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Streetcleaner is the debut studio album by English industrial metal band Godflesh. It was released in the UK by Earache Records on 13 November 1989 and in the United States by Combat Records on 7 December 1990. The album was then reissued with a second disc of previously unreleased material on 21 June 2010. The album is widely acclaimed by critics and is often cited as a landmark release in industrial metal; though not the genre's first release, Streetcleaner helped define what industrial metal would become.
Recorded in three distinct sessions and partially refined from pre-Godflesh demos, Streetcleaner is a weighty, bleak album that blends heavy metal with industrial music by means of production-emphasised bass, distorted guitar and, most importantly, drum machine. Unlike many metal albums, guitar is employed to create screeching noise rather than discrete riffs, and the drums and bass are louder than is typical. Streetcleaner was supported by a series of concerts where Godflesh played alongside Napalm Death, and it was on the North American leg of the tour that the band began to gain significant international traction.
Since its release, Streetcleaner has received a number of accolades and has been performed in its entirety by Godflesh twice (once at Roadburn Festival, a recording of which was released as a in 2013). Many other metal bands have cited the album as particularly influential, including Neurosis, Fear Factory and Isis, and Godflesh frontman Justin Broadrick considers it one of his landmark releases. In 2017, Rolling Stone named Streetcleaner the 64th greatest metal album of all time.
Shortly after Fall of Because dissolved in 1987, Broadrick and Green reconvened without Neville and, in April 1988, renamed the project Godflesh. They released their debut self-titled EP on the independent label Swordfish later that year. That EP, though described by critics as raw and unrefined, is considered one of the originating industrial metal releases and proved to be the foundation upon which Streetcleaner would fine-tune Godflesh's approach to the genre. After the underground success of Godflesh, the band played several shows across Europe and recorded a four-track EP titled Tiny Tears. Before they could release the EP on Swordfish, Godflesh were acquired by Earache Records, and Digby Pearson, the label's head, urged the band to shelve the tracks and instead focus on putting out a complete studio album next. Broadrick and Green agreed and began recording Streetcleaner in May 1989 at Soundcheck in Birmingham and Square Dance in Derby.
The Birmingham sessions saw Broadrick and Green recording and mixing the first half of the album, while the Derby sessions (which yielded tracks six through ten) saw the temporary reincorporation of Neville into the band, this time as a second guitarist. Tiny Tears was appended to the end of CD versions of Streetcleaner, resulting in the album including material from three separate sessions. The entirety of the creative period was reinforced by an Alesis HR-16 drum machine. This choice was at first made out of necessity since Broadrick could not play the beats he wanted acoustically (he described himself as "not a great drummer"), but he came to embrace machine percussion and consider it a defining feature of Godflesh. Loudwire called the HR-16, specifically in regard to its use on Streetcleaner, "the most devastating drum machine ever employed". In a retrospective interview, Broadrick described the release as "one of the most alienating albums" he had ever made and referred to it as the band's landmark record.
Streetcleaner begins with one of Godflesh's most well-known tracks, "Like Rats". The introduction of the song, and of the album at large, is a wall of audio feedback. After the brief noise introduction, "Like Rats" descends into an intense, scathing song with prominent percussion, driving bass and piercing guitar. The screamed vocals, which Consequence of Sound's Andy O'Connor called "spine-chilling" and "some of the angriest verses laid to tape", are harsh and regularly noted for their punchy efficacy. Eduardo Rivadavia of Loudwire called the song "the genre standard", Decibel's Jonathan Horsley referred to it as "anthemic" and Revolver described it as "far-beyond-heavy".
Streetcleaner second track, "Christbait Rising", has been cited by several critics as another high point of the album, and Decibel named it one of Godflesh's five best songs. While this track does feature a riff-heavy guitar breakdown in its latter segments, it is still dominated by machine drumming. According to Broadrick, the song's beat was his attempt to copy a rhythmic break in "Microphone Fiend" (1988) by Eric B. & Rakim. Luca Cimarusti of the Chicago Reader described "Christbait Rising" by writing, "Drum machines clank and scrape by, creating an eerie cyber-racket, while Broadrick and bassist G. Christian Green lay down impossibly heavy riffs on top. Broadrick's vocals—guttural and processed to sound like some sort of gigantic monster—make the whole thing sound like something out of a nightmare." "Pulp", the album's third track, is entirely built around a locked, repeating, uncomplicated drum loop; Green and Broadrick play over the beats, which completely drive the track. Because the percussion on "Pulp" features little to no changes over its running time, Godflesh occasionally performed extended versions of it where they simply allowed the machine to continue. "Pulp" and "Christbait Rising" were issued together as a promotional single in 1989.
"Dream Long Dead" is Streetcleaner fourth song. Much of the track puts the squealing guitar of Broadrick at the forefront, but significant portions of the second half descend into heavy, repeating percussive movements where all instruments double the drums. The fifth track and the first recorded for the album, "Head Dirt", displays an unusual compositional structure, with the first half comprising a disjointed, jagged rhythmic loop and the latter half being almost entirely high-pitched guitar feedback. Those swelling waves of noise transition into "Devastator" and "Mighty Trust Krusher" (sometimes listed as two separate songs, sometimes listed as one combined track), the first composition on Streetcleaner from the recording sessions with Neville as a second guitarist and the first rerecorded remnants of the Fall of Because project. This nine-minute stretch is dark, dismal and oppressive, with enigmatic, growled lyrics and sounds underlaid with samples of voices. Ned Raggett of AllMusic considered it, along with "Like Rats" and "Christbait Rising", one of his favorite pieces on the album.
The seventh track on Streetcleaner, "Life Is Easy", is another holdover from the mid-eighties Fall of Because demos. Broadrick's and Neville's guitars clash and scrape against each other, creating eerie cacophony before the bass and drums kick in. The album's eighth song, its title track, begins with a sample of convicted serial killer Henry Lee Lucas speaking during an interrogation. "Streetcleaner" proper is one of the album's faster, more aggressive songs; as AllMusic's Stephen Cook describes, it "pummels the listener with jackhammer percussion and ultra-demonic vocals", and Charlie Wood of Clash agreed, also calling the drumming similar to a jackhammer. "Locust Furnace" was originally designed as the album's closing track. The song itself is characterised by the drums and bass trading off with the vocals and guitar, and it concludes with Broadrick repeatedly shouting "furnace" as he grows gradually hoarser.
Apart from these initial tours, Streetcleaner tracks have remained a staple of Godflesh's , and the album has been performed by the band in its entirety twice: once at Roadburn 2011 and once at the Hospital Productions 20th anniversary show in 2017. The Roadburn performance was recorded and released first through vinyl in 2013 as Godflesh's , then again in 2017 digitally and on CD.
As well as impressing critics, Streetcleaner has cultivated a major following among other musicians. Neurosis said that the album "was a game changer for everybody" that "forever changed heavy music", and Burton C. Bell of Fear Factory said, "it is a fantastically produced and written record; every song is an opus". Roy Christopher of Slap Magazine wrote, "1989's Streetcleaner is the seminal industrial-metal hybrid sound that bands all over the world are still trying to recreate". Devin Townsend also called the album "seminal" and claimed it as a major influence on his music, and in 2014, Revolver's Jon Wiederhorn wrote that Streetcleaner and Godflesh's second album, 1992's Pure, influenced bands like Korn, Isis and Converge. Dominick Fernow (better known as Prurient) credited the song "Like Rats", especially its noisy introduction, as a major influence on his musical experimentation. Aaron Turner of Isis described hearing Streetcleaner the first time by saying, "It honestly scared me. I was like, 'What the fuck is this?' It didn't even sound like music to me. Like, the first time I saw the Melvins, I didn't like it, but it made an impression on me that I can still recall today". In 1999, Isis covered the title track, beginning a long partnership between Turner and Broadrick. Broadrick reflected on the album as a highlight of his career by saying, "I'm really proud—even though it's been like an albatross around my neck—of the Streetcleaner album by Godflesh, because it was made without any ambition, and it seemed to change a lot of things in music and have a really wide effect".
| 1995 | Alternative Press | United States | "Top 99 of '85 to '95" | 34 | |
| 1998 | "The 90 Greatest Albums of the '90s" | 79 | |||
| 2000 | Kerrang! | United Kingdom | "200 Albums for the Year 2000: Essential Industrial" | * | |
| Terrorizer | "100 Most Important Albums of the Eighties" | * | |||
| 2002 | Revolver | United States | "The 69 Greatest Metal Albums of All Time" | 66 | |
| 2005 | Kerrang! | United Kingdom | "The 100 Best British Rock Albums Ever" | 78 | |
| 2011 | NME | United Kingdom | "The Twenty Heaviest (Metal) Records of All Time" | 7 | |
| Terrorizer | "The Heaviest Albums Ever" | 1 | |||
| 2013 | Fact | "The 100 Best Albums of the 1980s" | 3 | ||
| 2017 | Rolling Stone | United States | "The 100 Greatest Metal Albums of All Time" | 64 | |
| 2018 | Consequence of Sound | "The 25 Greatest Debut Metal Albums of All Time" | 8 | ||
| Loudwire | "The Best Metal Album from 40 Subgenres: Industrial Metal" | * | |||
| 2019 | Pitchfork | "The 33 Best Industrial Albums of All Time" | 19 | ||
| 2021 | Revolver | "10 Essential Industrial Albums" | * | ||
| " *" denotes an unordered list. | |||||
Godflesh
Technical personnel
| UK Indie Chart | 19 |
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