It can be a bit off-putting for me when I see the term “Industrial” associated with any band (as I had in researching HORRICANE), album or any kind of smattering of music. I’ve simply never found much to like about this genre of music let alone it creeping in to Metal I listen to. Sure, I’ve enjoyed some PAIN like many others, but I often suspect part of this is my love of things ‘Tatgren’ as opposed to the overall output of the band. Also, I’ve walked out before and during sets by FEAR FACTORY for this very reason. Crazy to some perhaps, but life’s short and I see enough good bands not to waste time watching any I’m not terribly interested in. Estonia’s HORRICANE may just be one band a little too broadly painted with the Industrial brush, but their latest “The End’s Façade” does a pretty good job of threading together this Industrial sense with enough energetic Death and an all-consuming attack that most of my fears were allayed. While still not a record that I’m salivating over, it is an enjoyable enough listen as to wholly recommend it to those who enjoy a bit of that staccato movement.
While the aforementioned rhythm is present in “The End’s Façade” along with a little too much keyboard infusion at times, the album also has a fantastically energetic vibe and enough chugging riffs to be worth spending some time with. Vocalist Erx(!) is also a standout in some respect, while to my ears he is definitely growling through some heavy effects at times, he is also the primary force pushing a lot of the album’s tracks forward. As stated, I’m not normally a fan of such a monolithic approach either vocally or rhythmically to Metal, but it works well on most of the record. There’s a sway, heavy and thick, that is appealing for anyone who enjoys a deep digging sound that can be felt at the gut level all over “The End’s Façade”. Played primarily at a mid-pace the album does however slow to a wall of slow-burning dirges at points during a number of tracks, a few work and a few slow down the momentum.
Where the album takes a slight downturn starts to appear during “Aviophobic Fluid State” and “Perimeter Of Hate”: a heavier use of driving keyboards and a more palatable feel of mechanized rhythm. While not ruining the songs so as to be unbearable, these rudiments drag on my attention and push the pleasure of the album to the periphery. Still, the record maintains its grab enough to keep me listening with good structures in the other tracks and even moments in the songs mentioned. The album ends with a solid cover of SAMAEL’s “Rain”, and again while I’m not a huge fan of bands recording covers (especially not well established bands), it is still a good rendition even if it is not exactly my cup o’ tea. It’s a song with a sturdy riff which is something I always appreciate, and ends an album which is appreciable even with its flaws.
(Online December 29, 2010)