Horror/theatrical/industrial band Dead Animal Assembly Plant is scheduled to release its latest album Friday. Bring out the Dead, the band’s sixth album, is an intriguing presentation that will appeal to a very targeted audience, most notably the band’s established fan base and fans specifically of acts, such as Marilyn Manson, Ministry, and older Nine Inch Nails. That is evidenced through the record’s musical and lyrical content. The record’s musical arrangements are easily compared to works from the noted acts, while the record’s lyrical content is certain to impact listeners in its own unique way. ‘Sacred Disgrace’ is just one example of how that combined content makes this latest offering from DAAP so intriguing. It will be discussed shortly. ‘A Violent Breed,’ which comes early in the album’s run, is another example of what will makes this new album appealing to the band’s noted audiences. It will be discussed a little later. ‘Behold the Righteous Plague,’ yet another late entry to the record,’ is also noteworthy and will also be discussed later. When these three songs are considered along with the rest of the record’s entries, that whole will keep the band’s noted audiences engaged and entertained.
Dead Animal Assembly Plant’s latest album, Bring out the Dead is a presentation that is certain to bring out the band’s established audiences, as well as fans of acts, such as Ministry, Marilyn Manson, and Nine Inch Nails. That is proven throughout the album’s 45-minute run time, taking into account its musical and lyrical content. ‘Sacred Disgrace’ is just one of the songs featured in the record that serves to support the noted statements. The song’s musical arrangement takes a slightly different approach to that of many of its counterparts what with its strings and keyboards, and its generally plodding but still heavy approach. That instrumentation and the vocals collectively make for an immediate comparison to works from Marilyn Manson’s sophomore album, Antichrist Superstar (1996). Ironically, that album was allegedly meant as a tribute to philosopher Friedrich Nietzsche. Nietzsche is actually the subject of one of the songs in DAAP’s new album, too. Getting back on topic, there is no doubt here as to the comparison to Manson’s work and that of DAAP, stylistically speaking, in at least this song. The musical content is just one part of what leads to that comparison and appeal among the acts’ audiences. The lyrical content that accompanies the song’s musical arrangement makes for its own appeal.
The lyrical content featured in ‘Sacred Disgrace’ makes relatively clear that it is a socio-political commentary. That is inferred right from the song’s outset which states in that lead verse, “The deepest parts of me (I can see)/Are your wounds in my back/You claimed the scars weren’t real (So tell me)/What’s that behind your mask/There but for the disgrace of God/Crawls the blackest snakes/The angels write from your disease (Please)/Won’t you forsake/But I can’t save you this time.” This lone verse is not necessarily an anti-religious statement, but rather seemingly against fake people, including those who claim themselves to be such pious types. That argument is strengthened through the chorus, which states, “Fake (We need the)/Fake (Pray to the)/Fake/You are the villain/The victim/The willing/Fake (Believe in the)/Fake (Deceiving the)/Fake/This is the sacred disgrace we are killing.” As the band goes through the chorus’ refrain later in the song, the chorus adds in, “Fake (We are the)/Fake (Embracing the)/Fake/The desolation degrades the mutation/Fake (Erase the)/Fake (Saved are the)/Fake/This is the sacred disgrace of fixation.” Again, here audiences get a statement that is not anti-religious per se, but rather those who so completely fixate and call themselves such “good” people but who clearly are anything but. That is stressed even more late in the song when the song’s lead verse is also echoed. That statement, so full of frustration, pairs with the song’s equally intense musical arrangement to make the song in whole that much more notable. The whole makes the song itself just one of the most notable of the album’s entries. ‘A Violent Breed,’ which comes early in the album’s run, is another song that shows the impact of the record’s content.
The musical arrangement featured in ‘A Violent Breed’ once again exhibits clear influence from Marilyn Manson from early in his and his band’s catalog. At the same time, listeners can also hear influence of Ministry through the driving guitar riff and production effects used with the vocals. To a point, one could even compare the vocal effect used in this song to that of Trent Reznor circa 1994’s The Downward Spiral to a point. That whole comes together to give this song its own unique identity that will appeal to most industrial metal fans. The intensity in this musical arrangement, which stands unique against the rest of the record’s musical arrangements, joins with the song’s familiar socio-political commentary to make the song stand out even more.
As noted, the lyrical theme featured in ‘A Violent Breed’ is another socio-political commentary. In the case of this work, the commentary seems to address not so much the overly pious pseudo-Christians, but possibly the link between religion and war. That is inferred right from the song’s lead verse and chorus, which state, “I am a violent breed/Programmed to be obscene/These hands praise ignorance/The blame becomes routine/My mind is a dirty bomb/Full of pettiness and virgin blood/With scriptures burned inside my head/Peddled and preached by empty men/March 2, 3, 4/Get your death on/It’s time for war/Count 3, 2, 1/Pull the trigger, it’s time for fun/March 5, 6, 7/All good martyrs go to Heaven/Count 3, 2, 1/Shake it off ‘cause we’re not done.” The commentary continues in the song’s second verse, strengthening the inference even more as it states, “I am a violent breed/Empty like puppet dreams/This husky stays ready for…/Blood lust bursts at my seams/Too full of rage to let it die/And with this flag I justify/The frightened lambs can’t comprehend/That violent means meet violent ends.” Again, here is that seeming statement connecting religion and how it is used to justify war and death. That whole mention of the flag justifying the combat is a clear example of how people are brainwashed into believing their cause is just on either side. That is even more exemplified through the mention of the overwhelming anger not allowing a person to remove his or her bloodlust. If in fact this critic’s overall interpretation is correct, then the fashion in which the familiar message is delivered is unique, and makes for even more interest. That is especially the case when the seeming theme is paired with the song’s high-energy musical arrangement. Keeping everything in mind here, it makes this song yet another key example of what will make the album appealing for DAAP’s audiences. It is just one more example of what makes the record interesting. ‘Behold the Righteous Plague’ is yet another notable addition to the album.
The musical arrangement featured in ‘Behold the Righteous Plague’ exhibits more similarity to works from Ministry than Marilyn Manson or Nine Inch Nails what with its sharp guitar attack, drums, and electronics. As a matter of fact, that whole (along with the vocals) could also lead to comparisons to works from the likes of Dope in hindsight. It is more of a pure, guitar-centered metal approach than most of the album’s other works, even with the electronics taken into consideration. Comparison to such acts together continues to show some diversity in the record’s musical content. That alone is sure to make this and each of the album’s musical arrangements stand out. Of course as with any song, this work stands out not only because of the musical content, but also because of that content’s companion lyrical content.
The lyrical content featured in ‘Behold The Righteous Plague’ comes across as yet another social commentary, this time in reference to the current state of the world. It is a familiar topic, and if indeed the case, will certainly engage listeners. The seeming statement comes right from the song’s lead verse, which states, “We’re divided like a “Y” incision/Straight down the middle of us/Tear it open/The devil’s hoping/Our viscera is toxic to touch/So misguided/Our world collided/With a species hell bent to destruct/You’re f*****.” As the song continues into its chorus, the seeming statement is strengthened with the statement, “Be the black plague/Be-hold the end days/We’ve overdosed on hate and greed/The villains are the heroes we need now.” That final chorus line is telling, considering how many times audiences have seen stories in movies and on TV where things get so bad that the villains and heroes have to team up to beat the “ultimate evil.” It is as if the band is referencing those situations and applying them to the world’s current real state. One could argue that it is a statement of cynicism, and if so, is justified. The nihilistic view continues in similar fashion in the song’s second and third verses, with mentions that “We infect the host/Until it’s all dead” in the second verse, and that “We scraped for help/But it’s too late.” This makes even clearer, the seeming overarching theme of discontent about where the world is today. When the overall anger and frustration expressed through all of this content is paired with the energy in the song’s musical arrangement, the whole makes the song hit even harder and resonate even more with listeners. When this song and the others noted here are considered along with the rest of the record’s works, the whole of the album proves to be a presentation that ensures its appeal among Dead Animal Assembly Plant’s fans and among most industrial metal fans.
Dead Animal Assembly Plant’s latest full-length studio recording is a presentation that is certain to find appeal among a very targeted range of listeners. Specifically speaking, it will appeal to the band’s established audience and those of bands, such as Ministry, Nine Inch Nails, and Marilyn Manson. To a slightly lesser degree, one could even add Dope to that mix. That is evidenced clearly through the album’s musical and lyrical content. All three of the songs examined here serve to support those noted statements. When they are considered along with the rest of the album’s songs, the whole makes Bring out the Dead one of this year’s more interesting industrial metal albums. It is scheduled for release Friday through Armalyte Industries.
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