It has been 10 long lonely years since Project .44 graced our ears with any form of new material; however, that day has arrived. Finally delivering new music, the band has emerged and made it worth the wait. The first tantalizing morsel comes in the form of an EP, but it would be hard to find anyone that would be unhappy with only three songs. A full-length album is scheduled for early 2016 and should provide all the enjoyment of the previous two albums, but with even more refinement and polish.
Project .44 spawned from the depths of the Chicago industrial scene and has included musicians from many prominent industrial bands. The current EP is no exception and includes Louis Svitek (MINISTRY, Mind Funk, MOD), Charles Levi (My Life with the Thrill Kill Kult), and Steven Seibold (Hate Dept.), all behind the main driving force of Project .44, Chris Harris. Harris has been known for his politically charged lyrics and “Revolution” falls right in line with the rest of the Project .44 catalog, both lyrically and musically. Harris is no stranger to politics either as he has been active in his local government for many years, always being an advocate for the people, not the system. “Revolution” wastes no time kicking in with a hammering guitar that takes you prisoner and doesn’t let go. Harris’ distinct vocals come ripping through in familiar distorted Project .44 fashion, with all the hatred and angst of a frustrated teenager. The subtle industrial percussion laid out under the vocals is a nice complement to the heavy guitars, while still maintaining a strong punk feel. The song also includes the ever essential samples that accompany most solid industrial songs, which is a nice addition. One can tell there has been some programming done to “Revolution” by the talented Seibold and the heavy bass licks of Levi can be heard throughout, which only adds to the solidity of the track. The Hate Dept. remix is much more beat laden with the vocals more prominent and not distorted, which allows for the quality of Harris’ voice to shine through. Seibold also added more keyboards to the mix and all but eliminates the guitar of the original song, which gives it a more EDM sound. The Turmoil mix has an even more stripped down feel, seeming more like a demo with Harris’ vocals, once again, being more prominent and less distorted. The guitars show up in this mix, but are very subdued, while the furious drumming radiates through and proves it is the real deal, not programmed.
Some may even recognize a stripped down version that has been played live a few times in the past and was even a favorite of fellow Chicago industrial scene staple, the late Jamie Duffy. You would know if you have ever seen Project .44 live by the band’s high energy shows and the use of a metal garbage can as percussion, continuously pounded by an executioner clad individual named METAL. There is nothing about the Revolution EP that indicates Project .44 has become soft or lost its touch during the hiatus, making this EP worthy of inclusion in any industrial collection.