By Dimitri Nasrallah1992 to 1993 Following the sleeper success of Streetcleaner, Godflesh goes back into the studio and records their second album, Pure, which sees release in 1992. Alternative music is exploding all across North America, and many industrial rock bands - Front 242, KMFDM, and Skinny Puppy - are drawing the largest audiences of their careers on the continent and beyond. Pure is both a cleaner production and a more diverse outing than Streetcleaner, an early hint that Broadrick sense a contradiction in simultaneously minding a larger audience and pursuing his wide-ranging tastes. Loop's Robert Hampson guests on the album, and his influence is evident on the more experimental and processed second half. "At that time I recognized how restless I was," Broadrick says, "but I was also struck on being in a band that has a good career and a set of albums. I was very inspired by groups who had good runs of albums. I was a big Killing Joke fan, and the Swans, Black Sabbath, Led Zeppelin, the Stranglers, rock bands who had nice, large careers and a good span of albums that covered everything within. I think I felt for many years that I had a lot to give with Godflesh, that it was maturing and developing." In 1992, the desire to grow and mature Godflesh's success also kick-starts a decade of prolific promiscuity in side-projects that allow Broadrick to explore the further reaches of his musicals tastes without alienating Godflesh's audience too much. Between 1992 and 2003, he will release upward of 15 albums - not to mention countless single and EPs - outside the band, a significantly larger catalogue than that of Godflesh in that period and arguably more relevant a key to understanding his creative impulses in the '90s. Of all those albums, at least 12 are collaborations with Kevin Martin, a Brixton club owner and music journalist who also leads a band called God. "He promoted the first-ever Godflesh show in London," Broadrick says of Kevin Martin. "In those days, you put your phone number on the back, so people could call and say they want to put a show on or something. The day it came out, he was the first person to phone us up. He said, 'I've got a little shitty pub in Brixton, where I run punk shows, and I'd love Godflesh to play. I have your record, and I love it.' We just went down, played the show, and I met him, and I thought, 'Wow, I just love this guy.' We share loads in common musically and personally. We forged a relationship immediately." God's debut album Possession, which is produced by Broadrick, comes out in 1992. That year, the pair also releases the first of its many collaborations, the Ghosts album under the name Techno Animal. Techno Animal's ambient dub ventures where Godflesh cannot, and for the most part remains unknown to fans of Broadrick's industrial leanings. "We both had similar interests in hip-hop, and we started to gravitate towards that. All these avenues developed during the '90s, out of [our] interest in the excessive side of a lot of dance music. In the early '90s we were discovering acid house, early jungle, and more brutal forms of dance music. We got very obsessive with hip-hop production, and that rubbed off on and informed everything I was doing." By 1993, Broadrick's musical partnership with Kevin Martin is in full swing and the duo reveals another side-project, Ice, whose debut album Under the Skin showcases a deep interest in fusing the voltage of industrial music with the beat patterns of hip-hop. That year, Broadrick also decides to reprise Final, the tape-collage project from his teens. The album One features long guitar-processing experiments that align closely to the last half of Godflesh's Pure, most notably the 21-minute ambient-feedback epic "Pure II." One also includes a layered edit of the many tapes recorded during Final's first phase, entitled "1983-1987 (Edits)."