Despite the departure of two of its founding members, Malaysian groove-metal purveyors, Mothflesh is releasing their next full-length album, “Machine Eater”, on the 12 of December of 2021. The album will mark an evolution in the band’s sound, weaving in a little more death metal and adding a technically rhythmic approach with the album’s composition. The album can best be described as a communion of the smooth aggression found in Fear Factory, some of the lick-filled theatrics in Conquering Dystopia or Nevermore and some borrowed pitch-bending atmosphere and chugs from Car Bomb.
Machine Eater’s lyrical content is a postmodern elegy on humanity’s codependent relationship with industrialized technologies. In South-East Asia today, we can observe how the internet has become the political battlefield as governments wrest for control between its supporters and opposers, how societies have grown numb to the exploitation of labor and natural resources from being inundated from hyper-sensationalization or how it has grown harder to express individual thoughts or emotions that oppose the institution of the state without the fear of persecution. Without revealing much more, these are some of the narratives that Machine Eater’s 10 songs embody.
The artwork is a rendition of these concepts as it centers around a humanoid figure that has gone through extensive synthesization, only the skull remains as the pertinent reminder of its human past. This can be taken as an allegory of how we drift further away from humanistic values at the cost of technological integration. The rust-colored landscape and emotive demeanor of the figure capture the cold dystopian theme of the album which was masterfully crafted by Vladyslav Tsarenko and our new logo was done by Mo Tiamloes, from Thailand, who injected a mild layer of South-Asian stylization into the typography.
The album is going to be mixed and mastered by Simone Pietroforte, who has worked with Thailand’s Deathcore outfit Failure For the Ballistics and The Netherland’s Distant.