Pittsburgh's Prometheus Burning is an act that has managed to encompass a variety of microgenres in their style and each release offers something a little different as they don't care to repeat themselves. In 2006 Hive Records released the proper debut full-length Beyond Repair and the noise fusion of Greg VanEck's grinding, future shock Industrial with its nod to a Wax Trax past and Nikki Telladictorian's melodic sensibilities accentuated by he razor sharp, distorted vocal delivery went beyond the overly simplistic Powernoise we had come to know. The album was quite well received but it was time to kick things up a notch and the duo, now on Crunch Pod, manage to nearly surpass their potential on their latest effort, plague called huMANity.

This is a high concept, vocal-heavy amalgamation of the old and the new. State of the art electronics and sheets of distortion mix with classic sounds from Industrial's past, calling to mind early Nineties Skinny Puppy and Frontline Assembly along with the clanging beats of Chicago's heyday. Yet thanks in large part to some clever layering and deft songwriting none of it comes across as a cheap retro gimmick. In fact it sounds quite fresh and uniquely satisfying alongside the myriad Suicide Commando clones weighing Electro down like an anchor tethered to an anvil these days. Not only are ProBurn putting forth impressive performances but their timing couldn't be more impeccable.

Stylistically, "Ouroboros Deathride" captures the essence of this entire album quite well. With a wink and a nod to Jim Morrison by way of the Oliver Stone biopic VanEck rides the serpent with Telladictorian right behind him. Thumping kick drum is tempered by a familiar snare and the distorted melody plays out with hissed/hushed vocals until the two minute mark when a glitched out synth break provides a memorable moment of dark bliss. It provides an interesting contrast to "Blackmagick Tongue" which is all grinding screech and mid-tempo stomp, Nikki's distinctive, altered voice taking charge and reaping what it sows.

Occasionally the music suffers from excess, as on the title track which isn't one of the strongest numbers in the collection. It's needlessly padded with senseless repetition stretching the song out to a near seven minute length. A nice recovery is made with the bright and effervescent "Realm Of Thee Divine" and the whip smart, percussive fury of "The Weeping And Gnashing Of Teeth." Yet the last quarter of the collection seems a little too erratic and disjointed. "Genovese Syndrome" is all over the place with atmospheric synth overpowering the percussion in most spots and the monotonous vocal just sort of floating above the fray while an insistent bass riff bookends the piece. The broken beats of "Overture Fusillade" give way to the all-out digital terrorism of "Deluge." And the album ends with an intriguing free form number that is certainly interesting but doesn't contain the power exemplified by the rest of the album.

There is heady subject matter involved with a storyline you won't be able to decipher merely by reading the oblique lyrics. Look for a general synopsis on the band's website. I'm not convinced it necessarily adds to the overall experience anyway since the stratified soundscapes seem more than enough to digest. Capping the collection off with a fine remake of Ministry's "You Know What You Are" plague called huMANity will not only be one of the best albums released this year but also one of the most important for its adventurous application of Industrial's conflicted past fused with it's uncertain future. It isn't a perfect release and will probably take at least a few listens to truly sink in but once you "get it" it will become one of those CDs to which you can't stop listening.