After the success of 2018’s Mental Wounds Not Healing, The Body and Uniform join forces once more for another LP. Given that both of these groups work the channels between noise and melody, it’s no surprise that Everything That Dies Someday Comes Back is a set of totemic industrial electronics. EBM, darkwave, monolithic post-rock and plenty more are all chucked together on this intense album. Cuts like ‘Penance’ come across like New Order being reworked for a Posh Isolation compilation.
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- Everything That Dies Someday Comes Back by Uniform & The Body
The Body are hands down the loudest live band I’ve ever witnessed. They were so thunderous in fact, that the sound guy for the gig posted on the Facebook event page beforehand urging everyone to bring earplugs or risk doing themselves some damage. It didn’t help that grindcore group Full of Hell were co-headlining and Manchester noisemakers Caïna were supporting, making it one of the most ear-splittingly memorable and thrilling sets I’ve ever witnessed. Listening to their second collaborative effort with New York industrial/noise rock titans Uniform takes me right back to that joy ride of an evening.
With an album title derived from a Bruce Springsteen lyric (so my Springsteen obsessed colleague informs me), it becomes immediately clear that this pair pay no attention to genre constraints. Armed with hip hop and industrial rock influences and Uniform's intricate guitar-scapes, ‘Everything That Dies Someday Comes Back’ often sees danceability and catchiness surfacing through cracked noise and mechanical industrial rackets. Michael Berden’s rhythmical yelps interweave with Chip King’s banshee shrieks, trap rap beats collide with goth rock sketches, and martial stomps bleed into dissonant drones. If you’re partial to heavy strains of hip hop, doom metal, Nine Inch Nails-esque industrial and the recent sour-candy electronics of Blanck Mass, this album will tick all the boxes for you.
‘Everything That Dies Someday Comes Back’ is the Body’s most accomplished collaboration since their partnership with the Haxan Cloak back in 2014. While their previous collective efforts with Full of Hell and Thou have been electrifying and entertaining, they appeared to opt for impenetrable improvised heaviness over songwriting and memorability.
Seconds after the album finished, there was a collective office discussion of our favourite 90s industrial acts and who we’d love to hear either act collaborate with. Godflesh, Ministry, the Bug and Skinny Puppy were all brought up, and if that isn’t testament to how good this record is, then I don’t know what is.
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