God has a face, and it looks like Kevin Martin. Although the band so named has had a fairly stable multi-member lineup, it is just one of many outlets for this British noise technician’s twisted creativity. Working at a point where hardcore, experimental jazz and electronic music can be made to meet, Martin’s God mines a vein similar to the likes of Scorn, Naked City, Godflesh and some of Bill Laswell’s more abrasive undertakings. – Trouser Press
Free jazz/metal unit God was initially a project of UK musician Kevin Martin in which he shared duties with Shane Rogan, but by the time the band was finished in the mid 90s, it also included numerous other members. Martin started God when E. Mark Smith from Fall contacted him in the late 80s and asked for a submission for a compilation Disparate Cogscienti, which Smith wanted to release via his label Cog Sinister.
In the 80s, the band had no formal line-up and no particular style and it wasn’t until Martin met Justin Broadrick (Napalm Death, Godflesh) that the band released their debut. 1990 “Breach Birth ” EP came out on Situation Two Records and was produced by Broadrick. “Possession” LP followed two years later.
Trouser Press described “Breach Birth” as “a screeching, fiercely distorted deconstruction of metal that remains the most “rock” thing Martin has ever released.” “Possession” was described them as being “similar, but with almost symphonically bombastic production not unlike mid-period Swans;” and a “turbulent and confrontational live outing.”
Further on, the band produced two more LPs – 1993 “Consumed” and 1994 “The Anatomy Of Addiction”, as well as “Appeal To Human Greed” EP, which included remixes of band’s material recorded by the likes of Kevin Shields, Justin Broadrick and Bill Laswell.
All Music Guide pointed out that despite Justin Broadrick contribution to “Anatomy Of Addiction” the album is no ” Godflesh redux, since Martin’s own particular style remains intact.” Further on, they commented that “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 (Scott) Kiehl and (Lou) 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.”
Outside of God, band members were also involved in numerous other projects – Martin and Broadrick played together as Techno Animal until 2004, while Ice included Broadrick, Martin, Alex Buess and Lou Cicotelli from God, as well as Dave Cochrane (Head Of David, Greymachine, Jesu) and Joe Jobaggy (Terminal Cheesecake) in its line-up.
Justin Broadrick (Council Estate Electronics, Curse Of The Golden Vampire, Cylon, Eraser, Fall Of Because, Final, God, Greymachine, Ice, Jesu, Krackhead, Napalm Death, Saskwatch, Sidewinder, Solaris, Sub Species, Sweet Tooth, Tech Level 2, Techno Animal, White Viper, Youpho, Zonal)
Kevin Martin (16-17, Cult Of The 13th Hour, Curse Of The Golden Vampire, Eraser, Experimental Audio Research, Ice, King Midas Sound, Razor X Productions, Sidewinder, Sub Species, Techno Animal, White Viper, Zonal)
Steve Blake (B Shops For The Poor)
Breach Birth 12″ (Situation Two, 1990)
God / Terminal Cheesecake Split 7″ (Clawfist, 1990)
Loco CD (Pathological, 1991)
Possession CD (Caroline, 1992 / Venture, 1992 / Virgin, 1997)
Consumed CD (Sentrax, 1993)
The Anatomy Of Addiction CD (Big Cat, 1994)
Appeal To Human Greed CD (Big Cat UK, 1995)
“Sounds Like Thunder” on The Disparate Cogscienti (Cog Sinister, 1988)
“Dum Dum Slug” on Pathological Compilation (Pathological, 1989)
“Fucked (Rough Live Mix)” on Spreading The Virus (Sentrax, 1992)
“Black Jesus” on A Brief History Of Ambient Vol. 2: Imaginary Landscapes (Virgin, 1993)
“Driving The Demons Out” on Mind The Gap Volume 1 (Gonzo Circus Magazine, 1994)
“Bloodstream Dub” on The Big Cat Five (Big Cat UK + Rough Trade Germany, 1994)
“Lazarus” on Mind The Gap Volume 3 (Gonzo Circus Magazine, 1995)
Kevin Martin, Justin Broadrick, Scott Kiehl, John Zorn, Dave Cochrane, Lou Ciccotelli.
Ok I realize that this is the second post in a row featuring Justin Broadrick. But don't take me for a fanboy or anything, Jesu is for hipsterfaggots going "lolol true drone/industrial" when they're actually just listening to his pop albums.
Anyway, this album is a nice experimental mix of free jazz styled wind instruments meets cold, pale music such as industrial metal (though it doesn't feel very metal at all).
Download FLAC part 1
...Or be a totally uncool non-audiophile (reputation ruined forever) and
Download Mp3-v0 part 1
This release was recorded live at St. Mary's Church, and features Justin Broadrick (Godflesh) playing guitar, who then went on to produced the record as well.
01. Fucked (11:11)
02. Sick Puppy (6:19)
03. I'll See You In Hell (13:07)
04. Surf Locomotive (5:40)
05. Love's An Illness (17:16)
"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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