Beneath the Massacre play technical death metal that’s relentlessly harsh and brutal. This is not music for the uninitiated or the fragile; Beneath the Massacre are uncompromisingly merciless across these 30 minutes. This is the band’s first album in eight years, and when Continue reading
Here we have 22 minutes of Depths of Hatred’s brand of punishing intensity. Mixing together multiple strains of death metal with some decent character and a professional recording, the band’s modern attack is easy to recommend. Continue reading
Playing savage Death Metal that has elements of the brutal and technical styles, this is a modern approach to the genre that injects a bit of Deathcore and slam into the mix to further increase the violence factor.
Canada seems to be very good when it comes to this kind of thing. Fellow Canadian Death Metallers such as Cryptopsy, Deformatory, Pronostic, Antlion and Unbreakable Hatred to name but a few have all released some top quality music in the not too distant past and we can now add Corprophemia to that list as well.
The singer has a fine set of lungs it seems, with his clipped barks reeking of aggression. His is a very satisfying voice and perfectly complements the precise and exacting nature of the music.
So what of the music? It’s well-played, well-written and well-recorded. This pretty much covers all of the bases and all that remains is for this to be played at full volume to annoy the neighbours.
The band use crushing rhythmic riffs well and mainly sound like a combination of the dynamics and technicality of Cryptopsy, the staccato brutality of Beneath the Massacre and the sheer violence and cold assault of Coprocephalic. Add some snippets of cut-short melody here and there and brief ambient synth interludes between tracks and you have a very compelling 30 minutes.
The band have a good line in both brutality and melody and combine the two nicely; crushing riffs and double-bass beatdowns compete with melodic leads and riffs.
This is a band who are fully comfortable at the modern end of the Death Metal spectrum without completely giving themselves over to Deathcore; although there is a healthy influence from that most maligned of subgenres it stays on the Death Metal side of the equation more often than not. The result? Aborted meets Beneath the Massacre meets Whitechapel with, as strange as this might sound, elements of Hypocrisy at their heaviest.
The sound is crystal clear and the band use this to show you exactly what they are capable of in all its visceral glory. This is modern Death Metal played proficiently and with the sole aim of battering and beating the listener into submission.
The added melodic parts are there to keep things from becoming one-dimensional however, and the sheer aggression and brutality of the band as a whole never allows the melodies to get too out of hand; you could never describe them as Melodic Death Metal, for example. It’s a winning brutality-to-melody-ratio; brutality clearly comes out on top but the melodic aspect holds its own when the songs need it.
The vocals are deep roars full of aggression and testosterone. These alternate with occasional higher screams. The singer takes his cues from the Aborted singer and shares a talent for interesting vocal rhythms and patterns.
Each of the songs has its own identity and is capable of being a ambassador for the band. No filler.
Kaotoxin Records seem to have a talent for sniffing out the very best of French Metal talent. Deep In Hate are their latest find; let them be yours too.
I believe the appropriate response upon pressing play and hearing the blasting, shredding brutality here is “holy shit”. Their sound is somewhere between technical Death Metal and technical Deathcore. And what a sound it is. Explosive doesn’t do it justice. If you like bands such as Beneath the Massacre and Infant Annihilator then this is for you.
Another French band worshipping at the altar of bruality and being rewarded handsomely by the Gods of Heaviness. One thing this album has in abundance is energy. The kind of energy that makes you want to flail around ripping anything and everything to shreds and then stomping on the remains. Riffs, licks, leads, drums – it all flies past in a blur of bloody fingers and broken drumsticks.
The sheer weight of aggression here is staggering, and thankfully there are strong songwriting skills on display; otherwise this could have been just a mess of riffs and shouting whereas what we actually have is a cohesive, albeit very short release. Too short really. Will we get more? Only time will tell but I for one do hope so.