion of industrial and techno music genres.

However it is described, one thing is certain, this album is a pummeling, twisted metallic bombast of noise and chaos. It begins at a breakneck pace, barely stopping to take a breath. The first half of the record is a wasteland of fast beats, quick tempo changes and mechanized melody. It starts with “Remove/Replace,” a pounding piece of torture tech that sets the pace, tempo and mood of the album. What follows is merciless. “Consumer,” “ Shelter, ” “Mono Overload” and the standout winding frenzy of “Existence In Progress,” sound too similar and redundant, but sweat with enough attitude and energy that you don’t really mind. These songs shred, cut, and beat themselves out of the murky depths, becoming irritatingly catchy in all of their cheesy synthpop glory.

However, once the meth wears off and things slow down, IOC become somewhat interesting again. “Faith: Not Important” is a slower, better crafted song that provides a nice break from the redundancy that abounds throughout the album. But then IOC falls right back into their old habits, delivering songs (“Transfer Complete,” “Wiretrip,” “Android") that offer nothing fresh. It’s as if they resequenced the entire first half of the album all over again.

Anyone who expected IOC to grow or expand their sound is going to feel let down. As with their first two albums, IOC’s synthesized anarchy follows simple Teutonic blueprints. They create a pounding, sweltering back beat, throw in some meaty guitar hooks and sharp percussion, then spread sneering, biting lyrics all over the top of it. The results are a fast, furious assault of digitally programmed sounds, enmeshed with cybernetic cables and computer chips.

Of course none of this really matters. Those who love "electronic body music" and industrial music will turn a blind eye from this repetition. However in time they too will tire of IOC’s pulling the same punches and delivering the same cliched lyrics. The chain-linked apocalypse of Goth bars, fetish nights and techno-head frat boys will keep the engine running for awhile, but eventually the façade will be lifted. I fear that IOC are in danger of going away altogether unless they do something new and different.

Don’t get me wrong, I think good industrial/EBM music is something great and awesome. Unfortunately it is a genre that has succumbed to being derivative. This is where Machines Are Us breaks down. This is a great album of Electro pop music that doesn’t reach into new territory or change the world and sounds really good when played very loud. While resembling their first two albums, this will delight fans of industrial, EBM or electrop music. Icon of Coil’s all out assault of crushing beats, thundering percussion and pummeling melodies remain both primal and technological. Unfortunately, this release suffers from being hemmed in by a rigid adherence to formula. Obviously, Icon of Coil have potential, yet choose to play it safe by sounding like their peers. Their polished songs, Giger-esque cover art and bitter lyrics make Machines Are Us a great collection of industrial-fused music. Icon of Coil is not for everybody, but those they are for, will love this!