#slavestate

[netsphere]

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Godflesh - 'Slavestate'

[cunt242]

Godflesh - Slavestate

[bullheadroadbull]

[autumncompiled]

I must be burned.

[cunt242]

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Godflesh - Slavestate

[justinamaxina]

UNTIL THE GREEN UNLIGHT TAKES YOU.

PIC INFO: Spotlight on "Slavestate"/"Cold World"-era Justin Broadrick, guitarist/vocalist/songwriter/co-founder of English industrial metal band, GODFLESH, on tour somewhere in California, c. 1991. 📸: Mark Leialoha.

"I've got a safeguard, It's called hideout, This steady struggling, No one can ever change, It's my cold world,

I used the excuse, I'm feeling cold now, I made my enemies, Feel my emptiness, In my cold world."

-- "Cold World" (1991) by GODFLESH

Source: I originally discovered this post by the user "savage-kult-of-gorthaur" here on tumblr but now their account is gone? I don't know, this post just suddenly popped up on my "For you" recommendations tab and I thought it was a post worth reblogging. But alas, unbeknownst to them, here I am now graciously posting this greatness on their behalf.

[gameofchoice]

Hello lovelies and welcome to my side blog! I would like to try to play a kind of game with you, where I write a story and you decide how it goes on. I use tags so that you can always find me again. You can take part in the game either in my asks or in my comments or through like and reblog prompts and determine the further progress.

You can have an influence by

introducing new characters

inviting influential neighbouring states to interact

adding certain items

expressing wishes

...

[darthemed]

Godflesh - Slavestate [1991; Earache, Relativity]

Originally released as a four-song EP, subsequent issuings expanded Slavestate to nine tracks, running nearly an hour long all together.  The music shows Godflesh introducing some dance and techno stylings to their industrial metal base, while the crunchy guitar and hammering percussion remain firm.  The EP is at its best when the songs are given over to the rhythms, letting the back-and-forth pounding ride along on the loop phasing and intersection shifting, which helps the songs shed some of their manufactured weight and feel more natural. 

Through the grinding metallics and bass string rattling, there’s an odd grooviness that, though often obscured, imbues the proceedings with a skewed sort of hipness, though it’s one couched in unabashed aggression.  Things do drag a bit, with three remixes filling out the space after the original tracks, but it provides a fuller illustration of the band’s experimentation and ideas at the time, and some of the reworked material hits firmer than the original cuts.