“We stared death in the face and the death blinked first.“
It’s been a strong year for two piece projects in heavy music: Death Goals, Friendship Commanders, fakeyourdeath, and (soon) a Ragana LP have all been favourites, and that’s just what’s passed through my press inbox. Modern Technology are a duo joining these ranks, a band that works with the fundamentals of rock music to craft layered punk-metal songs. Conditions of Worth is their second record and is well worth exploring due to its many unique qualities: choosing bass over guitar, adopting a unique vocal style and synthesizer array, and giving the drums a grand canvas to wreak destruction.
‘Post metal’ might be the best descriptor for the mood of the record. However, the two-instrument approach makes the results more deliberately simple than the average atmospheric sludge project. There’s a streak of doom metal to them, too, thanks to the simplicity of their bass driven riffs and the slow nature of the songs. The sheer crush of this bass, surely being piped through multiple amps and cabinets, is a perfectly oozy-fuzz, and becomes important as it carries so much of the melody. In a move of confidence, the record starts with “Dead Air”, a track that chooses tense builds over immediate destruction, eventually getting there for its final minute. “Lurid Machines” follows as a slow tempo compliment, emphasising that aforementioned doom-like quality.
For a “pure rhythm” project, they keep the mids and highs busy, primarily with vocals from bassist Chris Clarke. He’s constantly panicked, as if living in the proverbial moment just before being dragged and drowned in the undertow. He also contributes synth effects as a layer beneath the band which never take over the score. “Salvation” is an early peak on the album, a track that slows to a crawl for second half bridge. Its sea parts to welcome a wash of these synths and the album’s first melody that’s not entirely oppressive, instead revelling in an ambiguous mood.
Most of the record’s intricate moments come from Owen Gildersleeve’s excellent drums, such as on “The Space Between”, whose slow opening leaves much space for complex fills. It’s the record’s second longest track and a good demonstration of their typical style: slow pace, simple melody, and utter sonic carnage. “Lane Control” begins and is carefully driven by its drums, which feel grounded yet sophisticated. Jumping between just two riffs until its final minute, it swells with desperate energy. The overall effect reminds me of the mighty Aaron Harris of ISIS the band and Zozobra, and the fundamental importance of rhythm in atmospheric sludge-style music.
The record’s lyrics include meditations on mental struggles through constant 21st century disaster. Gildersleeve runs the Human Worth label that Conditions of Worth is releasing through, and answers the record’s lyrical concerns in his own way by focusing the label’s profits towards charitable efforts.
In terms of speed, this duo is no Lightning Bolt, but “Fully Detached” and “Believer” show they can riff somewhat fast if they want to. On the other end of the spectrum, the title track “Conditions of Worth” is the most dynamic song and the record’s obligatory epic, going full-feedbacking-doom for its outro.
When you’re hearing a two-piece band, it can be very important to know that there’s a deliberate lack of voices. That’s not to say Conditions of Worth is anything but a full assault on the ears, but you’ll want to step into this without your normal expectations. It will take you a moment to adjust to a guitar-less sound, and the first few songs take their time to build toward their respective summits. But rest assured: Modern Technology know exactly what they’re doing, building a unique sound at their own pace and volume.
7.5/10
Conditions of Worth is the second record by Modern Technology and releases through Human Worth on the 13th October. You can pre-order the record here, with 10% of the sale going to charitable causes (Choose Love) as part of Human Worth records mission.