Plutonium - One Size Fits All

The fact that an album belonging to the extreme metal scene comes from Sweden is enough to raise one ’s  expectations high. One Size Fits All, released midst 2007, is the last up to date endeavor of the (one man actually) outfit, and more precisely, Plutonium ’s  mastermind/ visionist, Mr. J. Carlsson.

     Under a catchy title, the self – proclaimed “dictator”  concentrates his black metal vision. However, the thing is, black metal completes him not, so, he summons an industrial approach;yes, One Size Fits All should be called an industrial black metal album. Beware though: expect not the stereotype/ standard industrial beats in this one. Only sampling occurs that could certainly be seen as a direct reference to the industrial scene;  furthermore these samples definitely flirt with quite a symphonic origin (e.g. World Wide Vulture, Motionless Torment). Essentially, both the riffing (analyzed below) and samples form a modern atmosphere, an atmosphere literally creating images of a post – biomechanical era, sounds of an industrial extravagance.  This modernity in the process, is constant, lurking throughout the album in whole, thus, the release sounds fresh.

     Regarding the musical/ technical part, the riffing is dissonant, disharmonious. Although dissonant it may be, little has to do with the rotten sound of the raw black metal era, even if raw black metal influences have indeed and clearly penetrated Plutonium (e.g. Where Dead Children Feed the Streets, Victory Mansion ’s opening part). Additionally, the riffing is frequently reminiscent of the mighty Dimmu Borgir (World Wide Vulture undoubtedly exemplifies this;Motionless Torment is an illustrative example too, but overall, riffing reminiscent of the Norwegian blacksters is unceasing in One Size Fits All– including the very evolution of a riff/ song). J. Carlsson ’s vocals are an industrial addition too, with the frequently distorted singing extracting Plutonium ‘s cold, yet modern aesthetics (some vocal lines are close to recitation). A major drawback concerns the drumming: although the ideas are notable, (blast beats included), the sound of it is quite a fake one. Drum machines have become popular lately, it is common though for a drum machine to configure a sound close to physical drumming. This happens not  here. On the other hand, this cheap drumming sound may be an attempt to get close to the purely industrial sound; even if it is though, the attempt has failed. On the indifferent bass, stands Lars H., while H. Fossmo is on guitars too.

     Lyrically, the album is intriguing. As for the lyrics’ technique, the approach is quite simplistic. Nevertheless, One Size Fits All‘s lyrical theme is oriented on hopelessness and violence/ submission (be it physical or not); a sense of dictatorship is in the metrics’ air, plus, the following frame is settled, a frame including the authority forcing one (addressing to the listener actually) into submission. Words spoken to one, who ‘s bathed in despair.

     Making a long story short, One Size Fits All is modern/ futuristic black metal. The ideas are above average, the approach is synchronous. The actual problem is that the very ideas are only above average. A notable release;with the aesthetics reflecting today ’s post – industrial visions, black metal is performed.

 7/10 Stelios (Ω)