There’s a bewildering array of talent and people involved in this, so I’m simply going to copy and paste the lineup from the press blurb to make things easier for myself –
France – Romain Goulon – Drums (Necrophagist, Disavowed, etc.)
Siberia – Peter Shallmin – Bass (Escapethecult, Kamlath)
Siberia – Max Konstantinov – Guitars (Kamlath, Nebesniesnami)
USA – Danny Lilker (Brutal Truth, Nuclear Assault, SOD, etc.)
Sweden – Rogga Johansson (Paganizer, Demiurg, etc.)
USA – Max Phelps (Cynic, Death DTA Tours, Exist)
UK – Dave Ingram (Hail of Bullets, Benediction, Bolt Thrower, etc.)
Australia – Karina Utomo (High Tension)
USA – Shawn Knight (Child Bite)
Phew. So much expertise has been funnelled into these 6 tracks – a scant 18 minutes of unusual violence and destruction, the likes of which you rarely hear.
Track one – Living Fumes – is four minutes of chaotic violence that sees the song combine spastic grind, free-form jazz and elevator music into a Soilent Green-esque track that will leave you breathless. There’s also a bit of a thrash influence to some of the leads/solos.
Track two – Furnaces Burn – starts off with a slow riff that becomes mid-paced before adopting a playful gallop while the familiar deathgrowls of Rogga Johansson rip out over the top of it. The pace varies and the two minutes are up before you know it, with a bit of the elevator jazz making an appearance near the end once more.
Track three – Pressure – once more starts us off with some jazziness, interspersed with thrash-esque grindcore that sounds positively jolly in places, while the singer – Karina Utoma – shreds her throat over the top of it. She has a good clean singing voice too, it seems, and this adds a little bit of a Cloud Rat flavour to the track.
Track four – 4.27.15 – features Matt Phelps, who lends his considerable pipes to the rather free-form music. Initially sounding like a crazed Atheist/Cynic offcut, the song keeps you guessing throughout, although it doesn’t feature any of the elevator jazz that the previous tracks contain. This is a more serious approach.
Track five – The Genocide Machine – grinds out with mid-paced fury, while the distinctive growl of Dave Ingram gives the songs a death metal grounding. The song is less chaotic than the previous ones, playing to the more death metal strengths of the musicians.
Track six – The Vitality Ship – sees the band letting loose with barely restrained frenzy, once more giving vent to the chaotic grindcore that beats at the heart of this particular beast. Shawn Night gives an impassioned performance that sounds quite unhinged, and after the violence of the first minute or so, the jazzier elements are back in full force, more so than any other track, as we get a full minute of this before the craziness ensues once more. The final part of the song is a more laid back affair, taking elements of Southern doom to play us out.
Well. What more can you say? This is something that needs to be heard. I imagine it will go over the heads of a lot of people, but you won’t know until you give it a try. It reminds me of some of the more experimental extremity that was coming out on Relapse Records in the early/mid 90s, and sounds like some long-lost collaboration between bands of that era.