Maybe it’s just me, but I’ve noticed that almost all the bands’ albums recorded during the lockdown times are close to being masterpieces. Well, okay, it sounds pretty pretentious, but when musicians had all the time in the world to record the album at their own comfortable pace, without being hurried by the labels or trying to fit the album recording in between touring – needless to say it payed off. The mysterious industrial metallers from USA 3TEETH have gone even further than just being locked in the studio and found themselves in a brutal solitude of a real desert for several years to produce the most atmospheric, creepy and powerful album I’ve heard in years within the genre. “EndEx”, ladies and gents.
This is a concept album, and it, according to the recent statement of the band’s mastermind Lex Mincolla, aims to show how fucked up the world is from the out-of-this-world perspective. This album is a journey, an adventure to the outer-space unknown and sometimes scary realms, diving into emotional and horrifying atmosphere.
The journey starts with “Xenogenesis“‘s evil intro, as if something is crawling out right on you. The song goes on with a measured tempo, slowly embracing you, and then the guitars enter the chat, and it all falls down on you. Multilayeredness of this song and it’s enveloping sound make it truly out of this world. What an awesome start!
“Acme Death Machine” speeds the pace up with the fattest guitars and haunted melodies. The song deliveres us in some hopeless place,as if you witness some mechanism working, the one that devours everyone who’s against it. Angelics choirs in the second part of the song add more irony to the impression. And then it all interlaces in a crazy spiral with some alien voices, industrial blastbeat and grunge like guitars.
“Slum Planet” is a massive blast of energetic epicness, energetic with another great piece of dystopian lyrics (“no one wins this human race”…). Musically and from the arrangement standpoint for me it resembled a bit with the Marlyn Manson being “in bloom”, which should be counted as a compliment. The evil dystopian discoteue goes on with “What’s Left“, and the strongest nostalgic/old-school vibes will flood you with the “Merchant Of The Void” which is the reincarnation of Nine Inch Nails‘ “Closer“, again, in the best way possible. Of course it’s a unique creation that tells it’s own new story (and even interacts with a listener at a certain level), but here you can’t help sensing some parallels…
“Higher Than Death” is a pure banger, that slides like a vyper in your ears and then – into your brain. The drums create bouncy and aggressive rhythm that contrasts with a calm but confident chorus, and several vocal types adds volumes to the expressiveness. And again once started, pattern goes on and in “ALI3N” we witness the song going wild, with screaming and synth tunes.
“Plutonomicon” pours some creepy synth beat on us, it’s the longest song on the album so we have enough time to enjoy its cosmic solemnnes. And the story told in the middle leads to the full catharsis…Just to go on to the next “stage” with “Paralyze“, featuring Ho99o9. The rapping parts sound pretty refreshing, mixed with scary music box tunes and laser gun sounds. The “Scorpion” is a pure predator song, bouncy and groovy and with some oriental motives. Here we reach the peak of evil-ness if I may say so and then we just break away and condescend to higher and more pure realms in “Drift“, which beat and synths sound less aggressive and a bit poppy even, guitars are more on the background even, yet get more “visible” closer to the end of the song.
“Everybody Wants To Rule The World” is a cover of respectable Tears For Fears that marks the conclusion of this epic journey. Darkness mixed with a slight optimism, as I hear it. The fresh approach to the old-school masterpiece hit with a vivid drum-machine, synth solo and some galactical explosions.
I’d like to say in conclusion that this album confirmed me in thinking that 3TEETH make a greatest contribution to the contemporary metal scene: on one hand they manage to produce unapologetically brutal and honest music lyricwise, that goes hand in hand with current world problems aka humanity problems. On another hand they respectfully play with the legacy of older generations of monsters of the genre, in the end delivering the first-class industrial that makes you think and feel. In another words – it doesn’t leave you indifferent, and that is the purpose of art in this world.