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Como En Los Viejos Tiempos

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Como En Los Viejos Tiempos Image not found or type unknown www.juventudrebelde.cu Image not found or type unknown Banda estadounidense de metal industrial. Autor: Juventud Rebelde Publicado: 21/09/2017 | 06:31 pm Como en los viejos tiempos Todos los rasgos del sonido del ensamble de una época en una sola banda: Fear Factory Publicado: Miércoles 11 mayo 2016 | 10:10:33 pm. Publicado por: Joaquín Borges-Triana En la ya lejana década de los 90 del pasado siglo, fui un devoto de la propuesta de la banda estadounidense Fear Factory. Su disco de 1995, el álbum titulado Demanufacture, publicado a través del sello Roadrunner, me sigue pareciendo fundamental para comprender el metal llevado a cabo en dicho decenio. En ese CD pueden apreciarse todos los rasgos que tipificaron el sonido del ensamble en aquella etapa, o sea, la total sincronización entre los potentes riffs de guitarra, una batería a todo piñón, un decisivo apoyo rítmico desde el bajo y una voz capaz de moverse entre el estilo de canto del death metal y en otros momentos asumir una vocalización absolutamente limpia y melódica. Temas incluidos en el fonograma como Replica, Zero signal y Self bias resistor, dan prueba de lo antes afirmado. Lamentablemente, los egos que tanto se dan en el mundo musical llevaron a que el grupo se viese involucrado en disputas judiciales entre sus principales miembros, para ver quién se quedaba con los derechos de propiedad sobre el nombre del colectivo. En el período en que la mediocridad se impuso al talento, dejé de prestarles atención pues los discos que pusieron en circulación en semejante etapa, me resultaban infames. Por suerte, ellos se percataron de que por el camino que transitaban estaban perdiendo el prestigio ganado con mucho esfuerzo y para dicha de la banda y de nosotros, sus admiradores, los dos pilares del proyecto, es decir, el vocalista Burton C. Bell y el guitarrista Dino Cazares, se reconciliaron e hicieron que el grupo retomase la senda abandonada. Una primera señal la recibimos con el álbum Mechanize, de 2010, seguido en 2012 por una octava entrega discográfica, llamada The industrialist, material este en el que nunca me ha convencido el uso que hicieron de una máquina programada en sustitución de la batería. En el pasado 2015, Fear Factory dio a sus fans la posibilidad de entrar en contacto con un noveno CD, denominado Genexus, al que en fecha reciente he podido acceder, gracias a Alain Manduley. Este fonograma tiene un carácter conceptual en lo letrístico, pues aborda la evolución del ser humano y la máquina, hasta el instante en que ambos se convierten en uno. En ese sentido, está inspirado en la teoría de la singularidad tecnológica, desarrollada por el futurista Ray Kurzweil, director de ingeniería de Google. Así, los textos de las piezas aquí recogidas discursan acerca de lo que sentiría sobre el mundo, en torno a sí mismo y en relación con el pasado del hombre, el híbrido surgido entre un humano y una máquina. Genexus sirve también para presentar a un par de nuevos integrantes en la formación, el baterista Mike Heller y el bajista Tony Campos. Con esta alineación, recibimos una propuesta sonora que me recuerda los tiempos de trabajos previos como Digimortal, algo de Transgression y ciertas pinceladas de Demanufacture. Asistimos, por tanto, a un retorno a la fórmula que hizo de la banda estadounidense una autoridad dentro del panorama del metal industrial. Autonomous combat system, corte que abre el disco, se inicia con una intro robótica, que da paso a un doble pedal del bombo a toda velocidad, guitarrazos secos y voces infernales sabiamente combinadas con pasajes en que Burton C. Bell evidencia sus potencialidades para el canto limpio. De aquí en adelante, encontramos temas con una excelente producción (sonido clásico y pesado, pero con un tratamiento fresco y renovado), típica de lo que hace la compañía alemana Nuclear Blast, firma que es la que edita el álbum. En Genexus también escuchamos cierto aire épico, provisto por Damien Rainuad y Giuseppe Bassi desde los teclados, complemento ideal para los grooves demenciales, riffs sincopados y fraseos entrecortados que signan el quehacer de Fear Factory. Lo nuevo en el CD vendría representado por la utilización de líneas melódicas más comerciales que en trabajos previos, ejemplo de lo cual son cortes como Anodized, Soul hacker y Dielectric. Disco que en su conjunto suena cien por ciento a lo Fear Factory, al margen del enfoque comercial que se percibe en algunas piezas, estamos ante una propuesta que nos retrotrae al momento más icónico de la agrupación, sin la menor discusión una banda clásica del mejor metal de todos los tiempos. http://www.juventudrebelde.cu/columnas/los-que-sonamos/2016-05-11/como-en-los-viejos-tiempos Juventud Rebelde | Diario de la juventud cubana Copyright © 2017 Juventud Rebelde.
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