Tag Archives: Brutal Death Metal

7 H.Target – 0.00 Apocalypse

This is a guest post written by reviewer Akerfeldt_Fanboi, and is re-blogged from http://www.metal-archives.com/.

7 H. Target‘s 2012 full-length Fast-Slow Demolition was a refreshing breeze in the stagnate climate of slamming brutal death metal. Each track was an overwhelming chaos of modern Malignancy mixed with a healthy dose of groove and later drenched in Japanese body-horror references, leaving a disgusting record that backed up its slam with proper death metal.
0.00 Apocalypse 
,while still having an equally nonsensical title, pushes the band away from the sampling and body-horror from the debut into a hellish cyber post-apocalypse that seems to move with a thematic continuity between the records.

Likewise, the music evolves. The maelstrom of riffs and breakdowns are dismembered, cauterized, and sewn back together with mechanical precision here – though not to say the debut was incredibly sloppy or amateurish by any degree. Here, however, the performance is nearly robotic in its precision and power. Even with their technical prowess, one of the most impressive aspects of the band was that they reserved their slower moments and slams for special occasions, leaving them for the most climactic points of their career (i.e. “Hara-Kiri Torture Mechanism”) and letting the momentum of that apex propel the rest of the music into a blistering finale. Continuing in that trend, “Technofetishist” represents that same turning point of the album where the nearly nonstop ferocity of the previous tracks grinds to a halt for a grooving junction before turning the dial back up immediately. But this rendition is more intense, less organically disturbing with more imagery of mechanical halls of torture and cybernetic mayhem.

The songs themselves are just that: songs. Unlike many of their peers, this Russian trio writes tunes that have a cohesive feel and flow and stick to your brain for weeks on end and rarely leave without a lasting impression. I know I was desperately trying to play the opening riff of “Meatball Machine Story” for the first few days this album was in my hands. The squeal of harmonics and low-end rumbling all attributes to the inorganic material this album tries to fuse itself with, and in the process the listener is left scarred by the surgeries and attempts at grotesque combinations. These guys know how they want to sound, how pitch-perfect the placement of each groove is, and by God do they execute that idea with a pristine finish.

Every passage strikes the cold, lifeless tone in each slam and half-time before spitting out a stream of brutal death metal. Crunchy, roaring death metal abounds on this album with frequent dips into blasting insanity and endless tremolo that neatly wraps the musical package together into something special. As usual, the drumming of Mikhail is one of the highlights here, with each massive beat of the snare pulling the pieces of each song together into a cohesive whole. The tone of the album is phenomenal, with a clear production that suits the style of the music to the point where it mimics the progression of the band’s lyrical content and concept of a transhumanist future. This, to them, is a vile, detestable future for humanity – or at least the incredible (and sometimes incredibly indecipherable) situations in the songs point to this. For instance “S-94” is a tale of a wasteland of sex addicts preying on any and all women they come across, even ending in a horrible sampled audio at the end with somber music devolving into noise and ending with sadistic laughter.

With every song the band submits the listener to a barrage of hyper-demented slam with an unforgettable twist of production and song-writing quality. They have a keen eye on their direction, clearly, and somehow pull off this brand of metal without forgoing the structure, composition, and quality of their music. From paper to performance, this album is a definite must-buy for any fanatics of the genre and anyone looking to take the final step to total assimilation.


Darkall Slaves – Abysses of Seclusion

Bree Bree Bree! Wait what was that? I meant to say, “hey there ya’ll, metal folks!” How you doin’ ? ‘Say, don’t we all need a break from heavy music from time to time? yeah well, today’s post is actually about the opposite feeling. That wicked urge for the most vicious and violent assault on the ears, complete with battering blastbeats, inhuman guttural vocals and hellish, convulsing, churning guitars that speed and chug with awesome power and a sinister atmosphere. Darkall Slaves‘ “Abysess of Seclusion” is a short dose of Death Metal fit for just that need, offering non-comprising brutality of the US kind.

Abysses..” consists of three tracks only, the guys first just starting their engines with a horror-esque type of intro – then lunching into a delicious riff onslaught(“Mindless Damnation“), stopping only for some palm-muted breaks with screaming pinch harmonics – though darkall slaves are more about speed than slams. This track is so chaotic that without lyrics in front of me, I really can’t tell if anything here resembles a verse or a chorus. It’s just an excellent burst of energy burning it’s way through you, which is pretty much how an extreme metal listening experience should feel like. This crazy shit is well executed.

Third track here is the title track “Abysess of Seclusion“, offering us again quality riffs with a lot of variation. Like with most killer DM, the drummer is creating half the rampage, his beatdown of changing patterns followed by the guitars – and the vocals, by being indecipherable, play an instrumental role as well. It’s some very solid, high adrenaline DM; I only wish these guys would’ve recorded a longer effort!

Released just last month, you can check out this CD below:

Soreption – Deterioration of Minds

Recorded in 2010 by Sweden’s Soreption, “Deterioration of Minds” merges together elements of brutal and technical DM, bringing to the table a superior sense of rhythm and razor-sharp precision that will appeal to fans of bands such as Cannibal Corpse, Suffocation, Dying fetus and The Faceless.

The violent expression on this record is not just brilliantly syncopated, but aesthetically crystal clear, from the vicious but polished guitar tone to the drums and vocals. Speaking of the latter, frontman Fredrik Söderberg’s  vocal abilities are very organic-sounding – a deep but not unintelligible guttural low with a demonic quality à la Mikael Akerfeldt. The guy totally adds to the music, and has quite intense lyrics in his arsenal. He does a hell of a job following the frequent, frantic changes in the continuous chaos that is “Deterioration of Minds“.

A crucial thing is of course keeping order in the chaos, and that the band does well. You will not find unnecessary shredding here with most songs not passing the 4 minute mark. However, the album does contain tasteful, Necrophagist-esque solos here and there! Like in “Breeding Exile“, where Soreption‘s pulverizing grooves are joined by flawless melodies mid-song. The result is pretty amazing.

As I mentioned, there’s not much filler material on “Deterioration of Minds”, but some tracks seem to really rise above others, having these insane hooks and start-stop moments that are instantly memorable. This is especially true for “Breeding Exile”, “Deterioration of minds“(title track) and “By venom entitled“. Seriously, Soreption offer the best DM I’ve heard in a huge while, and I think well-known extreme metal groups should take notice ’cause these guys just might outdo them with their upcoming album to be released in early 2013, “Engineering The Void“.


Dying Fetus – Reign Supreme

The kings of US Brutal Death Metal have once again prepared us a monster of a record with a title that holds much promise. Sure, I prefer their early material, but have still waited for this one like a kid on christmas eve. Well, the waiting is over! Does “Reign Supreme” live up to its name?(pun intended) time to find the fuck out!

Dying Fetus clearly went for an oldschool vibe with this release. You can tell that straight from the onset, thanx to the immediate beatdown of riffs, which’s style indeed shows a return to the band’s hardcore roots. However, the first track – “Invert The Idols” – also starts with DF’s trademark berserk leadwork, that goes wilder than ever on this record. Both this technique and tremolo picking play a larger and quite unmelodic role in this album(not to say, nonsensical), which I personally dislike – but that is just a small weak point for this release.

The bigger flaw of Reign Supreme has more to do with the common, stagnant problem of (un)originality in modern extreme metal. The group cannot really be blamed for this as they play within the genre’s boundries, and these, let’s admit, are quite limiting – There’s only so much you can do in BDM! as a fan, a part of me really wants to slap myself in the face for saying that, but luckily the album does pick up on the quality on track 5, meaning I can instead headbang! phew..

Womb to Waste” starts with a terrifically sick intro, bringing back my faith in Death Metal:

“Its not my fault I’m pregnant and I love drugs. Who cares. Fuck the baby, let it die.”

Well, fuck *me*! I am finally reminded why extreme music is not just noise, but an expression that relates to reality, its conviction and force unmatched. This track is awesome and I’m actually curious about the lyrics. Next up is the frantic “Dissidence“, and boys and gals, it seems the second half of this album destroys its first part, and well, destroys in general! Who would have guessed?

The latter portion of “Reign Supreme” is pure ol’ Dying Fetus brutal goodness, with each song being better and more refreshing than the one before. Is the day saved? yes and no. I still think DM is a bit stuck in a rut, but must admit this release is stronger than I initially thought, and will probably receive a warm welcome from fans after all!

Dying Fetus – Killing On Adrenaline

Dying Fetus, one of the best death metal bands on this planet, have just announced they will be releasing a new album in mid-2012: “Reign Supreme“. According to the band, this will be a return to their roots; to groove-oriented riffs and tracks. This is an excellent time to go back to one of their earlier works – and a Brutal DM masterpiece in my opinion:

Released in 99′, Killing On Adrenaline is one of the classics in Grindcore\Brutal Death Metal. DM elitists might say this album is way too catchy, and that won’t be entirely false – Whoever thinks Lamb Of God know their groove and rhythm will fall to his knees before the chunky & brutal riffs and grooves on this album. This beast makes most slam\core bands and their breakdowns sound like sad helpless puppies. When DF break down the beat its done for a reason, and its heavy as hell, with Gallagher’s voice and guitar tone fusing into this crunchy, bone shattering wall of sound. You’d never guess but the guy is pretty chill off stage.

Putting aside the breaks\slams matter, each song on “Killing on..” packs many fast-paced technical riffs and leads, which change in a frantic pace and with relentless force and precision. Drummer Kevin Talley is in his best form here, holding it all together very tight, with blastbeats that explode outta nowhere, awesome double bass and those “choked” cymbal hits that make every palm-muted chord sound crushing as f*ck. Talley’s drum patterns are quite varied – his skill in syncopation and speed is flawless in both feel and techiness, creating tons of fills and inventive grooves.

This album attacks your ears both musically and lyrically, with an attitude somewhat inspired by the oldschool US Punk\Hardcore scene- Gallagher citing Agnostic Front as a major influence on the band. There’s rage and frustration all over the place, directed at society, capitalism, politics and religion. Similar to the music, these words seem to have been written with much thought behind them, and are lethally executed.

The title track below pretty much sums up this brutal masterpiece. I can’t wait to hear the new album!