We Got This Far, an industrial metal band, makes its album debut on August 21 for our lads on the UK and on October 13 in the United States. The band origins go back to 2006 when Ollie Marsh and Jason Silva joined forces while working on STORMDRAIN, birthing the We Got This Far project the next year. Blunt Force Volume was mastered by Tom Baker, who has collaborated in the productions of artists such as Rob Zombie and Nine Inch Nails. We can see the subtle resemblance with WGTF’s hard-rock electro fusions. The album pushes on the right track with a strong force behind it.
The production excels at its minimum. The blend of low vocals and rough guitar riffs make the album a powerful mix of a classic industrial approach with a glowing electronic undercurrent. It was as if Marilyn Manson’s Smells Like Children and Infected Mushroom’s B.P. Empire had a baby, with the use of whispery vocals, melancholic lyricism and a strong drum & bass nuance. The song So This Is Doom extensive introduction has a slightly Japanese style to its minimalist use of the guitar, reminiscent to the shamisen. It begins on a relaxing vibe, vaguely evocative to Akira Yamaoka’s work on the Silent Hill’s soundtracks saga, building up to the hard-core vocalization that Ollie Marsh has to offer. Someone Somewhere swings into a slow drum & bass background, while its repetitive catchy lyrics maintain the industrial method, mastered by WGTF. The use of experimental percussion, especially the disperse application of distortion; add a bit of mystery to this album. Case in point, Breath Before the Plunge in which they fuse distortional vocals under a minimalist instrumentality.
We Got This Far brings into the alternative market a daring unveiling album that should be delved into. Looking back at how far they have gotten, if their evolution follows the right track, WGTF still have a long way to go.