Magistralec Ouverture is a quite long intro to L’Émpire des Sens. Some might consider it way too long. Others might praise it for the interesting arrangements. My personal opinion lies somewhere in between ~ I quite like the arrangements, but agree to it being interesting only at first listening sessions.

Votre Déchéance is not quite as aggressive as I had imagined ~ there seems to be at least one instrument (be it the guitar or keyboards) that cuts all the aggressiveness.

By the third minute of Mon Âme Noire I had already surrendered to the calmer part of the song ~ though I would gladly do without the female vocals.

In To Enter the Tragic Symphony, keyboards tend to become interesting every now and then.however, there is the problem of the too obvious COF influences, also in vocals.

The album features two guest musicians: Marco B. of OBSIDIAN GATE, who performs the orchestral introduction of L’Émpire des Sens and Robynne of DAEONIA, who performs the female vocals. Furthermore, a cover version of FALKENBACH’s Balturs Tod has been included and is sung by ex~SETH’s Vicomte Vampyr. Definitely one of the highlights of the album (or is it because I adore the original version?), alongside the title track.

Not generalising to the band as a whole, I would say the biggest problem with L’Empire des Sens is that this debut album sounds too much like DIMMU BORGIR and CRADLE OF FILTH, which comes as a result of keyboards and female vocals being close to the above mentioned bands’. AD INFERNA could definitely be more original. After a while, I get the impression I have to listen to the CD to the end for reviewing purposes only, that is to say: the album has a tendency to become boring ~ which is not a very healthy feeling.

Musicians are good, but somehow somewhat ‘artificial’. Although the album is above the average, I would not consider it that striking. There seems to be something lacking. Future albums might help overcome the absence of this vital element.

Myspace Ad Inferna

I guess Indigenous is plagued by some of the same shit that plagues this kind of music, after a while it all seems the same, it doesn’t feel like its really a band problem as much as a musical genre problem, there are only so much ways you can blast away, well anyways it all starts off from “Middle Class Kidds” with the all too smoothing blasting and growling, its kinda quick and simple grindcorish track, not too bad, “Cannibalistic Society” is more a hardcore grind with nuances at the end, “Higher” starts up with … i don’t know some kind of movie sound sample with people struggling while Grace Slick and the Jefferson Airplane Starship sing “White Rabbit” on the background… what? higher? hey not all hippies were high hahaha, well anyways it then goes into blast hardcore and kinda keeps like that till the end, still with a nice pace to back it up, “You’ll Never see Heaven” starts off slower more verging on the hardcore side, still with intermittent blasting and then back to the full on blasting grind, till halfway were it kinda goes to more a death mood, humm a bit spliced together but still nice riffs and interesting listening, “Ethnocide” is a bit of a 2min throwaway track blasting half way to more growling and more blasting.

“Curse the Unholy Corpse of Jesus” is another kinda mess of track, and not in a good way, the vocalist seems to be everywhere on this one… txaaa you don’t need to growl all the way through, sometimes not talking makes a bigger impact, let the music speak for you, “Stench of Immortality” is back on the hardcore side of things, and a much better listen, kinda reminds me a bit of hardcore punk, well with the added screaming howls, finishes on a more moody groove, solid track, “Company Car” moves us back into the griding and blasting, kinda standard stuff, “Procreate” is a bit groovier hardcore grind track that finishes with a guitar lead, cool, now “Isolator” kinds starts a bit techie but grows back into full blast grind, “Kollapse” is a bit of more groovier kind of death hardcore metal, i liked it, mostly cause it has a bit of everything and still sounds pretty distinct from the rest of the the album, “Which One of Us is Gonna Die First” again starts off with more hardcore metal and kinda goes on… but well you all know what i feel about 15min tracks, unless they are going to do some groundbreaking stuff, then they mostly suck, this one is ok with some not that good parts… still about half way it stops for the “ethereal” sounds and the low guitar number finishing with some talk that gets lost on someone like me that grabs a cd to listen to music not to someones thought agendas… boring, especially for re-playability… skip skip.

From production values, lets say its ok, a bit muddy at times, still even though most tracks aren’t awesome, there are some interesting ones, also cause most tracks keep it short it listens well as a whole even when they start a lot of tracks with interesting and groovy intros and then blast away until the end, not following through, uhhh also i found the track names quite charming heheh, so what can i say of “Indigenous” humm like i said above this genres are a bit difficult to move beyond what is expected, even if you fuse and mash them together like Straigthate intended, i would say that this album is a solid album for those genres, these guys know theirs chops, this isn’t some garage shit, so if you are into hardcore or grind, be sure to check them out its a pretty sweet listening, but if you are looking for enlightenment, fish elsewhere ^_^

Myspace Straighthate | Video for Ethnocide

Straighthate – Higher
Straighthate – Stench of Immortality

Obzen, is a shambled of an album … its not a “this doesn’t make sense” in a good way, its a “what the hell were they thinking”, i always expect new stuff or weird stuff from them, very little is ever normal and as such i find it very refreshing and enticing, but even in all the madness there was always something coherent, something that made sense, they were like Matryoshka Dolls, were each layer was different but it all fitted perfectly and therefore it made sense… now this “album” (if i should call it that) is like me getting tracks from their different albums and making a best of, sure there would be great tracks but it would all sound like shit together.

Well, I wont be talking a great deal about each track, no point really, the first 2 tracks, “Combustion” and “Electric Red” have nothing in common with the rest of the album, they sound like refreshed thrash metal, while “Bleed” (the single by the way… remember what i said about the 10000 Days single…) has nothing to with the rest of the album, its a mind blowing track with Tomas Haake doing a freakish double bass drum work that makes me lack the words to described it, it all sounds like white sound from a television… i would buy the album just for that track … but this inconsistencies go further, also the over abuse of “commercial” sounding ruses like slowing down or stopping a song to build it up again… cause i counted… they used it 7 times (that i noticed) almost in every single track, you know at some point that they will pause for some micro shitty interlude, I’ve got no problem with that, but it has to make sense… but overusing it is like Linkin Park making micro intros for every single shitty track they put out (sorry just went and saw one of their live shows and they sucked a bit).

“Lethargica” is next and the name fits the song, its kinda an OK track, with no big highlights it kinda drags on, now the title track “Obzen” is another beast, much more innovative and a bit of a headbanger with a more stop-goish groove going on with loads of highlights… “This Spiteful Snake” is an intricate groovy track, but still lacking, it doesn’t seem to go anywhere and ultimately it just feels self indulgent (trying to fit every single thing into it), “Pineal Gland Optics” we get a straight back to back speedier groove, again great quality and musicianship but with nothing else to add, “Pravus” is pushing again the silliness, its interesting, but not that audible, its a mishmash of musical techniques than music, we finish with “Dancers To A Discordant System”, that starts pretty mind blowing heavy and groovy (why didn’t they do this on some of the other tracks is beyond me), but then it gets into a certain pattern and although pretty good, it wasn’t nothing to call back home.

I know, maybe i expect too much, but like every Meshuggah album it takes a certain amount of time to really start understanding the music or a album, so i took that time, but after the 100th listen, these things still bug me like hell, i was expecting a lot of different things, i was expecting “Bleed”, but no, i get this best of (when their EP I, was the right way to do a Best Of) and then you join things like the freakishly moronic cover art that looks shitty and reminds me of the endogenous Marilyn Manson of Mechanical Animals, were at least he went over the top with it (in a good way), while with Meshuggah its just silly.

Ahh i wont drag this too long, they said in a interview that this was the first time they really had the time to make a album, and not be in a hurry, well then i hope for the next one, they’ll have to make it over a weekend, for sure we would get a masterpiece, this is above all a disappointment and will rarely fit my Meshuggah everyday playlist, don’t get me wrong, all this ranting should be taken with a touch of salt, the production is pretty much on the mark, and there are some really cool tracks (“Bleed” is Beyond Awesome), but i do expect a lot from this band, and I’m sorry to say but this time it feels, they over promised and under delivered, and that to me is a shame.

Official Site Meshuggah.net | Myspace Meshuggah | Vidcult Bleed Video

Meshuggah – Bleed

Humm we start things off with “Rebirth Of The Nemesis” and it starts off pretty well i do feell its black metal with the garish voice and slowburn, but this is one groovy track, combining blasting and more groove oriented passages with some pretty impressive guitar and drumming work, very fresh approach… finishing it up with a very black metalish with a all male chorus, great show, “Ladders To Sumeria” hummm i don’t know … starts off like humm dont know… pretty simple i guess… then onto black metal bashing, again with clean vocal chorus, it reminds me of the kind of ethnical trickery that SOAD does pretty well (even though sometimes to excess), but it does bring some fresheness to this weird track, sounds something between hardcore/metalcore and black metal, still a solid entertaining track, “Deluge Of Delusional Dreams” ok… maybe its me but another strange start… maybe im expecting black metal and getting something different, we get strange funky riffing that goes into a metalcorish groove, ok… its cool, then the black metal comes in, with the vocal and double bass and riffing, with again some clean vocal chorus, about 2/3 way it changes into something else… kinda another groove guitar blast combo, entirely more ethical riffing, well well although already pretty formolaic, still its a pretty good listening until now, above all else it has a lot of groove.

“Touching The Spheres Of Sephiroth” starts off diferently, much more by the book black metal, well and it goes all the way through, humm a much diferent beast than before, much more focused, “Gyroscope” starts with some guitar work, then bass, then into a cool almost etchnical riff, then drumming and now a fool blown ethnical riff, humm its pretty nice, it feels black metal but not quite there, pretty cool track, “Double Helixed Sceptre” again a slow start, then a more electric riff to a blast beat and … damn some weird riff drum combo…. that brings to the black metal, and again the weird riff drum combo, this is one hell of a track and we haven’t got half way, very original, humm with voice it slows down a bit… and again back to black metal and the clean vocal chorus, and about 2/3 it goes into full blow black metal again… humm very interesting track, “The Scribes Of Kur” is a clean middle eastern instruments interlude, “Leper Jerusalem” is going again a bit into the Metalcore/Hardcore camp, then if slows down into a groove and its pretty much that, still a solid tune.

“Sand Grain Universe” is a much speedier track, still into the same black metal groove, just speedier, i kinda like it a bit better than the normal… slower kinda hehehe… and this track does it credit, loads of blasting and etchnical riffing with some slower tempos to enphasise on the higher speed, nice balance and again nice groove, “Emissaries And The Mysterium Magnum” starts of into a bass guitar combo, then into a blasting riffing and a toolish muffered vocals in the background kind of thing, this all stops with the vocals into a cutted riffing style, pretty cool, still this track has a weird tempo, with a pretty sweet guitar solo (especially because if fits into the mood) and then finally it ends with the… kinda obvious ethnically infused instrumental only “Extemporized Ophtalmic Release”.

Someone said it was kinda like Nile, humm dont know about that, sure there is a over enthusiasm with the themes and the ethnical instruments, and that kinda drags it a bit down… i think a band never wants to be fixed into a planet, when they should be aiming for the universe… but oh well, to each its own, and dont get me wrong, this wasnt the first listen but i did went in thinking it was black metal/death metal kinda of a Nile thing, and it sure isnt, they are 2 diferent beasts, and although i do like Nile, seems Melechesh will have a place there as well, if not because of the grooviness and little tidbits everywhere of musicianship and originality that i do enjoy ever so much ^_^

Official Site Melechesh | Video for Genies, Sorcerers and Mesopotamian Nights

Melechesh – Rebirth Of The Nemesis

The self-titled debut was recorded at the Torre de Marfil Studios (Valencia), produced by VAHLADIAN and mastered at El Cielo de Madrid (ARS AMANDI, amongst others).

The particularity in VAHLADIAN lies chiefly in the fact that the average band member’s age does not exceed twenty, yet these Spaniards achieve much with their playing and song-writing skills, for the present opus features ten tracks of Spanish-bred melody, presenting a mixture between Power Metal and the more complex Progressive Metal. Musically, VAHLADIAN are very heavily influenced by IRON MAIDEN, whereas vocals remind Spanish Heavy Metal, and ANGRA, RHAPSODY or METALIUM. The opener Áureo Lamento is very well accomplished and happens to be my favourite, but most songs have that necessary amount of catchiness that will make you hum some of the songs by the end of the first listen. Por la Sangre, Vida is not bad either. I do admit, however, that hearing ‘Puños de Acero´ instead of ´Fists of Steel´ is somewhat anti-climatic, but that is a constant. The band sings in Spanish only.

VAHLADIAN also invited Jorge Salán for the guitar lead in Lágrimas Negras Parte 2. the end result is very pleasant indeed. Then there are lots of moments throughout the album where you sometimes feel you went 20 years back in time (such as the beginning of Reinas de la Oscuridad), which is very good indeed.

For first timers, Vahladian is fine and very much worth the listen.

Official Sites Vahladian.com

It all starts off with a bit of a bang with “Pieces of You”, you kinda get a picture right away of what this is all about, the music is a bit more cut and paste than The Dillinger Escape Plan, i mean they have smoother transitions, unlike Car Bomb were most of the time you see cuts between segments in the music, its not too bad cause the segments are pretty rockin, but still … cut and paste, “Gum Under The Table” comes next and a kind of fused death fuzzed metal groove going on into a electronic passage into a hardcorish kind of breakdown… and then… might i say a Meshuggah big wall of sound break… humm very nice.

Well i wont bore everyone by examining every track, suffice to say all of them seem and sound very fresh, they all follow this constant cutting and are very much founded into a more hardcore and harsh foundation, but again with loads of different stuff going around, maybe the most notable track for me is the very awkward “Best Intentions”, the rest is kind of a blazing blur of blasting and jazzing.

So… ok… is it good? txaaaa, i don’t know, like i said above this kind of music is difficult to give it a heads up or down, these boys have skill, but i do understand why a lot of people might not like it, its a bit too cut up, they barely capitalize on good grooves, i guess they seem to be in too much of a hurry to play something else, so yeah if you like weird technical metal maybe Car Bomb is just the right fit.

Official Site Car Bomb (great domain by the way)

Car Bomb – M^6
Car Bomb – His Eyes

An introduction that reminded me the soundtrack to The Dark Eye (Pc Game based on Edgar Allan Poe’s tales, particularly The Cask of Amontillado) was certainly a mood-setter. However, it did not prepare me for the brutal assault represented by Grace by Chalice of Anger. Fierce, brutal death metal – the way it is supposed to be. The band’s conceptual dimension is simply quoted as «Hate, Anguish and Egoism towards humanity and all its forms». This expression of this disdain is perfectly mirrored in the band’s aggressiveness – but it is an «orderly» aggressiveness, with song-structures without an apparent pattern, but well thought-out. There is a healthy amount of influences in the songs – from MORBID ANGEL to CRYPTOPSY and CANNIBAL CORPSE. In the end, the songs are varied and some riffs are really good and morbid. We are dealing with skilled musicians here and, while not being necessarily a breath of fresh air in the Death Metal scene, Fragments of Perdition is still worth the listen. The formula is successful in the band’s music.in addition to good music is the good production (Pop-Studio, Mika Haapasalo).

Fan Site Mikseri.net – Death du Jour

Death du Jour – Harlot Deliverance
Death du Jour – Triangle Gallows

Well Fredrik Thordendal’s Special Defects is basically a solo project of … well … Frederik Thordendal, the lead guitarist from the best band in the world… Meshuggah (well at least i think so, muahahah) and one of the best in the world in my opinion… ohhh well gotta stop with the ranting, so the Sol Niger Within crew is: Thordendal on the guitars (and pretty much everything else…), then Meshuggah buddy drummer Tomas Haake on vocals …. yeah vocals hehehe oh and Marcus Persson as well with some vocals, Morgen Agren on the drums (from the progressive rock band Kaipa), Jerry Ericsson on bass, Mats Oberg on keyboards and Jonas Knutsson on the saxophone.

This solo project was completed, pretty much after Meshuggah’s – Destroy Erase Improve, so in a lot of ways it borrows from it, so you got the polyrhythmic calc metal, with all the niceties, the difference is that instead of being greeted with a standard Meshuggah tracks we are given a more experimental trip that combines those features with complex jazz elements and eerie atmospheric sections… its difficult to explain, well let’s just say it, that if this was a Meshuggah album i would say it has 5 Meshuggah tracks and 8 strange interludes, strange but not bad, it kinda all works together, it’s catchy and combines well the rawness of metal with some weird softening undertones.

Well it’s not all flowers and happy bunnies, all this stuff sure does bring a strange pace to the album, and sometimes it feels it’s just played out too long, but i think it works pretty well, its one of those albums you have to listen to it to believe it. Also note that there are at least 2 distinct versions, the original 1997 one and a 1999 remix with better audio and extra tracks, the album has 26 tracks (some a couple of seconds long…) but it works pretty much like one big track, anyway it’s supposed to be one big song and you should listen to it like so, so both versions are pretty much the same, also the mp3′s here, the first is basically the first 2 tracks, “The Beginning of the End of Extraction (Evolutional Slow Down)” and “The Executive Furies of the Robot Lord of Death” (yeah funny track names), both together are about 3min long, and the second is one of the extra tracks from the 1999 version.

Yeah i know it’s weird, strange and somewhat kinky and of course the taste for Meshuggah does enhance the experience… but what can i say i like it ^_^.oO( NO, i love it )

Somewhat Official Site? Myspace Fredrik Thordendal’s Special Defects

Fredrik Thordendal Special Defects – Sol Niger Within First 2 Tracks
Fredrik Thordendal Special Defects – Missing Time

The oh-so-evil hymns in the CD are Destruction Ritual, To Wander The Stars…, The Ancient Dwells Beneath, As Graveyard Rites…As Darkness Fell, Coldwind Flame, The Immaculate Whore, Suicide Amidst Katharsis, A Crumbling Shrine, Black Ash Snowfall, Enhanced Soil Where Fierce Battles Once Raged and Still Waters Shall Remain Their Tombs.

As a (direct) result of these being old tracks re-recorded, the general feeling is that Krieg remained faithful to the original raw, hateful, fast, brutal and grim BM roots. There are no keyboards, no nice melodies, no warm feelings here. That is the good thing about this album (in addition to the interesting intro. Even though intros have become almost standard and the everyday cliché, I liked it all right). At least one does not have to put up with all these ‘happy black/pink metal clowns’. No bass was used on the recording of this album. The production is good (for the raw standards one would have in mind). I would even say it is better than most raw releases of late. The only flaw is the low (almost inaudible/incomprehensible) guitars.

The album is not that varied. In a way, I guess it does have some of the typical American Black Metal (if there is such a thing) touch, because I could not really place this album in Europe. The main difference being the better played drums. The highlight of the album is definitely the double bass pedal technique. One word of praise to Duane!

It is tiring to see all these ‘true BM’ bands, whose only claim to fame is to say they are evil and trendless and ‘fuck posers and sissies’. I cannot really say Krieg are much different in that respect: after all, it has become the next big trend to say ‘Fuck trends’, so basically whatever one does in the music scene nowadays is a paradox in the least (or a very big stunt). A paradox which is enhanced when looking at the booklet. There are of course no lyrics (I am not sure no one needs them anyway) and the cover is as usually very interesting (mostly for its simplicity). HOWEVER, for someone who shouts ‘Death to Mankind’ and ‘We hate you all’ all the time, Krieg have a seemingly HUGE thanks-list, occupying the inlay (for a clearer picture, you should know the black/white booklet has 4 pages). Quite striking.

It has become increasingly difficult to differentiate between all these raw bands and give each their own personal characteristics. Krieg do have their own touch, in a way sounding like a faster version of Judas Iscariot (with a different guitar sound, WHEN you can actually hear it). ‘Destruction Ritual’ is clearly an album which is not for the masses, mainly because it sticks to the same basis from beginning to end (a polite way to say they might get boring). I am sure their ‘fans’ will forgive them for that.

I was expecting something good – with the experience Mr Vincent Crowley, Michael Estes and Kyle Severn [also known as The Unholy Trinity] have been gathering through the years (since 1988), both on an ideological and musical level.

The first track is okay – inverted readings set the mood for the ritual that is to follow. And the album does have some sort of energy and high moments, often going mystical and other times, plain evil. Xomaly and The Kindred are obviously wreaking havoc from the first second – and some other songs have the occasional highlight that make the album worth the listen. Proof that the Acheron sound has not only matured with time, but also found a way to express its own identity.

The production is not bad – in fact, it is heavy and gives the album a powerful edge. But… it could have been better. Sometimes – quite often, in fact – the album tends to become monotonous, because there is a sound of ‘sameness’ in the songs that does not allow the listener to fully appreciate the offering. The album is listenable – I have heard far worse, but… with a teaser like Xomaly, I was expecting a bit more. The 9th Gate was also disposable, but Acheron should know what they are doing.

All in all, Acheron should not disappoint the diehard fans with this album, but I really think they have written more enticing music in the past. The fact remains that the Satanic word is spread through and through.

Official Site www.acheron666.com

Txx with “Rome 64 C.E.” it starts pretty slow, nonetheless it’s a nice march like intro, good build up to the next track “Slaying the Prophets Ov Isa” oh and this one even hurts me… damn this blasting and eerie guitar riffs, the vocals are better now, not so much distorted… its fast crushing and groovy, its a blast, the… chorus is kinda a slow down growling with gregorian vocals in the back, awesome… and then it all goes mind fuck with a solo guitar and crushing till the end…. what can i say… “Prometherion” starts again with a blast, it works and feels very much as the second part of “Slaying the Prophets Ov Isa”, it all feels very epic and brutal, nice, “At the Left Hand ov God” brings back a bit of that Middle Eastern vibe from the intro track, to build up to a slower shout blast, the slower pace just gives it more aggression and still it seems like a over-the-top requiem, very into the vibe of the album, awesome riffs.

“Kriegsphilosophie” brings it all back, blasting and growling at blazing speeds, half way through it goes into a change of speed and into a blasting/guitar combo, very nice to follow the guitar solo, all keeping it tight and fast, amazing, “Be without Fear” starts almost as a old school fear factory blast… that is until it changes tune to a more blasting growing, the difference is abysmal, extremely groovy and heavy as shit, it has a bit of a hardcore feel to it, not so much growling more shouting, nevertheless again a great track, “Arcana Hereticae” again blasting from hell, damn if its not well played out, not a moment of pause or monotonous movements, its all fucking tight and to the point, eerie as hell solos, makes a pause about 2/3 in… damn if it doesnt go into a groovy blast/guitar loop/guitar solo… sooo good

“Inner Sanctum” is next, with some blasting and sound off voice from guest vocal Warrel Dane from Nevermore (i checked…), it’s good, although somewhat toned down track, with piano, acoustic guitar and voice off, that is until half way they turn the guitars into groove metal mode and just kick it up, what can i say, again a fucking great track, catchy as hell, “Libertherme” start with the first electronical stuff i heard… and it doesn’t sound that bad, it helps build a slower more groovy track, not so much blasting, driving to a bunch of guitar solos through the track, still groovy, but i think it’s my least favorite, “Pazuzu” starts again with that march vibe, into full out blasting/growling/singing chorus, into full blasting growling, nice, it feels its just building up to the last track “Christgrinding Avenue”, were the all out blasting/guitar solo starts up, that grows into a groovy blast growl thing, that slows down into another groove from hell… dying out… what can i say epic flavored shit in 3 minutes… damn thats awesome.

I kinda see Behemoth as a band that re-invented themselfs into a technical death metal band from a black metal background, and that gave them that extra edge to not go overboard with the death metal, i think most death metal bands dont balance it very well, it tends to drag, to not have a point, when it should be brutal and deviant, and that’s … i guess its Behemoth’s formula, well this is a kick ass album, my congrats, incredibly atmospheric, the drumming and guitar and vocals, all excellent, pretty good production values and ohhh and i loved it… that should be enough, again…Behemoth, go fucking get the fucking album muahahah.

Official Site Behemoth.pl

Behemoth – Prometherion
Behemoth – Inner Sanctum

Well the album starts with “The Chondrin Enigma”, and i might say it surprised me, sure it has blast beats all over the place and not overly complex but it doesn’t stay a lot on the same place so it’s got a nice flow with some flourishes and some slow downs for more breakdown kind of thing, with a smallish guitar solo, it all fits pretty well, i like it, “A Metodical Overture” works pretty well as well still a lot of blasting, but with some nice touches here and there, “Avenious” slows it down … humm to almost melodic death metal, little blasting… sounds more like just plain vanilla Death Metal hehehe, still they cut the blasting for more groove, not too bad, but could be better, “The Spaying Séance” brings blasting back, and it goes on pretty straight forward, a bit boring in some places… “And Carnage Basked in it’s Ebullience” starts slow to some… humm this one is weird, a lot of things out of place, the background sounds out of place, the times are a bit screwed and not in a good way, well no one can be perfect (at least it’s not a interlude muahahah).

“The Foul Nucleus of Resurrection” is next and … it goes back to more groove oriented music, combining pretty well smallish guitar solos with groove breakdowns and blasting, nice, “Archetype” continues the trend, in a somewhat different way, its way more just plain Death Metal but with enough blasting and shouting to not be pure, it still retains that brutal edge, again a great track, “Ingenuity in Genocide” blasts away, again with some slow downs breaks for chorus and to add diversity… keeps a good pace, again great, with a small solo added to the mix , “Odious Emanation” is better, more focused on blasting and tighter groove, pretty good and heavy, “Prolific Murder Contrivance” is blast and a bit of the same, half way through has some nice guitar work for a sort of chorus, nice, the album finishes with “Underneath Rorulent Soil”, humm kinda working “epic” tracks for last hehehe, nice work pretty technical stuff, finishes the album pretty well, and it’s probably the first track you should listen, since it sums up the album pretty well ^^

Humm, well its groovy for a death metal album, not meshuggah groovy but nevertheless it brings a bit of fresh air, and it makes it easier to listen to, some of these overly grind albums are just sooo thick that it’s hard to re-listen, i like my music with some variety, the vocals are pretty good, it’s pretty diverse technique wise, sound great, so Aborted… good job, i like it, so if your into this kind of music, you should check them out hehehe.

Official Site Goremageddon

Aborted – The Chondrin Enigma
Aborted – Avenious