A veritable "jack in the box", Jason Bazinet has worked with industrial giants like Chemlab, 16volt and Front Line Assembly as a drummer - most recently on the 2010 Midi Ghetto Tour in the US and Canada and FLA's (mostly) European 2010 tour. Even going so far as to do three drum-gigs a night for most of the Midi Ghetto Tour (16volt and Chemlab, and also filling in for Left Spine Down). In addition, he's involved to greater and lesser degrees with 64K, Monicom, The Crills as well as the elusive and enigmatic Loyal Opposition. It would be easy to forget he's also founder, only constant and currently sole member of SMP (Sounds of Mass Production) - the coldwave/industrial rock-rap crossover hybrid of a monster. Formed in the early 90's, SMP debuted with Stalemate on the (in-)famous Re-Constriction in 1995 and has since gone on to release four more full-length albums, two remix albums, one mixtape and too many collaborations and remixes to count. Needless to say, the news of a new album in the works got me all kinds of excited - especially since Bazinet announced that 2008's remix album Pissing on the Legacy would be the end of SMP.Coda is short, sweet and to the fucking point (much like this review won't be). Clocking in at just over 35 minutes and bringing 8 tracks, including one remix ("Stay Sick (64K Mix)") and one cover (Circle Jerks' "Paid Vacation") Bazinet most certainly doesn't disappoint. The sound is unmistakably SMP - a mix of coldwave, industrial rock, punk and rap - in a sense picking up where 2007's The Treatment left off while at the same time pushing forward, further honing the sound as has been the case ever since Stalemate. While some might think the combination of industrial rock/coldwave and rap is odd, I beg to differ. You need only look to the Re-Constriction compilation Operation Beatbox for an example of how well the styles work together. Without any indepth musical knowledge, I'd say it's something to do with the beat/rhythm oriented sound.
Anyways, the album kicks off with "Stay Sick", a track previously featured on the compilation Electronic Saviors: Industrial Music to Cure Cancer (not sure if it's the same version), a groovy monster which really sums up what SMP is all about in my opinion. Bazinet's delivery bordering between punk and rap, over a heavy beat, a crunchy guitar-riff, scratches and samples. Lyrically it deals with (over-)medication and consumerism ("just eat your crap and take your medicine, and by all means, stay sick...") which goes well with the, slightly and rightly paranoid, social-commentary found on other SMP tracks. (As an a-side, I am reminded of Cyanotic's The Medication Generation, review forth-coming.)
"Run" is a collaboration with Penal Colony's Dee Madden, Stromkern's Ned Kirby and Stiff Valentine's Chris DeMarcus. It kicks off with a menacing guitar (courtesy of DeMarcus) turning into a paranoid and pissed off rant against society, with Bazinet, Madden and Kirby taking turns spitting venom over a seriously heavy beat. This could possibly be the most hiphop influenced track, and at the moment contender for my favorite. Addictive as hell, with a chorus that'll have you instantly hooked and drawn in.
"The Knife" kinda reminds me of "This Perfect Day", opening track on Crimes of the Future (video available on YouTube). There's something about the beat and mood here which just screams "cyberpunk", a kind of gritty street-feel with neon lights reflected on rainy streets. Also got a somewhat "oriental" sounding melody weaving in and out of it, which is a first for SMP.
"Anna's Song" is built around a thick, driving beat with great use of programming and a whirring sound which has me thinking "androids" or something (maybe as a consequence of the title and lyrics, I'm reminded of GLaDOS from Portal, or Rachel from Blade Runner). Adding to this is what sounds like a subtle processing of Bazinet's vocals, the focused, almost restrained, production and a sporadic piano line.
"Corporate Lunch" continues a tradition from The Treatment and Crimes of the Future ("Corporate Freak" and "Corporate Culture" respectively). While the basic beat is quite similiar to "Anna's Song", this one is a bit more hard-hitting with scratching and a more down-tuned feel.
We then get the cover of Circle Jerks' "Paid Vacation". Haven't heard the original, but this is a short (1:40) energetic, skate punk song which translates very well to the SMP sound (much like previous SMP covers "Bloodstains", "I'm Tired of Life" from Crimes of the Future and "Who is Who" from The Treatment).
Moving on, we've got "No Space". Starting out quite mellow, it builds up and gains momentum, only to slow down again, alternating through out. This might be the song with the most programmed or processed feel to it, lots of sounds going on. Reminds me a bit of "Die For You" from The Treatment, if I'm to make comparisons. It's SMP gravitating more towards coldwave than rap.
Finally there's "Stay Sick (64K Mix)" sheds the guitars of the "Album Mix", going for a more stripped-down, electronic sound adding an almost claustrophobic feeling, with creeping synths and a "heartbeat" beat around half-way through. Great song to end the album on.
I need to mention the overall production and mixing as well, handled by Wade Alin (of Christ Analogue, The Atomica Project and Scanalyzer as well as production for a host of industrial - and other - artists). Alin has achieved a very dynamic, thick and "distinct" sound - especially on "Run" and "Anna's Song" - managing to give the album both a polished and gritty feel at the same time. No mean feat.
Overall, this is a great disc. Obviously a must-have for any fan of SMP but also of coldwave/industrial rock fans who aren't afraid to venture into punk/rap territory. My only complaint would be that it's a bit short, but on the other hand that means a) no filler, and b) you can just put it on repeat. The consistency of the tracks, the addictive hooks and Bazinet's great use of programming will keep you coming back for more.
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