Finally, the 1995 unreleased Depressor album sees the light. During its highest achievements, Depressor re-purpose Sabbath scrap into moments of meaning for those staring further down an arc of decline that their descendant riff patterns prophesied rather than perceived. Adept, effective and simplistic motifs are both well considered and carefully placed to give each note a weight of significance that paints a flurry of images which are given definition by nuanced industrial outlines. The rhythms operate in two essential modes: a flurry of electronic inheritance that strides closes next to dance music and the painful pulsing of automated impoverishment. Naturally, the former are used to drive the chase down the fracturing highways and crumbling infrastructure left in malign neglect while the latter pulses with the maddening violence of mechanical motion as it echoes across a sprawl of slowly crumbling skyscrapers. The human voice, worn from chord roughing debris, recalls Justin Broderick as readily as it reminds of UK crusters Doom to give indignant sermons that are annotated with misanthropic anguish.