Jason Bazinet, founder of Sounds of Mass Production (SMP) has continued his refreshing, sardonic, and self-deprecating sense of humor with his newest political and social satire drenched industrial-rap rock release, CRIMES OF THE FUTURE. Punk in scope but not in sound, the songs on CRIMES OF THE FUTURE are Sister Machine Gun meets Pop Will Eat Itself. It is a danceable, diverse, and complex effort.
Jason Bazinet began his music career in 1993, and by 1995 had released his first Sounds of Mass Production album, Stalemate, with cohort Sean Ivy. SMP followed up with their second album, Ultimatum , which spawned their first underground hit song, “Militia Love”. By 2000, SMP had made the leap to the Seattle based label, ADSR Musicwerks who released Terminal. And after some twists and turns creatively, Bazinet would remain the sole person left on the Sounds of Mass Production team, heading into 2001. In an effort to gain a more widespread fan base, Sounds of Mass Production signed on with the prominent Chicago based industrial label, Invisible Records, founded by Martin Atkins, who had performed for or recorded with seminal bands such as Ministry, Killing Joke, and Nine Inch Nails.
“This Perfect Day” jump starts the album with an intense drum assault that culminates with an exciting KMFDM-like guitar chorus performed by guest artist Chris Roy (of Doll Factory).
This is the first album of Sounds of Mass Production to be produced by Wade Alin, of Christ Analogue, and you can hear the improvement that his presence has on the record. He manages to keep every track gritty, while maintaining flow on the album from track to the next. It is an effort that is no easy task.
Other great tracks of interest include the humorous self-deprecating goth/industrial/rap scene buster “Three O’Clock”, the cyberpunk drenched “Trip”, Clockwork Orange-like social commentary piece “Retro Human”, the existential prison of “The Cage”, the net thriller “Hacker Like Me”(featuring Paul J. Furio of Static Engine), and the white collar office slave anthem, “Corporate Culture”.
Mastered by Roger Sprague, CRIMES OF THE FUTURE is a wonderfully smooth listen. Nearly every song is an intense and effective punch in the gut. The few and forgivable exceptions are the self-indulgent “X”, “Food Slot”, “24 hours” and the brief but anachronistic (at least to this release) punk inclusions of “Bloodstains” and “I’m Tired of Life”.
“Crimes of the Future” is a great artistic stride forward for Jason Bazinet and crew. A highly recommended listen if you are a fan of industrial rock.