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SYSTEM OF HATE

THERE IS NO MADNESS HERE

Album launch – Rebellion Festival, Blackpool August 2nd 2018 – Released date 3rd August

www.systemofhate.com

To review anything in life, you can either let it wash over you and see how it makes you feel, or know your subject and understand if it meets its own standards. I think this album needs a bit of both. “System of Hate” will be an unknown quantity to a lot of people. You might be attracted to the name of the band or it could quite easily put you off. The name it’s self-conjures up a pre-determined expectation, however, it would be easy to dismiss them if you thought they would be a hard-core anarchist punk band and that wasn’t your thing for instance. I must admit, the first time I saw them live, I did have to check the running order to make sure I was watching the right band. I had the mis-conception it would be an anti-establishment anarchist band and whilst I was ready for that, I was in for a surprise.

The band comprise of Suty (Vocals), Pat (Guitar), Paddy (Bass) and Carl (Drums). They also have an occasional member on keyboards. Having played literally hundreds of gigs since 2013 with a who’s who of punk, they are now a finely tune machine. 

There is no madness here, is the second album for System of Hate and a follow up to Unhallowed Ground which was released in 2016. They had previously released two E.P’s in 2013 and 2014 as well as two recent re-mixes. The last album had a biblical theme running through out it and this one is similar in content. The song titles conjure up dark, gothic religious overtones. And the target delivery of the vocals certainly give you a very gothic and cathedral experience when listening. The use of minor chords and dramatic chord changes with sweeping synths and hard hitting drums, give System of Hate a very stand out sound from their inherited target audience. They are distant cousins of their punk ancestors but welcomed into the fold when they play.

THERE IS NO MADNESS HERE

The title track from the album is the opener. If this is to set the bar for the album, it’s off to a great start. The guitar and synth open the first track as the drums join in to build up to what feels like a Ministry influenced rhythm. The chopped guitar chords have the feel of Ministry meets Killing Joke and having the synth running throughout the song it’s an uncompromising sounding track. Harking back to post punk goth meets industrial 90’s, the entire song maintains the same tempo throughout. Suty’s vocal’s sit central in the mix, surrounded by the music. The quick fire spoken vocal works well and the chorus accentuates the title of the song. The drums are relentless for the duration and there’s a great ending with some rapid tom work.

BLACK FIRE

The second track, one that was released as an album taster, opens with Suty’s vocal shouting “Black Fire” over an effective stereo panned whispering of the song title. The music hits similar in fashion to the first track at a slightly reduced tempo more akin to the 80’s and has more gothic sound to it. The synths are subtle, guitar chords evident in the verse and a picked lead accented at the verse. The bass is slightly more prominent in this mix and benefits from that. The song tails off with Suty singing Black Fire over bass, deep sounding stereo panned toms and synths.

WE WHO WALK WITH GOD

The raw edgy powerful growling fender bass growls until the tribal drums kick in supplemented by a huge sounding synth. The guitars are stereo panned and fill the mix in this track but it’s the perfect platform for Suty to launch in to the massive “We who walk with god” chorus where the synth’s really raise the entire sound to epic proportions. I could visualize the band on top of an Aztec temple with arms outstretch blasting their sermon to millions below. The vocals have a fantastic delay effect to them especially at the chorus. This is a monster of a tune. If you have 11 on the volume of your stereo, it still might not be enough. Stand out track so far. The “BPM” of this track is the slowest but most effective on the album. If there’s one song to show System of Hates talents, this might be it.

IN THE SHADOW OF THE CROSS

Just to prove me wrong on “BPM”, this next song raises the pulse and brings an urgency back to the album. The guitar is prominent in this next song. Accented rhythmic chords at the beginning see the rest of the band join in and use a two chord verse which has some very effective and visual lyrics. “Standing before you naked in the shadow of the cross” put’s you right into the scene of where Suty wants you to be. There’s a very effective chord breakdown for the verse and even though the guitar/bass and drums are to the fore in this mix, the synths are very effective and bring subtle changes in mood at the chorus. “The tears of your forgiveness, fall on stoney ground” what a great line. Again, the drumming comes out at the end with fills and drum rolls as the song tails off.

YOUR GOD IS DEAD

Picking up where the last song left off, drum fills start this song. Lots of tom work across the kit and some vocal harmonies supported by synths bring you into some frantic bass and guitar chords for the open verses. “Your God Is Dead” – “The End of Days has just begun”. You know what the song’s message is here. Suty chants the song title at the end of the song and there’s some great production effect on his vocals. The synth’s match the tone of the vocal perfectly. If this was vinyl, I’d be flipping the record right now!

The album was recorded during bleak periods of winter 2017. If this had an effect on the process it’s been a positive one. The entire album so far has had a relentless pace to it like a snow storm, driving in the snow, the faster you go the harder it gets.

TEARS OF BLOOD

There’s a hint of 70’s sleazy rock ‘n’ roll guitar to the beginning of this track. Without respite, this track follows the same musical formula. Big tribal drumming behind Suty’s vocal delivery has every word punched in sync into your brain. The quick fire snare and heavy drumming still leaves room for the other instruments to fill the mix. The subtle picked chords at the breaks are reminiscent of New Model Army in their early years. 

RESURRECTED

It sounds like the drumming just moved up a gear, if that was possible, as double beats and snare and tom fills are at the fore front of this song. A more industrial sound is evident for this track. There are a few chord changes but for the most part it’s based on the one driving tone. The backing vocals cut through well at the chorus and in stark contrast to Suty’s. This is one song that really needs to be seen and heard live to believe the incredible drumming!

RISING

Thrashing overdriven bass is accompanied by the signature full sound of guitar and synths. Reminiscent of recent Killing Joke mixes, Suty’s spoken verses merge into some great choruses which have uplifting and subtle chords changes. Suty’s chorus delivery is like that of Jazz Coleman at the chorus with slightly more of a cutting edge to it. At the breakdown, the edgy bass comes back in with a great set of bass runs before the song returns to its initial verse. As the song runs out, the guitar comes to the fore just before some double kick drum beats hammer the song into submission.

ILL ARE THE CURSED

The song starts like a John Carpenter movie soundtrack with some great piano/keyboard work, before some great appegiated synth overlaid by driving guitar chords. The gothic feel returns and Suty’s vocals are sung on this track to great effect. Again, sitting in the middle of the mix immersed in the incredible full sounding mix. The descending minor chords on the chorus have an emotive effect which is accented by some great guitar work. The song title sung at the chorus shows the softer side to Suty’s voice but it’s extremely effective being backed by double beat kick and double beat snare as the guitar picks notes on a scale. The outro has the piano return and fades out.

SYSTEM OF HATE

Picked guitar chords begin the self-titled song of the band. They’re back to what they do best, dark driven emotive yet relentless and energetic between verse and chorus, there’s some great guitar work again. There’s no respite other than a singalong backing vocal melody behind the “System of Hate” bark from Suty which is sung for the remainder of the song as it crashes to a conclusion as the music fades the album ends with a clever German voice sample echoing with delayed feedback. 

If this album was a rollercoaster, I would have to be lifted out of the carriage at the end as I’d be rigid with hanging on for dear life. Although I use the word rollercoaster, this album has no ups and downs, there’s nowhere to hide, it’s a sheer in your face and relentless experience. It’s a joyride, I would have a permanent smile on my face at the end, yet one to strike fear into those who are about to experience it. There’s no filler in this album, there’s little space to breathe in the mix. It pulls no punches, asks nothing of you, delivers everything to you. It expects you to step up, you need to engage. Yes you can let it wash over you but there’s more reward if you embrace it in its entirety. This album should probably carry a health warning as it’s become addictive already. Much like their last album Unhallowed Ground but they’ve grown as a band. There may not have been much room for improvement from the last album but there’s proof here they’ve somehow managed to squeeze more of what was already a brutal giant.

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