Front Line Assembly – Millennium (1994)
After a couple years of increasingly commercially successful electro-industrial music, Front Line Assembly goes sort of metallic on Millennium. It didn’t get them onto Encylopedia Metallum, but the addition of a guitar attack and a more vigorous rhythmic section did a good deal to harden up the band’s already menacing sound. This is really the perfect album for the 1990s – darker and edgier than before, but still pretty much in line with the evolving trends of the decade’s rock/metal scene. On the other hand, this album is over 20 years old, and trends have changed. Does this album still hold up. The problem with asking me such a question is that like the vast majority of the music reviews here on Invisible Blog, this is an album I listened to fairly recently, so my opinions on it are shaded by the fact I never got to live the zeitgeist (If I had, I would’ve been an exceedingly precocious toddler).
Anyways, I chose to listen to Millennium mostly for its industrial metal sound. Compared to something like Ministry’s Psalm 69, the guitars are relatively subtle, and the emphasis is on how they mix in with the established electronic side of the band. Songs here generally fit into a standard pop mold, albeit with elongated, sample-driven bridges that admittedly vary in how much they actually contribute to the atmosphere. “Industrial”, as a genre, sometimes comes off as a genre more oriented towards film enthusiasts, and to be honest it sometimes tries my patience when Front Line Assembly bases part or all of a song off a couple quotes from some film I probably will never watch.
When the band relies more on their synthesizers and other instrumentation (As I was researching for this review, I learned that Devin Townsend provided guitar work for a few tracks), I find myself far more interested. Millennium sticks to a fairly narrow aesthetic, but the songwriting crew is creative enough to push it in a few unexpected directions, most notably the rap-rock crossover track “Victim of A Criminal”. Bill Leeb’s vocals are also a highlight – his heavily processed tones are an important mixture in the band’s multilayered synthesizer attack, and they effectively set the mood by texture alone, even when the lyrics are a bit hamfisted.
Overall, Millennium sounds strong and has enough of an accessible yet versatile songwriting style to succeed, but I’d probably try to edit out some of the filler if I had access to the master tracks. I don’t know why I feel this way about the album when some of the other filler-laden albums I’ve listened to don’t elicit such a strong response, but maybe it has to do with the whole mechanical aesthetic?
Highlights: “Millennium”, “Search and Destroy”, “Victim of a Criminal”, “Plasma Springs”