By Dimitri Nasrallah1997 to 1999 I'm mostly proud of the records up to and including Selfless" Broadrick told The Quietus in a recent interview. "After that, for me it became more and more self-conscious and as a consequence lost its way a little bit. I think we should probably have finished a couple of albums earlier than we did to be really honest. It's not like I didn't enjoy making those records, but it had lost its way by that time." The major label dalliance that had unreasonable expectations on '94s Selfless and unhealthily influenced the direction of its '96 follow-up Songs of Love and Hate comes to an abrupt end. Broadrick goes so far as to pull his last album back into the studio and completely reinvent it as the group's most viscerally electronic outing to date, Love and Hate in Dub. The two records are barely recognizable side by side. As Broadrick explains, "What Kevin and I were doing with Techno Animal then began to rub off on Godflesh, and vice versa." With many of the more purely industrial acts moving into dark ambient or techno territory by the late '90s, there is a general frustration seeping through Broadrick's attitude with the limitations of Godflesh's industrial rock. He's not quite sure how to move forward and more eager than ever to experiment with new sounds. "I don't consider myself from a metal background, only a punk background ultimately. The metal thing can get a little tiresome. Electronic music for me was always an obsession when I was a kid. I loved early industrial music. I loved the side of Throbbing Gristle that came out on Sequence, stuff that was influenced by early Tangerine Dream. As a kid I loved Kraftwerk and stuff. When I was first got exposed in '89 to the early acid-house movement, I was an instant convert. The first time I heard early Aphex Twin, when 'Didjeridoo' first came out, I knew that this was where I wanted to go." Experiment he does. Both Martin and Broadrick are drawn to the new electronic music emerging from the German scene, which has been revolutionized by dub minimalism. The pair not only releases two Techno Animal compilations - Radio Hades and Vs. Reality - but also go on to work with some of the leading lights from the new generation of German producers. They work with Atari Teenage Riot's Alec Empire on a hardcore breakbeat record under the name Curse of the Golden Vampire. As Techno Animal vs. Porter Ricks, they produce what is among their most impressive records of their discography with Thomas Köner and Andy Mellwig. The electronic impulse feeds into the sixth Godflesh album, Us and Them, which boils over with dark breakbeats and ambient atmospherics. But by then, there is little Broadrick and Green can do to save Godflesh. "I felt like I'd become a bit of a caricature, to some extent," Broadrick tells The Onion's AV Club. "Godflesh was always perceived as this industrial, metal, grinding, brutal thing. I'd really gotten tired of it; I'd backed myself into a corner. In hindsight, Godflesh lasted a few years too long, anyway. For me, the challenge was saying goodbye and moving on." With a new decade on their doorsteps, a strange feeling in the air tells Broadrick that he can continue on directionless like this for only so long before things explode. And they do.