Making Monsters

The first time I tried to describe Combichrist’s industrial sound to someone, I said “you know, it’s like, zombie-killing beats!” I didn’t sell them on coming to a live show with me, sadly. It’s my fault. I said “industrial” when I really should have said “aggrotech.”

If you’re not familiar with Combichrist, it is absolutely my pleasure to share my thoughts on 2010’s Making Monsters in the hopes that you’ll check it out. If you are familiar with Combichrist: who’s your favourite drummer, Trevor or Joey?

“Declamation,” the opening track, starts this album off in classic Combichrist style: an obscene sound bite tucked into some computer-fried bass. It’s also the creepiest slow jam ever… but even if you’re creeped out, you may still find your shoulders bouncing along with the groove of it. I absolutely love the eerie dreamscape of this track, and I’m thrilled that the whole of the song is revisited in the closing track, “Reclamation.” “Reclamation” is the longer track, with lyrics and all, but I still find myself just sticking “Declamation” on repeat and pushing my little Corolla’s speakers past their comfort zone.

That said, Making Monsters is definitely the “poppiest” Combichrist album to date, but that also makes it the most accessible. It was released perfectly in time for their EU and NA tour supporting industrial-metal heavyweights Rammstein, and Rammstein’s audience didn’t need to be of the more “underground” variety to enjoy Combichrist’s energetic opening set. I’ve heard of some Combi purists turning their noses up at this album and, since they don’t like it, they blame the speed at which Andy LaPlegua (Combichrist’s creator and sole songwriter) produced it. In an online Q &A with combichristfans on Tumblr, LaPlegua has this to offer in response:

“…But at the time when I do it I release [it] because that's what I wanted to do at the time. I think most of the fanbase have kinda gotten the feel of that, they understand that every release is a release that I made from my heart and not from what people expected me to do.”

I’ve also gotta talk about “Throat Full of Glass.” It was released as a single. (It even has a video! Try YouTube. It may be hard to find the uncensored version, however. Let that in itself be a warning.) I’ve mentioned that Making Monsters is the most pop-sounding Combichrist album to date; “Throat Full of Glass” is definitely the album’s most pop-sounding track, not to mention one of its most musically sophisticated. LaPlegua uses all of his vocal range on this one, and though the beat lacks his trademark electro-sizzle, Combichrist’s danceability is there in full force  If you’re new to Combichrist, I’d definitely recommend starting out with “Throat Full of Glass” and exploring the rest of Making Monsters before checking out the older, harsher stuff.

LaPlegua’s accent (he’s a native Norwegian) sneaks through his singing on Making Monsters, and I love it. Mostly because we get to actually hear him! It’s encouraging to hear more of his own voice on this album instead of the samples he tends to throw on repeat. As I mentioned above, some hardcore Combi fans are almost offended by this Combichrist offering, but I myself am excited to see Combichrist change it up a little. Andy LaPleguais himself musically diverse, having also fronted Icon of Coil and Panzer AG, so why shouldn’t he stretch out a little with Combichrist? Personally, I’m excited for the next album—not just for new Combichrist, but to see what LaPlegua does next. Until then, I’ll keep rattling the bones out of my car speakers with Making Monsters.

-Stephanie Davidson