Considering the band’s traditional extreme length between releases, we’re quite privileged, (ahem), to have The Privilege so soon after The Prize. Continue reading “Sulaco – The Privilege (Review)”
Not only is this a band with just an amazing name, but ever since they first coalesced into existence around members of stunning personal favourites Soilent Green and Acid Bath, I’ve always had an incredible soft spot for Goatwhore. Continue reading “Goatwhore – Vengeful Ascension (Review)”
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) Continue reading “Stench Price – Self Titled (Review)”
The band play Technical Death Metal and play it pretty damn well. Over the course of their existence they have built up a rightfully-deserved reputation for quality and on this latest release it’s easy to see why.
Gorod have always been fond of atypical, unusual, Jazz-inflected riffs and on A Maze of Recycled Creeds there seems to be even more of these than usual, which, if you’re familiar with Gorod at all, is only ever a good thing.
Another, (one of many), good things about Gorod is their inclusion of a Progressive Metal element to their music, which allows the band to lock into some astoundingly good sections as the album tears along, mindful of not letting slip any moment for greatness. This is Technical Death Metal that values songs and recognises the need for good atmosphere and feeling among the Jazz/Funk craziness and experimental brutality.
All of the instruments are shockingly well-played and Gorod are one of those seemingly-rare bands that know not only how to use a bass guitar but also that you must be able to actually hear it for it to be truly utilised correctly.
Vocally the singer has a charismatic growl that’s largely blunt and ugly, yet still seemingly refined when compared to a lot of Death Metal vocalists. His voice is put to good use throughout the songs and he has enough variety in his delivery to keep interest while still having a consistency that helps anchor the music’s more extravagant tendencies.
This is a very impressive album from a talented band. The songs are well-written and performed by veterans who are at the height of their game. If you take bands as diverse as Gorguts, Between the Buried and Me, Soilent Green, Death and The Faceless, mash them all up and condense them into 46 minutes of controlled mayhem, you’ll end up with A Maze of Recycled Creeds.
Furious blasting Grindcore with heavy, tar-like slower bits interspersed; Mindflair make this extremely easy to like.
It’s a well recorded 25 minutes with everything sounding clear and heavy.
The riffs are infectious and actually quite catchy for a Grind band. The songs themselves may be short but they’re long enough and contain enough content to make a good impression.
This album is extremely listenable. Their assault has a Punk-aesthetic mixed with a southern Sludge-tang that gives them an easily digested flavour.
The tracks are memorable and have a good mix of blast beats and groove. The playing is tight and Scourge of Mankind ticks all of the boxes for a superlative Grindcore release.
The vocals alternate between static-like screams and blunt shouting. Harsh and unforgiving, just like we like.
Somewhat of a cross between old Napalm Death, FromTheAshes and Soilent Green’s acidic Sludge/Grind, this is quite the treat and I really can’t say enough good things about it.
Oh but this is a good one. Fans of extremity everywhere – you need this.