Pitchshifter was that perfect band that emerged on the fringes of death and industrial metal in the late eighties and early nineties. Perfect in the sense that it was a perfectly balanced combination of both subgenres. In particular, the debut Industrial (1991) featured a never-before-heard musical melting pot of drum machines, down-tuned, heavy and simultaneously screaming barren guitars, and a vocalist who completely devoted himself to the guttural voices. A concept that, among others, Fear Factory at least partially picked up on three years later. We can only speculate as to the reasons why the debut album's vocalist Mark Clayden would soon hand over the microphone to his brother JS Clayden. The soundscape on the subsequent EP Submit was not significantly updated, and it must be admitted that I only realized this fact after doing a background check for this review. That the vocalist change had already taken place after the debut album, that is.
Ahead of Desensitized, however, there were a lot of updates. Both conceptually and in the band´s lineup. Former guitarist Stuart E. Toolin was forced to step aside in favor of even more digital sequences and samples than before. The same applies to the drum machine, which was replaced by a human equivalent in ´D´.J. Walters. An update that rarely clicks overnight, but I would say that in this case it is actually an update. The soundscape has been updated so much digitally and (mechanically) that this ultimately does not end up in too great an auditory contrast. At least not overall. The soundscape is, if possible, even more uniform than before and Pitchshifter has not left behind the guitar melodies that are so characteristic of the band's guitarist Johnny A. Carter. Extremely simple in execution and expression, but oh so effective and mood-enhancing, not to mention mood-creating. In addition, some of the compositions have been spiced up quite strongly with hip-hop-based rhythms. Especially obvious (and in my opinion too strong) in the song To Die is Gain.
The album contains 12 songs, three of which are even though short interludes, important if not necessary for the whole. Now it seems that if you want to enjoy this album to its full capacity, you will have to buy the CD version. It is true that it was also released on LP and C-cassette in the past, but thanks to the possibilities that digital media brought with it already in the early 1990s and thanks to the fact that some artists realized and had the ability to use these possibilities, a small surprise is hidden just over 20 minutes after the closing track Routine falls silent. If you don't turn off the CD player, that is. Well, to make it all easier, I can reveal that it is an updated version of the song Landfill, the original version of which opens the debut album.
Genre: Industrial Metal
Rating: 5.4 / 7