Album Review: Crowbation by H.G. Wells – A Gritty Industrial Gem
Released in 2005, Crowbation is one of those albums that sneaks up on you. It’s not perfect, but it doesn’t need to be. Hailing from the US and self-released under the Not On Label banner, this electronic-industrial project by H.G. Wells punches harder than you’d expect for something flying so low under the radar. With Wells handling production duties and Johnny Stewart credited as technician, the album delivers a raw, unfiltered experience that feels both personal and chaotic.
The standout track, “Crow Bat,” grabs your attention right away. It’s an unsettling blend of distorted beats and eerie soundscapes that feel like they’re crawling inside your head. The layering here is wild—there’s this grinding rhythm that keeps building, almost like machinery coming alive. You can tell Wells wasn’t afraid to push boundaries, even if things get messy at times. What sticks with me most about “Crow Bat” is how unpredictable it feels; just when you think you’ve got its pulse, it shifts into something darker, heavier. It’s the kind of track that makes you stop whatever you’re doing and just listen.
Then there’s “Lion,” which takes a slightly different approach. While still rooted in industrial grit, it leans more melodic, though don’t mistake that for softness. There’s a hypnotic quality to the looping synths, paired with these jagged percussion hits that feel like they’re cutting through fog. If “Crow Bat” is chaos, “Lion” is control—but barely. It’s memorable because it balances tension and release in a way that feels earned, not forced. You find yourself nodding along despite yourself.
What strikes me about Crowbation is how unapologetically DIY it is. Nothing here screams polish or commercial appeal, and honestly? That’s what makes it work. It’s clear H.G. Wells was making music for himself first, audience second. And while some parts could use tightening, the passion behind the project shines through loud and clear.
In a world where so much electronic music feels sterile or overproduced, Crowbation reminds us why we fell in love with industrial sounds in the first place: they’re alive. They breathe, they bruise, they bite back. Listening to this record feels less like entertainment and more like eavesdropping on someone’s fever dream.
Unexpectedly enough, I kept thinking about birds while listening—crows specifically. Maybe it’s the title, maybe it’s the sharp edges everywhere. Either way, it stuck. Kinda poetic, isn’t it?
