INDUSTRY – Preservation America

Industry is a trio out of Las Vegas, Nevada, USA, that characterizes themselves as a Metropolitan Rock band. Hmmm … sounds pretty cool, doesn’t it? You might be hard-pressed, off hand, to precisely define Metropolitan Rock, but it’s safe to say Industry’s style is very much along the lines of Modern Hard Rock, such as U.P.O., with a tinge of Nu-Metal, and a hint of the band Tool mixed in for good measure. Industry is the brainchild of Jason Tanzer, who also handles the vocals and guitar work. Accompanying Tanzer, Adam Taylor plays bass and Johnny Fedevich works over the drum kit. Preservation America is Industry’s 2nd album, issued via Dustree Records. This release contains 14 original tracks and a cover version of “I Am The Walrus” by the Beatles.

Overall, this is a very solid, if not consistent album. Industry establishes a formula and sticks with it throughout the vast majority of this CD. Essentially this formula begins with a solid riff that sets the tempo, the other instruments kick in, and then Tanzer takes over with his vocals. In the end, most of the songs are vocal and bass-driven, as opposed to being dominated by guitar work. This trait set somewhat force-feeds attention towards the lyrics, which are generally well configured and cerebral, and Tanzer shows he indeed is a talented vocalist, with a delivery and style perfectly aligned with Industry’s full-bodied sound.

There’s a light undercurrent of hostility in Industry’s music, especially in the song “Innate,” but mostly there’s just good, solid Modern Hard Rock music that’s very conducive to airplay on Alternative Rock radio stations. In fact, the first handful of songs on the album, “Gone,” “Movie of the Week,” “Fashion of Hate,” “Rotten Day,” and “Right Is Wrong,” all sound like something you’ve heard before, because they quickly hit home with the listener and establish a distinctive feel of comfortability.

Musically, the most notable performance is rendered by Taylor … his bass work really adds cohesiveness to Industry’s songs, and every now and again he holds down a ghetto-blaster bass note that’s sure to test the druthers of even the most powerful subwoofers. Tanzer and Fedevich both perform well, but really throw out little that is overly challenging or innovative musically. Basically, they stick with Industry’s formula noted above, and carry on their merry way whilst staying with the program. A few really good opening riffs kind of get lost in the shuffle as a result of consistently making the vocals top dog, but that’s Metropolitan Rock for ya’!

In sum, if you’re a fan of Godsmack, U.P.O., the Foo Fighters, and the like, you’re bound to thoroughly enjoy Preservation America. This album may not make tracks into a completely new musical movement, but Industry’s performance is consistently good and that provides for an enjoyable, if not “intelligent,” listen. The band probably would have been better off to ditch the Beatles cover song for this album, but the other 14 tracks on Preservation America are all solid Modern-era Hard Rock songs that won’t disappoint members of this swelling market.