Godflesh

History

Formation and early years (1982–1988)

The band that would eventually become Godflesh, O.P.D. (Officially Pronounced Dead), formed in 1982 when B. C. Green and Paul Neville, two young musicians living in cheap council estate housing in east Birmingham, started experimenting musically alongside a drum machine. In 1983, the band renamed to Fall of Because, named after a Killing Joke song and a chapter from an Aleister Crowley book. The band found a live drummer, Justin Broadrick, who lived in the same council housing as Green and Neville. Broadrick joined the group in 1984 after organising a concert at The Mermaid in Birmingham. At that show, Fall of Because, Final (Broadrick's first musical act), and an early incarnation of Napalm Death performed before a crowd of twenty-five people. In the months following that concert, Broadrick joined Napalm Death as a guitarist and Fall of Because as a drummer and altered the latter's sound by introducing albums from Swans, Sonic Youth and Discharge to Green and Neville. Only fifteen at the time, Broadrick said he "usurped" their band.

Fall of Because recorded a demo titled Extirpate in 1986, which contained several tracks that would become Godflesh songs. Due to these recordings not being widely available until 1999, they were retrospectively recognised as "eerily" ahead of their time by Exclaim!. Later in 1986, Broadrick was invited to play drums for Head of David, leading to his departure from Napalm Death and soon after from Fall of Because in 1987. Then, in March 1988, he left Head of David for being, according to Broadrick, "too noisy of a drummer", and contacted Green in April to reform Fall of Because as a duo. In that reformation, Broadrick took over on guitar, and the band went back to employing a drum machine for percussion. It was then that the group was renamed Godflesh. Broadrick explained the new name by saying, "I heard someone once say that music is the voice of God. The word 'God' conjures something immense and inconceivable. The 'flesh' part is what effects you on a physical level. Our music is loud and destructive."

Self-titled EP, ''Streetcleaner'' and ''Pure'' (1988–1993)

Inspired by the bleak urban landscape of Birmingham and the extreme music Broadrick introduced to Green, Godflesh took on a distinctly heavier tone than the primarily Cure-influenced Fall of Because. In 1988, the band established a presence in underground music by releasing their self-titled extended play (EP) through the Swordfish label. That EP, considered the source of industrial metal alongside Ministry's 1988 studio album The Land of Rape and Honey, combined programmed industrial beats, distorted vocals, low guitar and driving bass riffs to create the sound that Godflesh would become known for.

Shortly after the Godflesh release, the band recorded another EP titled Tiny Tears comprising four short, rough songs. Before Swordfish could release this EP, though, Godflesh were acquired by Earache Records, and the label's founder, Digby Pearson, convinced Broadrick and Green to shelve Tiny Tears and use the songs as bonus tracks on their first full-length album. The band agreed, and in 1989 they released Streetcleaner, which went on to receive critical acclaim and recognition as a landmark album in heavy metal music.{{efn|name=note4|Streetcleaner reception:

• As musically significant
• As particularly heavy
• As critically acclaimed}} Streetcleaner saw the reintroduction of Neville into the band, this time as the second guitarist, and it marked the band's first release of many on Earache. The album further defined Godflesh's sound, standing out from other metal releases with unusual production that emphasised mechanical beats and percussive bass over guitar. Streetcleaner is regarded as particularly heavy and bleak.

From February to March 1991, Godflesh were again in the studio, recording the Slavestate EP, which saw the band experimenting with dance and more electronic elements. Later that year in April, Godflesh embarked on their first tour of North America (a leg of Earache's Grindcrusher tour) with labelmates Nocturnus and Napalm Death. According to Mike Browning of Nocturnus, most of the shows of the 45-day tour were attended by 200 to 300 people. Godflesh missed the first concert due to permit issues, but they made it to the second date at the L'Amour in Brooklyn. The venue was full, and when Godflesh took the stage, their drum machine failed and the band could not continue. When a replacement machine was eventually found, Broadrick and Green hastily programmed in four songs to be ready for the tour's third show at the Channel in Boston. Despite these initial difficulties, the rest of the tour went well and Godflesh drew surprisingly positive reception. Slavestate was released in July after Grindcrusher had concluded. In August and October 1991, both Broadrick and Green guested on Buried Secrets (1992), an EP by Painkiller.

With the successes of Streetcleaner, Slavestate, a concert opening for Nirvana and the Grindcrusher tour, Godflesh started on their second album, this time without Neville, who chose to focus on his other project, Cable Regime, which featured Broadrick as a recurring producer. To fill the void, Robert Hampson of Loop was brought in to play on half of the new album's tracks as well as on Cold World (1991), an EP recorded in the same sessions. The sophomore album, Pure, was released in 1992 through Earache and has since been recognised as an influential release in the post-metal genre. Musically, Pure was even more mechanical than Streetcleaner, further emphasising the drum machine and featuring production that augmented the percussion with a stark, bleak atmosphere. Though Godflesh's most overt experiments with hip hop and breakbeats occurred later in their career, Pure featured elements of both buried under the wailing guitar, shouted vocals and aggressively repetitive drumming. The album continued its experimentation with atypical song structures on its conclusion, "Pure II", a twenty-minute ambient drone piece with a submerged beat that, as AllMusic's Ned Raggett said, "hits like a distant cannon".

Despite Broadrick's dissatisfaction with the mixing on Pure being "not heavy enough", many critics regarded the album as unrelenting; in a positive review, Spin Mike Gitter wrote that "Hiroshima was probably more fun [than Pure]". In support of the album, Godflesh planned to open for Ministry on another tour of North America, but instead ended up opening for the electro-industrial band Skinny Puppy on their Last Rights (1992) tour. Due again to issues with entering the United States, Godflesh were forced to cancel a number of these dates; they later returned to those markets as headliners to make the missed shows up. Broadrick retrospectively said that this era of the band stands as "the most honest representation of what Godflesh set out to achieve."

''Selfless'', ''Songs of Love and Hate'' and ''Us and Them'' (1994–2000)

After a year of minimal activity in 1993, Godflesh were approached by several record labels. According to Broadrick, Danny Goldberg of Atlantic Records invited them to London and expressed his desire to acquire the band. About this period, Broadrick said, "They really thought that Godflesh could be the next Nine Inch Nails and that we would be selling out fucking stadiums. The buzz at the time was ridiculous. It outweighed the sales, obviously. It was all hype." Ultimately, the band ended up with major record label Columbia for the release of the EP Merciless in 1994, the title track of which was originally a Fall of Because song. Another EP, Messiah was recorded during these sessions, but it was not released on a wide scale until 2003 through Relapse Records. Later in 1994, the band released their third album, Selfless, which represented a shift in the group to a more high-end production approach and to a greater focus on traditional heavy metal riffs. Despite being the band's best-selling record with approximately 180,000 copies shipped, Selfless was deemed a commercial disappointment. This coupled with the ban of Godflesh's first major music video led to the end of their collaboration with Columbia.

Feeling abandoned after being abruptly dropped by Columbia, Godflesh were briefly directionless in 1995. In 1996, the band returned to Earache and created their fourth studio album, Songs of Love and Hate, which was Godflesh's first music made with a human drummer since the early Fall of Because days; Bryan Mantia of Praxis provided the aggressive, non-mechanical drumming. In retrospect, Broadrick believed Songs of Love and Hate marked the point where Godflesh lost sight of their original goal and started making "self-conscious" music. When it came time for the album's 1996 tour, Mantia made the move to join Primus, and Godflesh recruited Ted Parsons of Prong and Swans to perform on the tour in his place. Along with the album's follow-up remix release, Love and Hate in Dub (1997), Songs of Love and Hate moved away from Godflesh's industrial roots into experimentation with conventional verse-chorus format, hip hop, dub and drum and bass. The remix album was supported by a one-off concert on 4 October 1997 at The Garage, London where Broadrick operated a mixing desk, Steve Hough played guitar, Green played bass and Diarmuid Dalton provided support on a Moog synthesiser.

This experimentation continued and increased with Godflesh's next album, Us and Them (1999). While live drumming was dropped again in favour of percussive machines, Us and Them saw the group going further with electronics and drum-and-bass-oriented sound than ever before. Broadrick was quick to admit that he "hated" the album and that it was an "identity crisis". Retrospectively, though, he revised his thoughts, saying that his hatred was overstated despite him still having issues with the album. Shortly after releasing Us and Them in 1999, Godflesh began work on a proposed remix album, Us and Them in Dub. While this album was never released, two tracks from it appeared on the 2001 compilation In All Languages. Also in 1999, Life Is Easy, an album compiling Godflesh's recordings as Fall of Because, was released on the Alleysweeper label and distributed via Martin Atkins' Invisible Records label.

''Hymns'' and dissolution (2001–2002)

Following the release of the double album compilation In All Languages, Godflesh released their sixth studio album, Hymns (2001) through several different labels. The album again saw Godflesh with a human drummer; Parsons returned to provide the live percussion and, according to Broadrick, the inspiration for Godflesh to continue. Hymns marked a dramatic shift away from Godflesh's recent experimentation, moving instead into the realm of direct heavy metal, with only a few tracks revealing hip hop or electronic influence; Broadrick wanted Hymns to be more of a rock album than any other Godflesh releases. The album was recorded in a professional studio and a producer outside of the band was brought in to oversee the process, two firsts for Godflesh that Parsons believed to be mistakes. Despite receiving positive reviews, the final product of Hymns was ultimately dissatisfying for Broadrick, so much so that he restored it to a state resembling its demos on the 2013 reissue. With the band disheartened by ''Hymns''' troubled production and dreading an upcoming tour, the direct future of Godflesh was unclear.

In October 2001, the same month Hymns was released, Broadrick received a call from Green just two weeks before Godflesh were set to tour with Strapping Young Lad and Fear Factory. Over the phone, Green expressed frustration at having to open for young bands despite being in the business since 1982, as well as being forced into a tour for an album that was manipulated from the outside. Green tearfully left Godflesh to return to university and focus on his relationship with his partner. To cope with the departure of his friend, Broadrick devoted all of his effort to maintaining the band. It was quickly announced that Green would be replaced by former Killing Joke and Prong bassist Paul Raven. Though this configuration of Godflesh came up with some ideas for another studio album (namely the usage of a rhythm from Public Enemy's "Shut 'Em Down"), Broadrick was "always aware that a new album was never going to happen". Not long after this short-lived incarnation of Godflesh performed a handful of shows that Broadrick later said "felt completely wrong", he experienced a nervous breakdown the day before departing for another tour of North America, this time with High on Fire and Isis. He recalled the breakdown as a "real Brian Wilson moment" and said, "I felt paralyzed by the stress, which had been building for several months, and I literally couldn't get out of bed. I was numb and couldn't move, so when the car came to pick me up to take me to the airport, I ran and hid at another friend's house in Birmingham." All of the shows were called off, and Godflesh officially disbanded on 10 April 2002.

The cancelled tour caused a number of problems for Broadrick; his thirteen-year relationship with his girlfriend dissolved, and a bus driver who had been hired for the tour threatened his life. In a panic, Broadrick remortgaged his house and amassed approximately US$35,000 to pay the driver and everyone else who had been affected by the cancellation. Broadrick, at a low point in his life, was left with little to do but work on new, different music. About the period, he said, "My only solace, my only escape at that time was recording the first Jesu album." "Jesu", the closing track of Hymns and, until 2014, the last original Godflesh song, ended with a hidden passage of unusual peacefulness and melodicism. Broadrick's next project, bearing the same title of Jesu, adopted that shoegaze sound and the new band's first EP, Heart Ache, was released in 2004. On promotional material for Heart Ache, a message from Broadrick read, "Godflesh is dead, long live Jesu."

Reformation (2009–2013)

After Godflesh's dissolution, Broadrick and Green rarely spoke. Though there was no falling out between the two members, Broadrick assumed the project permanently dead, believing that Green's interest in it was gone. Regardless, Broadrick decided in 2009 to approach Green with an offer to reform, something that promoters had been pushing for years. Green responded to Broadrick's call within a few hours, saying he would love to do it. Both members quickly agreed that the most important thing for the reunion's integrity was that they return to a drum machine for percussion. In November 2009, the reunion was made public when Godflesh announced they would perform at the 2010 edition of the Hellfest Summer Open Air in Clisson, France. Asked in a February 2010 interview about Godflesh's future, Broadrick replied, "Godflesh will not commit to anything but Hellfest currently. I am unsure as to where we will go from there, if we go anywhere at all." He also revealed that the likelihood of new material was "fairly minimal", but that the possibility still existed; though later, in 2014, he insisted that "ultimately, the whole reformation thing was pretty much fundamentally about wanting to make new music". On 18 June 2010, Godflesh performed for their first time since 2001 at Hellfest. The show was fraught with technical difficulties, ending up as a forty-minute set instead of the intended sixty minutes. Despite the frustration of the return performance, Godflesh continued to play festivals throughout 2010 and 2011, including the 2011 edition of the Roadburn festival in Tilburg, Netherlands, where they performed their first album, Streetcleaner, in its entirety. This performance was later released as the group's first live album in 2013.

In December 2010, Broadrick revealed to Decibel magazine that Godflesh were gradually assembling new ideas for a studio album. He explained, "It's something we're discussing all the time, and I do have bits and pieces of material. But it's something we'd really like to develop. It'd be quite easy to knock out eight to ten in-character songs and release it as quickly as possible to capitalise on the popularity of the group, but it would feel entirely wrong." In 2011, Godflesh (along with Black Sabbath, Napalm Death, Judas Priest and Led Zeppelin) were recognised by the UK-based Home of Metal archival project as significant contributors to the heavy metal genre. With this accolade absorbed, Broadrick continued to confirm the existence of a new Godflesh album throughout 2012, saying it would most likely be out in 2013 after a new EP. In 2013, Godflesh released their first new recording in over twelve years, a cover of Slaughter's "F.O.D. (Fuck of Death)", through Decibel magazine's flexi disc Series. The flexi disc was included in the November 2013 issue of Decibel. Later in 2013, Godflesh performed Pure in its entirety at Roadburn, featuring Hampson on guitar for part of the set. In 2014, Broadrick said that disbanding Godflesh was the best thing they had ever done and stated that the upcoming album was his favourite since 1994's Selfless.

''A World Lit Only by Fire'' and ''Post Self'' (2014–2021)

From 2012 to 2014, Godflesh were in Broadrick's private studio, working on their seventh album. The process was slow due to Broadrick's commitment to making a proper Godflesh album instead of a hollow exploitation of the reformation's media attention. After a long revision process, the 2014 EP Decline & Fall and the 2014 album A World Lit Only by Fire came out of those sessions, both of which featured Broadrick on an eight-string guitar. The album was the band's first to chart in the U.S., and it was met with critical acclaim, drawing praise for its extreme weight and being lauded as the ideal return for Godflesh. Musically, Broadrick stated A World Lit Only by Fire was most similar to Streetcleaner and Pure, and Green added that it was "spiritually" close to those first few releases. About the album's sound, Broadrick said, "It's extremely minimal and very, very brutal — a fairly unforgiving record, really, I think." Decline & Fall and A World Lit Only by Fire were heavy, distorted, riff-driven industrial releases that Broadrick saw as a return to the direct simplicity of Godflesh's original form. All of the recording, engineering, artwork and packaging was done by Godflesh through Broadrick's own label, Avalanche Recordings.

Following a number of tours in support of A World Lit Only by Fire and an attempt at an In Dub remix release with Parsons providing additional drumming, Godflesh returned to the studio in 2016 for a new album. Post Self, the band's eighth studio album, was released on 17 November 2017, shortly after another performance of Streetcleaner in its entirety. Unlike A World Lit Only by Fire focus on making a bombastic comeback, Post Self proved more introspective and moody. Most of the traditional metal riffs were dropped in favour of atmosphere, noise and experimentation. Post Self received similar high praise as its predecessor, and both appeared on several publications' year-end lists. After the release of Post Self, Broadrick avoided interviews, hoping to give listeners time to form their own opinions on the music and to retain some of the album's "mystique". Godflesh embarked on a few brief tours and played scattered festivals, including the 2018 edition of Roadburn where they performed all of Selfless live for the first time. Broadrick spent a month reprogramming the album's percussion from scratch since the original drum parts no longer existed. In an interview with French magazine New Noise, Broadrick said that Selfless was the last Godflesh album he wanted to play in its entirety.

A compilation album titled Long Live the New Flesh was released in July 2021. The album featured most of the band's studio material released since reformation in 2010. A shortened digital edition, New Flesh in Dub Vol 1, comprising the majority of Godflesh's reformation-era remixes alongside two otherwise unreleased tracks from the Post Self sessions, was released ahead of the full compilation.

''Purge'' (2022–present)

Godflesh had started work on a new album by January 2022, and a live album documenting the performance of Pure at Roadburn 2013, titled Pure : Live, was released in November that year. The band's ninth studio album, Purge, was released in June 2023, preceded by the singles "Nero" and "Land Lord". Near the end of the following year, on 6 December 2024, Godflesh released A World Lit Only by Dub, a remix album of 2014's A World Lit Only by Fire that had been in the works since 2013.

Style and influence

Musical style and legacy

Drawing inspiration from early industrial and noise groups such as Throbbing Gristle and Whitehouse, as well as from ambient musician Brian Eno, noise rock band Swans, post-punk innovators Killing Joke and also Siouxsie and the Banshees and Public Image Ltd., fellow Birmingham heavy metal band Black Sabbath and a wide range of hip hop artists such as Public Enemy, Eric B. & Rakim and Run-DMC,{{efn|name=note2|Influences on Godflesh:

• Throbbing Gristle
• Whitehouse
• Brian Eno
• Swans
• Killing Joke
• Siouxsie and the Banshees
• Public Image Ltd.
• Big Black
• Black Sabbath
• Public Enemy, Eric B. & Rakim and Run-DMC
• Industrial metal
• Post-metal
• Experimental metal
• Extreme metal

Despite being considered a pioneer of industrial metal, Broadrick has stated that he finds that term to be "limiting," and further said that "I've always maintained that we're a rock band. We never came up with the term industrial metal; it was just that we were influenced as much by Throbbing Gristle as we were Black Sabbath."

Godflesh's sound is characterised by a combination of programmed drum machine beats, percussive bass and distorted heavy metal guitar. Though the band would later employ human drumming for Songs of Love and Hate and Hymns in 1996 and 2001 respectively (a decision that Broadrick believed compromised the group's musical identity), Godflesh's early sound was dominated by artificial, stiff drum loops and an uncommon focus on bass. On those early influential releases, the rhythms, synths and samples were credited to "Machine" or "Machines" despite being done by Broadrick. Initially, the employment of mechanical percussion was done out of necessity. When Broadrick rejoined Fall of Because with Green to form Godflesh, the beats he desired were too difficult to play acoustically, so he instead used an Alesis HR-16 drum machine; this decision would prove defining for both Godflesh and for industrial metal at large. Godflesh's writing and recording process is guided by Broadrick and generally happens without the aid of a professional studio or producer. According to Broadrick, "50% of the Godflesh material was often born from rhythms and grooves", and he called the hands-on recording process "primitive".

About the band's tuning, Green said in a 1997 interview, "We would just tune down as low as we could. We couldn't hear anything! But eventually we had to pick a pitch to tune to, so we chose C-sharp. It's low and heavy, but you can still make out the notes." For the early Godflesh albums, the guitars are tuned down to B. Starting with 2014's A World Lit Only by Fire, Broadrick started using an 8-string guitar tuned to F sharp.

Mike Patton of bands Faith No More and Mr. Bungle is a fan of Godflesh's sound, calling them "ridiculously heavy" and "one of the few bands that can make you wonder whether or not your batteries are running out on your stereo." Patton invited Broadrick to join Faith No More as guitarist after Jim Martin left the band in 1993. He was also asked to join Danzig shortly after Godflesh toured the U.S. with them and Type O Negative in 1994. In both instances, Broadrick declined the offer in favour of continuing to reside in the United Kingdom and work on his own music. Other artists such as Metallica, Fear Factory, Korn, Isis, Neurosis, Pelican, Prurient, Helmet, Prong, Nailbomb, Code Orange, Mortiis, Devin Townsend and Converge were inspired by Godflesh,{{efn|name=note3|Godflesh's influence on other bands:

• Metallica
• Fear Factory
• Korn
• Isis
• Neurosis
• Pelican
• Prurient
• Helmet
• Prong
• Nailbomb
• Code Orange
• Mortiis
• Danzig
• Devin Townsend
• Converge
• Faith No More

Visual style

Being interested in horror and art house cinema, both Broadrick and Green incorporated many references to such films in Godflesh. The image on the front of 1988's Godflesh EP is a still from the 1966 John Frankenheimer film Seconds. Streetcleaner cover is an image from the movie Altered States, a 1980 horror film by director Ken Russell, and the album's liner notes feature frames from David Lynch's Eraserhead (1977). The cover of Merciless is derived from the 1943 experimental film Meshes of the Afternoon, by Maya Deren. Broadrick repeatedly cited another Russell movie, The Devils (1971), as an influence of Godflesh's sound. Additionally, Godflesh appeared in the 1995 film Hideaway; during one of the movie's club scenes, Broadrick and Green can be seen playing onstage in the background, performing the song "Nihil" from Cold World.

Apart from cinema, Christian iconography helped inform Godflesh's visual style. Broadrick, originally anti-religious, found churches and their related imagery intimidating. In a 2006 interview, Broadrick said, "The imagery of religion, the feeling of like when you walk into a cathedral, the huge feeling of intimidation that you get from Christian religion – everything to do with religion I find totally obsessive." Broadrick described the worship setting as "suffocating" and "claustrophobic", saying it played a large role in forming Godflesh's style. The covers of Streetcleaner, Songs of Love and Hate, Love and Hate in Dub and A World Lit Only by Fire showcase such Christian imagery, as do Godflesh's live performances.

Vocal style and lyrical themes

Early Godflesh vocals came in the form of screaming and death growls, and lyrics were scarce. Over time, Broadrick's delivery expanded to include singing, softness and moments of melody, all things that he would further explore with Jesu. Songs of Love and Hate and Hymns saw Godflesh's greatest profusion of vocals, while A World Lit Only by Fire and Post Self returned to Broadrick's predominantly succinct style. Broadrick's voice has been compared to Killing Joke singer Jaz Coleman's, a self-proclaimed vocal influence in addition to Kelvin Morris from Discharge and Michael Gira's early work with Swans. Godflesh lyrics are cryptic, bleak and generally sparse. Many of Godflesh's themes deal with inner conflict, violence, destruction, corruption, religion, loss, emotional extremes and fear. In 2012, Broadrick stated that singing was "a necessary evil" to him and that he never felt he could do it properly; the role of vocalist came to him simply because he was bold enough to approach the microphone.

In a 1990 review of the band's self-titled EP, Simon Reynolds of Melody Maker noted that Godflesh's music rebelled against the overt masculinity found in most metal; he wrote, "Rather than feminise themselves, they'd rather their masculinity was defeated, their strong bodies crushed and pulverised". Broadrick echoed this sentiment in the same year, insulting the "celebration of male ego that comes with most metal" and distancing Godflesh from masculine expression; he reinforced his stance in 2012, saying, "Godflesh isn't that all-conquering male thing, on stage with a fucking sword and saying they're going to 'rape and pillage'. Pure comedy." Throughout the group's career, Broadrick continued to emphasise the defensive quality of the music over its offensive quality, citing aggression as a shield against the traumas of the world.

Broadrick has taken significant lyrical and thematic inspiration from Leonard Cohen. Both artists have an album titled Songs of Love and Hate, and the Godflesh track "Avalanche Master Song" combines two Cohen song titles. In the song "Mothra" (from Pure), Godflesh borrows the lyrics "Your pain is no credential here / It's just the shadow of my wound" from the song "Avalanche" on the aforementioned Cohen album.

Live performances

Godflesh typically perform as a duo, with Green playing bass and Broadrick providing both guitar and vocals while the percussion is relayed over the speakers, often at a notably high volume. This lineup, however, has not been constant over the band's career. In concerts supporting Streetcleaner, Neville occasionally came onstage and played second guitar, and Hampson did the same for Pure. For the tours in support of Selfless, Songs of Love and Hate and Hymns, the band played with a live drummer, though Broadrick believed this incorporation to be a misstep. In a 2014 interview, he clarified that the percussive additions of Mantia and Parsons brought "something amazing" to Godflesh, but that the band's name should have changed so as to not dilute the original focus on machine drums. A handful of other musicians have briefly performed with Godflesh: Mick Harris in 1991; Diarmuid Dalton in 1997, 1999 and 2001; Steve Hough in 1997 and 1999 and both Paul Raven and Jaz Coleman of Killing Joke in 2002.

The band's stage show is, like their music, minimal and focused. Godflesh only occasionally employ a smoke machine, and the lights are generally static; Toby Cook of The Quietus highlighted this unusual approach in a review of a 2014 concert, writing, "Over-lit and with no dry ice in sight, they look alarmingly exposed". Images of industrial urban sprawls, Christian iconography and apocalyptic landscapes cycle through the projector. The music itself is presented as noisy and overwhelming, with some critics calling the sound even more cacophonous and dissonant than the band's studio work. Gaps between songs are normally filled with feedback, and the band rarely speak to the crowd. In response to a question about Godflesh's laconic stage presence, Broadrick said, "I don't communicate with people. We just make music. We come on stage and I don't say anything to anyone. And that alone made people really mad. I find it really bizarre. I can't believe that people would disown a band because I'm not telling them how much I'm going to kick their asses tonight."

In a 2011 interview, Broadrick called playing live "a necessary evil" that is "so rarely right and so frequently wrong", but at the same time said that Godflesh "is probably even more so a live band than it is a recorded band" because those imperfections only work to accentuate the grinding chaos of the music (which is something that critics have noticed, too). Broadrick went on to say that it was the "rage" of Godflesh that made it work in a live setting.

Members

Current lineup

• Justin Broadrick – guitars, vocals, programming (1988–2002, 2009–present), drums (1984–1987)
• B. C. Green – bass, programming (1982–1987, 1988–2001, 2009–present), vocals (1982–1984)

Former members

• Paul Neville – guitars (1982–1987, 1989–1991), vocals, tape (1984–1987)
• Robert Hampson – guitars (1991–1992)
• Bryan Mantia – drums (1994–1996)
• Ted Parsons – drums (1996–2002)
• Paul Raven – bass (2002; died 2007)

Former touring musicians

• Mick Harris – drums (1991)
• Steve Hough – guitars (1997, 1999)
• Diarmuid Dalton – keyboards (1997, 1999, 2001)

Timeline

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PlotData = width:11 bar:OPD from:start till:01/01/1983 color:band bar:FOB from:01/01/1983 till:02/01/1987 color:band bar:GOD from:04/01/1988 till:04/10/2002 color:band bar:GOD from:11/01/2009 till:end color:band bar:Justin from:06/01/1984 till:02/01/1987 color:drums bar:Justin from:06/01/1984 till:02/01/1987 color:vocals width:3 bar:Justin from:04/01/1988 till:04/10/2002 color:guitar bar:Justin from:11/01/2009 till:end color:guitar bar:Justin from:04/01/1988 till:04/10/2002 color:vocals width:3 bar:Justin from:11/01/2009 till:end color:vocals width:3 bar:Paul from:start till:02/01/1987 color:guitar bar:Paul from:06/01/1984 till:02/01/1987 color:vocals width:3 bar:Paul from:06/18/1989 till:09/01/1991 color:guitar bar:Robert from:10/01/1991 till:12/01/1992 color:guitar bar:GC from:start till:02/01/1987 color:bass bar:GC from:start till:06/01/1984 color:vocals width:3 bar:GC from:04/01/1988 till:12/01/2001 color:bass bar:GC from:02/01/1996 till:03/28/1996 color:vocals width:3 bar:GC from:11/01/2009 till:end color:bass bar:Paul2 from:01/01/2002 till:04/10/2002 color:bass bar:Bryan from:10/01/1994 till:05/31/1996 color:drums bar:Ted from:06/01/1996 till:04/10/2002 color:drums

Discography

Main article: Godflesh discography, List of songs recorded by Godflesh

• Streetcleaner (1989)
• Pure (1992)
• Selfless (1994)
• Songs of Love and Hate (1996)
• Us and Them (1999)
• Hymns (2001)
• A World Lit Only by Fire (2014)
• Post Self (2017)
• Purge (2023)

References

Notes

References

1. "Pinned Answers to Some of the Most Frequently/Repeatedly Asked Questions".
2. (January 13, 2022). "Godflesh - Demoing New Album". [[Metal Storm (webzine).
3. (2022). "Pure : Live". [[Avalanche Recordings]].
4. "Godflesh Announce New Album ''Purge'' for Release in June".
5. "Godflesh Map Out North American Tour, Share New Song "Nero"".
6. "Nero".
7. (2024). "A World Lit Only by Dub". [[Avalanche Recordings]].
8. Chuter, Jack. (March 25, 2012). "Interview: Justin Broadrick".
9. "Holy Shit, It's the Return of Industrial-Metal Icons Godflesh".
10. (10 October 2018). "Heavy Metal Techno: JK Flesh on Futurism, DIY Culture, and the Beauty of Non-Music". [[Electronic Beats]].
11. Long, Sean. "Godflesh: Interview with Justin Broadrick". POGO Zine.
12. Bennett, J. (8 July 2014). "Justin Broadrick on the Secret History of Godflesh". [[Vice (magazine).
13. Ankeny, Jason. "Fall of Because – Biography & History".
14. "Fall of Because Discography". Crumbling Flesh.
15. Birchmeier, Jason. "Justin Broadrick – Biography & History".
16. Cimarusti, Luca. (8 April 2014). "Artist on Artist: Justin Broadrick of Godflesh Talks to Producer Sanford Parker". [[Chicago Reader]].
17. . (1991). ["Godflesh 1991"](http://homeofmetal.com/the-archive/godflesh-biography/). *[[Earache Records]]*.
18. Thompson, David. (1 December 1992). "Industrial Revolution". [[Cleopatra Records]].
19. Walczak, René. (Fall 1992). "Godflesh: Strength Through Purity". [[Propaganda (magazine).
20. Horsley, Jonathan. (7 October 2011). "Justin Broadrick Interview: Godflesh, Growing Up and Anarcho-Punk". [[Decibel (magazine).
21. Jones, Cat. (18 September 2013). "Exclusive Interview with Justin Broadrick on All Things Jesu and Godflesh". [[MetalSucks]].
22. Walters, Martin. "Godflesh – Godflesh".
23. Doran, John. "Godflesh – Band Information". Home of Metal.
24. Pearson, Digby. (22 August 2006). "Godflesh – 'Tiny Tears' 12-inch?". [[Earache Records]].
25. Jahdi, Robin. (15 September 2012). "Neurosis on Working with Steve Albini, Locking Horns with Godflesh and Making Time Stand Still". [[Fact (UK magazine).
26. (30 May 2018). "Watch Godflesh Deliver Crushing 'Like Rats' Performance in Brooklyn". [[Revolver (magazine).
27. "Terrorizer – 100 Most Important Albums of the Eighties". [[Terrorizer (magazine).
28. Christopher, Roy. (1 December 1997). "Godflesh: Heads Ain't Ready". Slap.
29. Christopher, Roy. "Godflesh Streetcleaner: My 33 1/3 Book Proposal".
30. "The 30 Most Underrated Hard Rock + Metal Guitarists". [[Loudwire]].
31. Yardley, Miranda. (11 November 2011). "The Heaviest Albums Ever: The Albums Kerrang! Forgot". [[Terrorizer (magazine).
32. (4 May 2011). "The Twenty Heaviest (Metal) Records of All Time". [[NME]].
33. Kot, Greg. (21 May 1992). "Technology Expands Skinny Puppy's Apocalyptic Sound". [[Chicago Tribune]].
34. Fisher, Mark. (August 2010). "Godflesh – Streetcleaner". [[The Wire (magazine).
35. (December 1998). "The 90 Greatest Albums of the '90s". [[Alternative Press (magazine).
36. Rivadavia, Eduardo. "The Best Metal Album from 40 Subgenres". [[Loudwire]].
37. (1989). "Streetcleaner". [[Earache Records]].
38. Christe, Ian. "The 100 Greatest Metal Albums of All Time".
39. Raggett, Ned. "Godflesh – Slavestate".
40. Collepiccolo, Luca. (April 1992). "Godflesh – Into the Void". Blast!.
41. Mudrian, Albert. (2004). "[[Choosing Death: The Improbable History of Death Metal & Grindcore]]". [[Bazillion Points]].
42. (April 1997). "Godflesh Interview". Under the Volcano.
43. "Painkiller – Buried Secrets".
44. Turner, Luke. (18 November 2009). "Greymachine: Justin Broadrick and Aaron Turner United". [[The Quietus]].
45. "Justin Broadrick – Credits".
46. (1992). "Life in the House of the Enemy". Permis de Construire Deutschland.
47. Raggett, Ned. "Godflesh – Cold World".
48. Jahdi, Robin. (24 June 2015). "The 40 Best Post-Metal Records Ever Made". [[Fact (UK magazine).
49. Christopher, Roy. "Godflesh: Uneasy Listening".
50. Hollings, Ken. (August 1999). "Soundcheck: Godflesh – Us and Them". [[The Wire (magazine).
51. Raggett, Ned. "Godflesh – Pure".
52. Kulkarni, Neil. (28 May 2014). "Loopflesh: Justin Broadrick and Robert Hampson Interviewed". [[The Quietus]].
53. (June 1992). "Godflesh – Noise²". [[RIP Magazine]].
54. Gitter, Mike. (June 1992). "Godflesh – Pure (Earache/Relativity)". [[Spin (magazine).
55. "Godflesh – Justin Broadrick Interview". Convulsion Online.
56. Turman, Katherine. (15 July 1992). "Skinny Puppy; Godflesh". [[Variety (magazine).
57. Kern, Jay. (January 2014). "Skinny Puppy – Synthesis". Mythos Press.
58. Hennessy, Kate. (3 October 2014). "Interview: Justin Broadrick". [[The Quietus]].
59. (1999). "Life Is Easy". [[Invisible Records]].
60. Ayers, Chris. "Godflesh – Messiah". [[Exclaim!]].
61. (2003). "Messiah". [[Relapse Records]].
62. Kinski, Klaus. (21 September 2009). "An Interview with Justin K. Broadrick". [[BrooklynVegan]].
63. Raggett, Ned. "Godflesh – Selfless".
64. Nasrallah, Dimitri. "Justin Broadrick: Napalm Death – Godflesh – Techno Animal – Jesu – Pale Sketcher". [[Exclaim!]].
65. Buckley, Peter. (2003). "The Rough Guide to Rock". [[Rough Guides]].
66. Broadrick, Justin. (4 September 1996). "Godflesh Interviewed". [[RIP Magazine]].
67. Pascual, Tomas. (April 1997). "Godflesh Deals with Real Horror or a Day at the Beach". [[Metal Maniacs]].
68. Palmerston, Sean. (July 1997). "Godflesh". [[Exclaim!]].
69. Birchmeier, Jason. "Godflesh – Songs of Love and Hate".
70. Haynes, Rob. (20 June 2010). "Godflesh to Play Supersonic. Justin Broadrick Talks Reformation". [[The Quietus]].
71. Broadrick, Justin. (21 April 2018). "EX.406 Justin Broadrick – Kicking Against the Pricks with the Birmingham Prodigy". [[Resident Advisor]].
72. Eglinton, Mark. (19 February 2009). "Godflesh – Songs of Love and Hate Reissue". [[The Quietus]].
73. (November 1997). "Godflesh at The Garage in Highbury, London – 4 October 1997". [[Terrorizer (magazine).
74. Bush, John. "Godflesh – Us and Them".
75. Bromley, Adrian. "Hymns of Progression". [[Chronicles of Chaos (webzine).
76. Suarez, Gary. "Voidhead: Justin Broadrick on the End of Godflesh". [[Consequence of Sound]].
77. Gabler, Pete. (July 1999). "Peeling Back the Flesh". [[Metal Hammer]].
78. Broadrick, Justin. "Avalanche: Godflesh Page 1".
79. (2001). "In All Languages". [[Earache Records]].
80. (2001). "Hymns". [[Music for Nations]].
81. (2001). "Hymns". [[Koch Records]].
82. Westland, Raymond. (25 September 2013). "Jesu Versus Godflesh – an Interview with Justin Broadrick". Ghost Cult.
83. Bartkewicz, Anthony. (March 2007). "Justin Broadrick". [[Decibel (magazine).
84. Fernando, S.H.. "Interview: Swans, Prong, and Godflesh Drummer Ted Parsons". [[Red Bull Music Academy.
85. (2013). "Hymns ''(remastered)''". [[The End Records]].
86. Wiederhorn, Jon. (October 2014). "Godflesh: Long Live the New Flesh". [[Revolver (magazine).
87. Wiederhorn, Jon. "Godflesh Singer Suffers Breakdown, Breaks Up Band". [[MTV]].
88. Parks, Andrew. (10 October 2014). "Godflesh and the Horror of Everyday Life". [[Wondering Sound]].
89. Chick, Stevie. "Till Deaf Us Do Part". [[TheGuardian.com]].
90. Harris, Chris. (22 February 2007). "Metal File: Jesu, Obituary, Animosity & More News That Rules". [[MTV]].
91. Terich, Jeff. (22 February 2013). "Godflesh: Hymns (Special Edition)". Treble.
92. (2004). "Heart Ache". Dry Run Recordings.
93. Teitelman, Bram. (23 September 2014). "Justin Broadrick Talks the Rebirth of Godflesh". Metal Insider.
94. Jahdi, Robin. (18 October 2010). "Justin Broadrick: Past Meets Present". [[Fact (UK magazine).
95. (30 November 2009). "Godflesh Reunite for France's Hellfest". Metal Injection.
96. "Godflesh Mainman Doesn't Rule Out Possibility of New Material". [[Blabbermouth.net]].
97. (28 June 2010). "Godflesh Reunion a Disaster (According to Justin Broadrick)". [[BrooklynVegan]].
98. Barthels, Élodie. "Interview – Godflesh". Shoot Me Again.
99. Yardley, Miranda. (27 October 2010). "Godflesh to Perform 'Streetcleaner' in its Entirety at Roadburn Festival 2011". [[Terrorizer (magazine).
100. "Reunited Godflesh Working on New Material". [[Blabbermouth.net]].
101. Mudrian, Albert. (30 August 2013). "Subscribe to Decibel for an Exclusive Godflesh Flexi Disc". [[Decibel (magazine).
102. Bonazelli, Andre. (19 September 2013). "Fear, Emptiness, Decibel: Stream Godflesh's Cover of Slaughter's 'F.O.D. (F*ck of Death)'!". [[MetalSucks]].
103. "Saturday, April 20th – Roadburn". [[Roadburn Festival]].
104. (19 April 2012). "Godflesh to Headline Roadburn Festival 2013 Performing 'Pure' in its Entirety for the First Time Ever". The Sleeping Shaman.
105. Falzon, Denise. "Godflesh's Justin K. Broadrick Talks Returning to Their Old-School Sound on First Album in 13 Years". [[Exclaim!]].
106. Petersen, Albert. "Justin Broadrick of Godflesh: Australia Bound". Metal as Fuck.
107. Bowes, David. (11 August 2014). "Godflesh: Justin K. Broadrick Talks to Dave Bowes About the Past, Present & Future". The Sleeping Shaman.
108. (24 September 2014). "Quite Annihilating: A Chat with Justin Broadrick of Godflesh". [[Invisible Oranges]].
109. Rosenberg, Axl. (8 May 2014). "OMG New Godflesh EP". [[MetalSucks]].
110. "Godflesh Chart History – Heatseekers Albums".
111. "A World Lit Only by Fire by Godflesh".
112. Falzon, Denise. (3 October 2014). "Godflesh: A World Lit Only by Fire". [[Exclaim!]].
113. (5 August 2014). "Godflesh to Release 'A World Lit Only by Fire' Album in October; First Song Streaming". [[Blabbermouth.net]].
114. Lindsay, Cam. (27 September 2013). "Godflesh and Angel Dust to Jesu and Children's Music: The Evolution of Justin Broadrick". [[Vice (magazine).
115. Aloras, Dimitris. (24 September 2017). "Justin Broadrick (Godflesh) on Rock Overdose: 'The New Album Encompasses All the Sides of Godflesh'". Rock Overdose.
116. (7 November 2017). "Godflesh played 'Streetcleaner,' Jesu & Prurient & Nothing Collabed, & More at Hospital Productions Anniversary (Pics, Video)". [[Brooklyn Vegan]].
117. Mitras, Thanos. (25 October 2017). "Interview with Justin Broadrick (Godflesh, Zonal)". Metal Invader.
118. Simpson, Paul. "Godflesh – Post Self".
119. "Post Self by Godflesh".
120. "Godflesh – A World Lit Only by Fire". Album of the Year.
121. "Godflesh – Post Self". Album of the Year.
122. Mudrian, Albert. (17 October 2018). "Godflesh's Justin Broadrick: 'I Never Feel Comfortable at Any Festival'". [[Decibel (magazine).
123. Broadrick, Justin. (15 May 2018). "Roadburn 2018: Justin K. Broadrick (Godflesh) Interview". Never Mind the Hype.
124. . (January–February 2018). ["Godflesh Interview"](http://www.noisemag.net/shop/new-noise-42-anna-von-hausswolff/).
125. "Justin Broadrick on... Justin Broadrick". Self-Titled.
126. Kelly, Jennifer. (17 June 2007). "Relinquishing This World of Brutal Music: An Interview with Jesu's Justin Broadrick". [[PopMatters]].
127. Ruffin, Josh. (23 October 2007). "Justin Broadrick: Existing Through Risk". Metro Spirit.
128. Stosuy, Brandon. (3 October 2014). "Godflesh – Show No Mercy". [[Pitchfork (website).
129. Babcock, Jay W.. (December 1996). "In Godflesh We Trust". RIP Magazine.
130. Hennessy, Kate. (16 October 2014). "Central to Process: Justin Broadrick's Favourite Albums". [[The Quietus]].
131. Pettigrew, Jason. (March 1991). "Godflesh: The Power of Positive Paradoxes". [[Alternative Press (magazine).
132. (1 April 2004). "The New Metal Masters". Blackbeat Books.
133. Burnett, Joseph. (9 May 2012). "Extreme Language: an Interview with Justin K. Broadrick". [[The Quietus]].
134. Prato, Greg. "Godflesh – Biography & History".
135. Gardner, Noel. (9 August 2010). "Godflesh – Streetcleaner (Reissue)". [[The Quietus]].
136. (28 August 2014). "Top 11 Influential Minds of Industrial Metal". [[Consequence of Sound]].
137. Chillingworth, Alec. (26 September 2014). "The Bluffer's Guide: Industrial Metal". [[Metal Hammer]].
138. O'Connor, Andy. "Godflesh: 'Imperator'". [[Pitchfork (website).
139. Wiederhorn, Jon. (4 August 2016). "A Brief History of Post-Metal". [[Bandcamp]].
140. Nelson, Michael. (6 November 2012). "Isis – 'Streetcleaner' (Godflesh Cover) (Stereogum Premiere)". [[Stereogum]].
141. Caramanica, Joe. (20 September 2005). "The Alchemy of Art-World Heavy Metal". [[The New York Times]].
142. Lawson, Dom. "Godflesh: A World Lit Only by Fire Review – Pioneers of Heavy Experimental Music Return". [[TheGuardian.com]].
143. Gardner, Noel. (21 August 2009). "Godflesh – Slavestate, Pure, Cold World Reissues". [[The Quietus]].
144. (24 June 2013). "The 100 Best Albums of the 1980s". [[Fact (UK magazine).
145. Kailas. (16 July 2011). "Architects of Rage: Godflesh on Streetcleaner [Interview]". Trebuchet.
146. Ringo, Brandon. (7 November 2017). "Godflesh: Making Brutally Extreme Metal with Two Guys and a Drum Machine".
147. Bannon, Jacob. "Godflesh". [[Roadburn Festival]].
148. Rivadavia, Eduardo. "Godflesh – Messiah".
149. Chalmers, Anthony. (22 May 2018). "Playlist: Raw Power Staff Picks". [[The Quietus]].
150. Pehling, Dave. (26 May 2018). "Iconic UK Punk Group Headlines Independent in SF". [[CBS]].
151. (16 May 2013). "Godflesh – Interview Lomax". Le 106.
152. (24 August 2013). "Justin Broadrick and G. C. Green of Godflesh Interview Moscow, Russia, 2013".
153. Pettigrew, Jason. (June 1992). "Godflesh – Louder Than Life". [[Alternative Press (magazine).
154. Ivers, Brandon. (12 April 2007). "Justin Broadrick in the Studio". [[XLR8R]].
155. Whelan, Kez. (6 October 2014). "Godflesh: Interview & Album Stream". [[Terrorizer (magazine).
156. Paone, Caroline. (June 1997). "Benny Green's Tumultuous Soundscapes". [[Bass Player (magazine).
157. Patton, Mike. (1992). "The Making of Angel Dust". [[MTV]].
158. Walschots, Natalie Zina. "Faith No More – Return of the King". [[Exclaim!]].
159. Pearson, Digby. (21 June 2006). "Godflesh and Hammett/Metallica". [[Earache Records]].
160. Cazares, Dino. (15 August 2015). "Dino Cazares on 'Genexus', 'Rip Off' Clarification, Live & Programmed Drums & Technology (2015)". Metal Wani.
161. Camp, Zoe. (2 July 2014). "Godflesh – Decline and Fall EP". [[Pitchfork (website).
162. Turner, Aaron. "Aaron Turner's Top 10 Live Acts, from Merzbow & Full of Hell to Jon Mueller". Self-Titled.
163. Brown, Gavin. (23 April 2016). "Interview: Aaron Turner (Mamiffer, Sumac, Old Man Gloom)". Echoes and Dust.
164. de Brauw, Trevor. "Interview: When Pelican Met Jesu". Self-Titled.
165. Fernow, Dominick. (16 April 2018). "Godflesh's 'Streetcleaner': Justin Broadrick, Nothing, Prurient on Revolutionary LP".
166. MacMurdo, Walker. (23 September 2015). "Mic Check: Prurient". [[Willamette Week]].
167. Gonzales, Ron. (5 October 2007). "Jesu Frontman Puts Thought into Heavy Music". [[Albuquerque Journal]].
168. (27 January 2009). "Interview: Tommy Victor, Prong". [[Invisible Oranges]].
169. (24 October 2017). "Hellraisers: A Complete Visual History of Heavy Metal Mayhem". Race Point Publishing.
170. Randon, Danny. "Code Orange: 'We Wanted to Drop This Thing Like a Bomb'". Upset Magazine.
171. Pessaro, Fred. (11 December 2017). "Best of 2017: Code Orange's Jami Morgan Picks Best Music of Year". [[Revolver (magazine).
172. Morton, Luke. (27 February 2017). "Mortiis Talks Remix Albums, Godflesh, and the State of Industrial Metal". [[Metal Hammer]].
173. Bellino, Vince. (27 February 2017). "Track Premiere: Mortiis – 'The Great Leap (Godflesh Remix)'". [[Decibel (magazine).
174. Yardley, Miranda. (19 October 2011). "Devin Townsend: 'I Found Out About Playing Damnation Festival on Twitter'". [[Terrorizer (magazine).
175. Stasis, Spyros. (15 December 2017). "Godflesh: Post Self". [[PopMatters]].
176. (11 April 2014). "Show Review: Godflesh Bring People Together". [[MetalSucks]].
177. Nanos, Darren. "Godflesh – Self-Titled EP (1988)". Just a Visual.
178. "Godflesh Artwork Descriptions". Crumbling Flesh.
179. "Godflesh".
180. DeSimone, Nick. (31 October 2014). "Metal Insider Top 5: Metal Songs in Horror Movies". Metal Insider.
181. Dicker, Holly. "Playing Favourites: Justin Broadrick". [[Resident Advisor]].
182. (24 September 2008). "Interview with Justin K. Broadrick, Jesu, Saturday May 20th, 2006". Night Seminar.
183. Horsley, Jonathan. (4 December 2012). "Live Review: Neurosis + Godflesh, HMV Forum, London". [[Decibel (magazine).
184. (6 May 2011). "Jesu Interview: Justin Broadrick Confirms New Godflesh Studio Album, Discusses Jesu's Latest, Imperfection, Self-Indulgence, Roadburn, and Much More". The Obelisk.
185. Harper, Jim. "Godflesh – Hymns".
186. Tfaaon. (7 July 2014). "Godflesh at Hellfest 2014". La Grosse Radio.
187. Gavrilovska, Ana. "A Conversation with Justin Broadrick of Godflesh Ahead of Their Detroit Performance". [[Metro Times]].
188. Wharton, Bryer. (2 October 2014). "Playing with Fire: An Interview with Godflesh's Justin K. Broadrick". [[SLUG Magazine]].
189. Raggett, Ned. "Godflesh – Streetcleaner".
190. Welsh, April Clare. (20 December 2017). "Godflesh Legend Justin K. Broadrick on Crying at Christmas and the Coping Power of Extreme Music". [[Fact (UK magazine).
191. Reynolds, Simon. (March 1990). "Godflesh – Godflesh (Earache)". [[Melody Maker]].
192. Estrada, Kevin. (December 1990). "Justin Broadrick on Godflesh". [[Guitar Player]].
193. "Interview: Justin Broadrick". [[ATTN:]].
194. Hassan, Marcos. (10 February 2017). "Godflesh Is Still Driven by Implosion (and Leonard Cohen Lyrics)". [[Vice (magazine).
195. (1992). "Pure". [[Earache Records]].
196. (1971). "Songs of Love and Hate". [[Columbia Records]].
197. Thomson, Jamie. (22 April 2011). "Avant-Garde Epiphanies in Tilburg: Roadburn 2011 Reviewed". [[The Quietus]].
198. (11 December 1994). "Raw, Entertaining Spectacle – Glenn Danzig Lets Loose, but Metal Night at Riviera Belongs to Godflesh". [[Chicago Tribune]].
199. Bayer, Gerd. (10 September 2016). "Heavy Metal Music in Britain". [[Routledge]] and [[Ashgate Publishing]].
200. Pearson, Digby. (10 January 2010). "Was Mick Harris in Godflesh, Doom and ENT?". [[Earache Records]].
201. Tfaaon. (14 October 2014). "Justin K. Broadrick, Guitarist and Singer of Godflesh". La Grosse Radio.
202. (18 October 2021). "10 Essential Industrial Albums". [[Revolver (magazine).
203. (14 October 2015). "Godflesh Live at Boston, MA's Paradise Rock Club". [[Invisible Oranges]].
204. Cook, Toby. (17 December 2012). "Live Report: Neurosis & Godflesh". [[The Quietus]].
205. Bellino, Vince. (30 June 2017). "5 Great Live Roadburn Albums". [[Decibel (magazine).
206. Capper, Andy. (22 July 1999). "Godflesh in Highbury, London: Live Review". [[NME]].
207. Sinclar, Paul. "Godflesh Live Review: Summerhall, Edinburgh, 20 Jul". [[The Skinny (magazine).
208. Gerrard, Steve. (18 September 2015). "Godflesh at the National – 18th September 2015". Montreal Rocks.
209. Staples, Derek. (25 September 2015). "Concert Review: Godflesh/Prurient". Spectrum Culture.
210. "Features: Godflesh". EarPollution.
211. Chainsaw, Billy. (24 July 1999). "Godflesh at The Garage, London on July 2nd, 1999". [[Kerrang!]].
212. Harper, Judd. (2006). "1991 Interview with G. C. Green and Paul Neville". Disposable Underground.
213. "Godflesh Disbands". Crumbling Flesh.
214. "Godflesh's New Album". [[Rock-A-Rolla]].
215. Prarthana. (20 October 2014). "Interviews: 'The New Album Is Raw, Heavy and Pure Godflesh!' – an Interview with Justin Broadrick (Godflesh)". Metal Obsession.
216. (August 1991). "Flesh Wound '91". [[Metal Forces.
217. (2021). "New Flesh in Dub Vol 1". [[Avalanche Recordings]].
218. (April 2022). "Justin K Broadrick". [[The Wire (magazine).
219. (2021). "Long Live the New Flesh". [[Avalanche Recordings]].
220. Enis, Eli. (6 June 2022). "20 Great Albums from 1992". [[Revolver (magazine).