A grinding, rumbling distorto sub-bass death march with jackhammering machine beats... sounds kinda Godfleshy at first... but then, what's this? Heavy-duty blasts of saxophone, flute and bassoon?? Yes indeed, Combat Astronomy combine industrial metal with freaked out free jazz and prog. Yet there's also interludes of calm -- doomy passages of ambient moodiess with droning, multitracked reeds. And then it's back to the grind.
The rhythms are punishingly mechanical, but also interestingly off-kilter. The weird timing adds to the sense of unease that's also built up by the squonky, skronky sax bleating and ominious electronics... Who's responsible for this brutal, beautiful madness? Built upon the foundation of the distorted bass, guitar and programmed beats of one James Hugget from Minnesota USA, in collusion/collision with the saxes, clarinet, violin and effects of Sheffield UK's Martin Archer. Two of Archer's pals join in on flute and bassoon as well. The results are likely to alienate all but the most adventurous jazz, metal, and prog fans. Could certainly be a good one for fans of Godflesh, God, 16-17, Aufgehoben, Last Exit, Zdrastvootie, and other far out outfits on the extremes of industrial, prog and/or improv.