In a recent in-depth interview with GRIMM Gent, FEAR FACTORY guitarist Dino Cazares offered a comprehensive look into the genesis and reception of the band’s latest single, "Roboticist." Released in late August via Nuclear Blast, the track represents a significant milestone as the band’s first official release featuring new vocalist Milo Silvestro and drummer Pete Webber. Both musicians have been integral to FEAR FACTORY’s live performances for over three and a half years, solidifying their place within the iconic industrial metal outfit.
Cazares detailed the surprising origins of "Roboticist," revealing that the instrumental foundation of the song was conceived approximately three years prior. "Well, we had the ‘Roboticist,’ the instrumental [version] I did three years ago, for a plugin that I was promoting that was a part of my plugin called the [Toneforge] Disruptor," Cazares explained. The track was initially crafted as a demonstration of the plugin’s diverse capabilities, showcasing a spectrum of tones, from pristine clean passages to gritty, lo-fi textures and his signature heavy distortion. The composition also explored lower tunings, specifically incorporating a low E string to highlight the plugin’s extended range. Cazares recalled the instrumental as a strong piece in its own right, but it was Silvestro’s vocal performance that truly elevated it. "And I also went into lower tuning as well with the low E. So the song kind of had all those different elements, and so, yeah, it was kicking around. I still think it’s a great track instrumentally, but then when Milo came in and sang on top of it, and when he sang the hook, I was, like, ‘That’s it. That’s it.’ It needed to be released."
Further refinements were made to the song’s structure to accommodate Silvestro’s vocal contributions. "We also slightly rearranged it," Cazares noted. "The midsection used to be the end section of the [song], and now on the video, original video that I did three years ago for the instrumental, I was playing two different guitars — I played a seven[-string guitar] and I played an eight[-string guitar] — but now I just play an eight[-string guitar] for the song." He highlighted his signature Kiesel seven- and eight-string guitars as instrumental in shaping the sonic landscape of the new material.
Navigating Fan Expectations and the "Classic FEAR FACTORY" Sound
The release of "Roboticist" has prompted considerable discussion among fans, with some expressing surprise at its adherence to the quintessential FEAR FACTORY sound, despite the introduction of new vocal talent. Cazares addressed these comments directly, expressing a degree of bemusement. "Well, I don’t understand why they would need to say that because FEAR FACTORY is my style, pretty much," he stated. He acknowledged the polarized nature of fan feedback, citing a range of reactions from those finding the song too similar to the band’s established sound to others suggesting it deviates too much. Comments regarding Silvestro’s vocal delivery, comparing it to original vocalist Burton C. Bell, were also noted. "I’ve read so many comments where some people are, like, ‘It’s too much like FEAR FACTORY.’ ‘It’s not enough like FEAR FACTORY.’ ‘He’s [Milo] too much like [original FEAR FACTORY singer] Burt [Burton C. Bell].’ ‘He’s not enough like Burt.’ And it’s, like, you can’t win, so you put it out and hope for the best."
Despite the varied fan reception, Cazares expressed his personal satisfaction with the new single and offered an optimistic outlook for the upcoming full-length album. "For me personally, I love the new song," he affirmed. "I love the [upcoming FEAR FACTORY full-length] record, and I can’t wait for people to hear the rest of it. It is diverse. It does have a lot of FEAR FACTORY elements that people know, but it also goes into different elements as well. And, of course, Milo does introduce different styles of vocals. We wanted to put out just a quick banger — just a really quick banger just to get it out there." He indicated that subsequent releases would also offer sonic diversity while retaining the recognizable FEAR FACTORY formula. "And I think the new song that we’ve got coming out after this is gonna be a little different too. But you’re still gonna say, ‘Okay, that’s still FEAR FACTORY.’ And you’re still gonna notice that it still has our formula, yes, but there’s just new, different elements that add to it."
The Enduring Concept: Man, Technology, and the AI Frontier
The lyrical themes explored on FEAR FACTORY’s forthcoming album continue to delve into the band’s long-standing conceptual framework: the intricate and often fraught relationship between humanity and technology, frequently framed as the "man-versus-machine" narrative. Cazares traced the origins of this core concept back to the band’s debut album, "Soul Of A New Machine." "Well, we’ve always sang about it. That’s been our concept since day one," he explained. "If you go back to the first record, ‘Soul Of A New Machine,’ that was basically the birth of this concept, what makes FEAR FACTORY, FEAR FACTORY. But it’s really the relationship between man and technology. Some people say organic versus digital, man versus machine. But it’s really the relationship between both."
Looking ahead, Cazares elaborated on how the new album’s lyrical content reflects the escalating presence and influence of Artificial Intelligence (AI). While withholding specific details of the album’s narrative, he suggested that the themes are not entirely new but represent an evolution of previously explored ideas, now manifested with greater urgency and immediacy. "Well, I don’t necessarily wanna give you the full concept of the record, but, yeah, these are elements that we’ve talked about in the past that are now here. And there’s gonna be even more stuff beyond, because as A.I. grows and grows and grows, it’s going to be able to create a lot more things than what it’s doing now."
Cazares offered a sobering perspective on AI’s pervasive integration into modern life, asserting that its influence is already undeniable. "But, with that being said, everything we use right now is either created by A.I. or being used by A.I. We let A.I. into our lives. All our phones, all the different apps are ran by A.I. All the algorithms are A.I. All the codes that people write are written through A.I. So it’s here." He acknowledged the dual nature of AI, recognizing both its potential benefits and drawbacks. "A lot of people can talk good about it. There’s pros and cons. And a lot of people talk about the cons. A lot of people talk about, ‘Oh, you’re taking art away from other artists.’ Like, for instance, let’s say you created some art with A.I., but some of the artists that we’ve hired and artists that I’ve seen other people hire use A.I. So you’re not really taking away from the artist, you’re actually… He’s using it to help himself and get paid from it, which is fine — which is totally fine."
The guitarist underscored the voluntary nature of AI’s integration into personal lives, emphasizing the trade-offs made through accepting terms and conditions. "But the thing is that we let it in. Every comment, every photo we put of food, hanging out, live concerts, you name it, it uses that, it learns from that. So every term and agreement that we accept every time we jump on a new app, you’re giving it access to your photos, to your voice, to everything. So it’s all there. The only way that you’re gonna get rid of it is to not use it, but you’d have to really get rid of all electronic devices." He pointed to the broader societal and environmental implications of AI, including the significant resources required for data centers. "So it’s there. There’s not really much you could do. We don’t make those decisions. Somebody higher up makes those decisions. And it’s all about money, and it’s about data centers and all that stuff, and it’s about using massive amounts of natural resources, which is water and land to create these massive data centers that our people are against. But the problem is they wouldn’t have to make ’em if A.I. wasn’t in demand, because A.I. is in major demand."
Cazares concluded his thoughts on AI by highlighting what he perceives as a fundamental hypocrisy in the online discourse surrounding it. "And again, all those people on the Internet that are crying about it, if you really wanna do something about it… But they have to use the Internet to cry on about A.I. They’re using A.I. to cry about A.I., which I think is hypocritical. But whatever." He reiterated that FEAR FACTORY’s long-standing lyrical themes have consistently addressed the evolving relationship between humanity and technology, citing the band’s 2015 album "Genexus" and its precursor "Obsolete" as examples where they explored the concept of obsolescence driven by technological advancement. "We’ve been singing about this concept for a long time — the pros and cons, the relationship between where technology is at that time. So for us, when we were making [‘Obsolete’], we were talking about how certain things were becoming obsolete. And they did — they eventually did. Like print magazines. A lot of kids know what I mean? Yeah. We used to go and buy magazines, and go to the magazine store, and buy Kerrang! and Metal Hammer, and all that stuff, and a lot of that stuff has become obsolete nowadays. And AM/FM radio — we used to listen to FM radio to see if they played your song or something like that, and had DJs and blah, blah, blah. Now it’s all digitally programmed. Just a lot of things changed so much that we were talking about, kind of talking about that era."
Production, Touring, and Future Endeavors
"Roboticist" was meticulously produced, engineered, mixed, and mastered by Damien Rainaud. The single was accompanied by a visually striking music video, directed by Vincente Cordero and produced by Arion Csihar, further amplifying the song’s thematic elements.
The release of "Roboticist" coincided with the launch of FEAR FACTORY’s extensive "Cybernetic Domination" European tour. The tour, which featured support from CRYSTAL LAKE, HATE, and THE NOCTURNAL AFFAIR, commenced on August 29 in Poznan, Poland, and concluded on October 10 in London, United Kingdom. This extensive run marked a significant period of activity for the band, allowing them to introduce their new lineup and material to a global audience.
Looking beyond the European dates, FEAR FACTORY has announced a forthcoming U.S. tour scheduled for November 2026. This North American leg will feature support from DARKEST HOUR and BROTALITY. The U.S. portion of the "Cybernetic Domination" tour will immediately follow the band’s co-headlining tour with fellow Cleveland-based masked metal outfit MUSHROOMHEAD.
The official announcement of Milo Silvestro joining FEAR FACTORY as the band’s vocalist was made in February 2023. The band played their first headlining concert with Silvestro and Webber on May 5, 2023, at the Whisky A Go Go in West Hollywood, California, serving as a significant debut for the new lineup in a live setting. The consistent touring and release schedule indicate a robust period of creative output and fan engagement for FEAR FACTORY as they continue to explore their signature sound while embracing new creative directions.
