By Dimitri Nasrallah1994 to 1996 In 1994, Godflesh record and release their third album, Selfless, their most mainstream effort to date. The album instigates a shift in direction from the relatively inhospitable Pure, and constitutes the beginning of a mid-'90s period that sees Godflesh making the most obviously "rock" records of their catalogue. Given its more conventional characteristics, Selfless is licensed by Columbia in an effort to break the band to a larger alternative audience. The album sells approximately 180,000 copies, nowhere near the gold and platinum records racked up by Ministry and Nine Inch Nails. But if Godflesh is moving closer in the direction of conventional rock, Broadrick has shifted his more industrial impulses over the Kevin Martin's God, which he joins as a full member for their second album, 1994's Anatomy of Addiction. Based on the one hand in Martin's wailing free-jazz saxophone and on the other in the propulsive beats and feedback guitar imprinted on the band by Broadrick, the album is dense and intimidating. I played all over Anatomy of Addiction," says Broadrick. "I started getting really seriously involved the more the band changed, the more he changed the band. The more it became a serious proposition, the more I became interested in working with it. At first he just wanted me to produce them, but then he invited me into the band and I played with them whenever I could." Content to lead multiple musical lives, Martin and Broadrick move ahead with their second Techno Animal album, the massive two-disc Re-Entry, which comes out in 1995 on Virgin UK. By then, Kevin Martin's music journalism in magazines such as The Wire and Alternative Press has made him a highly regarded voice in new music. He's curates a collection entitled Macro Dub Infection, which brings together all the offshoots of dub into one package. The collection has its finger on the pulse of electronic music, making strong connection between the post-rock of Tortoise and Laika, the roots dub of Mad Professor and Rootsman, the leftfield drum & bass of $Hero and Springheel Jack, and the industrial ambient of Coil and Mick Harris's Scorn. The collection announces dub's prevalence in the underground to the wide audience then beginning to tune into electronica. Its influence can be felt all over Re-Entry. "Kevin and I both shared an old love for dub reggae," says Broadrick. "I come from Birmingham, which has a huge Jamaican culture. Everywhere you went in Birmingham, you'd hear reggae blasting out of someone's house. So that seeped into me, and Kevin had learned to love a lot of reggae stuff when he was young as well. So we really loved this concept of using the studio as an instrument. We found a lot of enjoyment in sitting in the studio and literally using the equipment as instruments, warping this stuff out. We had old-school samplers, old effects units, and a mixing desk. And even though a lot of this stuff was arguably quite primitive, by Re-Entry we definitely had a style." In 1996, Godflesh release their fourth album, Songs of Love and Hate. Though the album turns out to be their most traditionally metal outing of their discography, Columbia doesn't license it and their major-label experience comes to an end. That year, Broadrick also releases his second album as Final, 2, on independent hip-hop label Rawkus Records.