God - Anatomy of Addiction

More GOD, as requested.

"Anatomy of Addiction, the second God studio album, turned out to be the last, but it made for a good way for the band to go. Instead of continuing the previous releases' exploration into open-ended group jams, this time around God -- with a mostly unchanged line-up, interestingly enough -- focused much more (if not entirely) on brusque, heavy-duty techno metal with some free jazz touches. It's clear that Broadrick had a much greater say in the album this time out, especially with his massive, clipped riffing, but one or two songs aside (check "White Pimp Cut Up") it's not Godflesh redux, since Martin's own particular style remains intact. Squalling sax breaks and contributions mix with his extreme, echoed shouts, but he does also throw in more growling, low-end singing. Mixed with the crisp, industrial strength (and sometimes styled) beats from Kiehl and Ciccotelli, which are generally arranged as tight, focused rhythms and pumped up at high volume, it makes for a fine new avenue for God to explore. Where Anatomy resembles Possession the most, it ends up taking some interesting chances, like the droning sax start of "Lazarus" or the notably slower paced "Bloodstream," which actually also has one of the brightest, gentlest breaks ever in a God song (kudos to Kiehl's enjoyable percussion). In terms of overall sonic impact, though, it's hard to complain, and certainly Anatomy's not a commercial album by any standard. Martin's new emphasis on lyrics that are at points perfectly understandable certainly makes things a touch more accessible, but only just, while the blasting rhythms and feedback remain the undeniable center of attention. The addition of electric viola and, via guest performer Alex Buess, bass clarinet adds even more roiling chaos to Anatomy, and the album as a whole is a fantastic listen. " - Ned Raggett

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