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Skinny Puppy
Mythmaker

SPV/Synthetic Symphony

Posted: Tuesday, January 30, 2007
By: Ilker Yücel
Editor

Ever since Skinny Puppy not-so-gracefully bowed out in the early-to-mid '90s, fans have been eagerly awaiting their return despite the tumultuous circumstances surrounding their dissolution. However, when any band returns to a state of activity after so long and after one of their members dies, there is bound to be dissent among the fans. Such was the case with 2004's The Greater Wrong of the Right. Some fans derided it as merely an extension of vocalist Nivek Ogre's pseudo-solo project, an opinion supported by the inclusion of OhGr producer Mark Walk in the lineup, not to mention the incorporation of certain stylistic elements of that project, barely retaining what they considered the defining characteristics of the Skinny Puppy they remembered. Others accepted it as a progression of the band's original goals to take the conventions of the current music scene and mangle them to disturbing proportions. Was it perfect? No, but in the opinion of this writer, that album still retained the Skinny Puppy identity. The tour that followed was all the more successful, proving that Skinny Puppy had indeed returned. Now, the band continues along their twisted path with Mythmaker.

Those who were dismayed at the previous album's experimentations with elements that defined the OhGr project will not find comfort in Mythmaker. Right from the onset of "Magnifishit," we are treated to Nivek's recognizable vocals, contorted and warped to intriguing effect; a testament to Mark Walk's impressive abilities to use Ogre's voice as an instrument unto itself. There are moments on the album when his voice resembles the distorted beast-like howl of the past, such as on the acoustic guitar-driven track "jaHer," a track that evokes the softer moments of The Process, or even the band's classic "Killing Game." Full of dark atmosphere that is at once soothing and nightmarish, this is arguably the best track on Mythmaker. The same can be said for "haZe," with its mournful tone and angular synth arpeggios and touches of orchestral strings and timpani drums, adding just a hint of guitar to add weight. It is on tracks like these, as well as "pasturN," that cEvin Key's understated sense of songwriting and audio construction is evident, silencing the notion that his influence is being overshadowed by Mark Walk's production style. "politikiL" is a somewhat more rock & roll type of track, also reminiscent of what one might hear on The Process or perhaps Rabies. With its chugs and churns of overdriven synths and guitar-like tones, and a rocking rhythm, this song is sure to be a highlight when played live. Also like The Greater Wrong of the Right, Mythmaker features several collaborations. Once again, Otto Von Schirach returns to offer his own disturbing version of IDM to augment "lestiduZ," while Databomb provides accompaniment on the glitch-laden "daL" and the album's closing track, "ugLi." Indeed, the song lives up to its name, full of noisy reverberations and blistering manipulations producing a frenetic atmosphere that recalls "Spasmolytic."

Mythmaker certainly continues along the path paved by The Greater Wrong of the Right, representing an embrace of modern electronic music and pushing it to its limits... and let's face it; that’s what Skinny Puppy have always done. It is this type of experimentation that has allowed the band to outlast its own death and return from the ashes. Many will still chide the band for not returning to the sound of past successes like Last Rights or Too Dark Park, but it's this type of purist viewpoint that ultimately stagnates a band's progress. There's also the case that in the interim before cEvin Key and Nivek Ogre reunited, they embarked on their own projects, and as such, they would naturally have a lasting effect on their current music-making mindset. It's only a natural result of being creative (ask any artist). And yet, while pushing for this new sound and style, the band has managed to recapture the spirit that guided albums like The Process and even earlier, Back and Forth. Of course, many will discount these points and choose to hear Mythmaker as an even more commercial work than the previous album was, even contending that the band name should rightfully be changed to OhGr. In truth, "ambiantz" is the only track that resembles OhGr's fractured pop sensibilities, particularly those heard on SunnyPsyOp. Will Mythmaker get played on the radio alongside Justin Timberlake or Nelly Furtado? Almost certainly not. So, what is so commercial about it? Those with an open mind will find much to behold in Mythmaker, perhaps even finding it to be the most creative industrial album of the modern era.