When I put on Martial
Industrial Metal for the first time, I immediately guessed the band
was German – and I’m not talking about the accent. There’s
something about the martial industrial aesthetic that’s inherently
Nazi, no insult meant.
Black Tribe is a band
which is interesting in its total lack of visual presentation or
promotion. The only trace I could find of them is their Bandcamp,
whose color-code is white. Just white. There’s nothing but dates to
differentiate the releases, which can be an annoyance given the speed
at which they come out. Seriously, there have been eleven of them in
the past seven months, I can’t keep up with that (Note: They put
out 2 records by the time I got around to writing this). While a lot
of them are one-off songs, Black Tribe does have a couple of longer
records, including Martial Industrial Metal.
Once you get past the
two-song intro, Black Tribe shows you who they really are. It’s not
the most abrasive album I’ve ever gotten into, and there’s some
comfort to be found in the lo-fi rhythmic weirdness that is MIM. The
title track is probably the best one on the record, with a doom feel
to the riffs as well as that signature military-style beat marching
on. The vocals are your average black/noise distorted screams, which
always work well in conjunction with the fascist music pulsing
behind.
The album includes a
number of covers, including one of Charles Manson. Don’t roll your
eyes just yet, there are no kitsch samples off of Youtube. Instead,
you get to experience what Manson would sound like if he were to
compose droning black metal dirges. As the album moves on, the music
gets darker and darker, Niemandsland being the first to actually
delve into uncomfortable territory. As a side note, isn’t that a
cool name? Anyway, I am the God… ends the album with some of the
best stress-inducing synths I’ve heard in a while. The guitars
sound like they’re thigh-deep in a swamp, trudging their way
towards the void.
Try it out, it’s weird
and fun.
Giuseppe Fitzsimmons
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