| Slavestate | |
| Type: | ep |
| Artist: | Godflesh |
| Cover: | Slavestate.jpg |
| Released: | July 1991 |
| Recorded: | February–March 1991 |
| Studio: | Avalanche Studios |
| Producer: | Justin Broadrick |
| Prev Title: | Streetcleaner |
| Prev Year: | 1989 |
| Next Title: | Cold World |
| Next Year: | 1991 |
Slavestate is the second EP by English industrial metal band Godflesh. It was released in July 1991 through Earache Records. The EP saw the band experimenting with more samples and electronic sounds than their predominantly industrial metal prior releases.[1]
With Slavestate, Godflesh sought to diversify their metal-dominated sound by introducing elements of dance music and electronic body music.[2] Still, the music retained the harsh guitar and vocals of frontman Justin Broadrick, as well as the extreme aspects of Godflesh. Ira A. Robbins of Trouser Press wrote, "The four-song Slavestate EP finds the band charging full-on into an industrial-dance realm, giving Streetcleaners lurch-and-crunch the twist of a rhythmic basis."[3] The EP's title track contains a sample of the song "Stakker Humanoid" by Brian Dougans.[4]
On Slavestate's shift in style, Broadrick said:
Slavestate was initially released as a four-song EP. A three-song remix EP titled Slavestate Remixes saw a limited vinyl release in September that same year.[5] The remixes were later appended to all further issues of Slavestate. The CD release also included the tracks from the follow-up "Slateman" single. In August 2009, Slavestate was reissued as part of a triple-CD package which also included the EP Cold World (1991) and the band's second studio album, Pure (1992).[6]
Slavestate received lukewarm reviews, with the exception of the song "Meltdown", which was singled out as a highlight.[7] Ned Raggett of AllMusic appreciated the change in pace from Godflesh's heavy, metal-focused music, but was ultimately unimpressed. Writing for The Quietus, Noel Gardner thought the introduction of electronic and dance elements was clunky but somewhat admirable. Broadrick was disappointed by the EP's contemporary reception, saying it "should have received far more acclaim than it did."[8] In 1997, Metal Hammer retrospectively described the EP as "cutting edge".[9]
Credits adapted from liner notes.[11]