|The Moscow-located trio, comprising one member from Volgograd, one from Moscow and one from Ukraine, makes its return with 12 devastating tracks dealing with: torture on a seduced victim, suicide due to desperation and tiredness of failed fulfillment of politicians' promises, the murder for revenge of a guy who was first chained, hallucinations, a sect sacrifice, eradication of men, vengeance imposed by voices in the head, a patient avenging herself because of a wrong plastic surgery, another vengeance, this time against a person who got rich too fast, a lobotomized victim waiting to set his ferocity free, the self-sawing of a person gone mad, and finally revenge against humanity by a blackmailed man whose children were murdered.
The assault starts with "Lacerated, Strangled, Impaled", also accompanied by a video, Groovy Death Metal with drums/guitar accelerations in the vein of Cannibal Corpse; a Soulflyian axe solo completes the picture.
The massacre goes with "Run While You Can", with vocals akin to Cannibal Corpse, and a more personal style afterwards, along with a fast stratospherical guitar solo as well.
Drumming similar to Napalm Death opens and closes "Mind Crushing Power Dominance", enriched by Dying Fetus-like blastbeats, whereas the guitars are halfway between the US and the Swedish Death metal school; a majestic blow is there to break your spines in two; the vocals are amazing and central riff is fucking Cannibal Corpse-oriented.
"Release the Lions" is based on a Dying Fetus structure, while later insertions of Soulfly/latest Sepultura groovy riffs embellish the composition; very clever and precise is the drummer here, and if you add that the refrain is pretty crushing and that the guitar solo reigns supreme you can quickly understand this is the highlight of the record.
A twisted riff and annihilating drums on the trail of Deaden's "Hymns of the Sick" constitute the mid-tempos in "Chronology Bleached", while the fast ones seem to be coming from from Cannibal Corpse's next album; the song draws near to the end by a drum solo reminding of Sepultura.
Brutal stops 'n' go characterize "A Standard of Perfection", pulverizing all that sets before them, while "Future for Future" partially appears a bit more modern, even if the two kinds of blastbeats aren't innovating at all; there are echoes bands such as Whitechapel mixed with Death metal acts, yet in an original enough manner.
"Overbade" keeps on the same path, displaying speedy drums and guitars entwining in a superb way; the mid-tempo riff used to break the rhythm is wonderfully performed and conceived; it made me think of Kataklysm, while another surprise before the typical Cannibal Corpse ending structure comes from the Death 'n' Roll guitar solo.
The palm of more elaborated track goes to "Ferocity Unleashed", recurring to dark guttural vocals in the slow parts opposed to barking ones during the fast ones, pinch harmonics galore, an axe solo on the trail of Monstrosity, and a break that will be loved by Death's "Human" fans.
"The Saw Wheel of Fortune" shows its ace in the sleeve straight over with Cannibal Corpse structures; there are tons of riffs and pinch harmonics, but I must say the main riff is unforgettable, and the accelerations delivered to the song irresistible; this is another of the album's peaks for sure.
Tight and fast, "War against of Living" is jointed between Visceral Bleeding and Vital Remains until a Viking Death/Black Metal break pops up skimming Amon Amarth's territories twice; later comes a riff which is properly Metalcore; this is decidedly the most modern track in this record, as well as depicted by the guitar solo, completely different from the others.
Despite what many reviewers said about it, the uncredited cover of Metallica's "Creepin' Death" is convincingly played, with the drummer pushing potentialities of the original piece to the limit, and the layers of oppressing vocals making it really scary. Well done, guys!
The Russian mavens' fourth album is to be praised due to the three musicians' skill; something can be improved on the personality side of the compositions, but I have to say it doesn't bother me much if I don't think about it while listening. The recording, mixing and mastering by the renowned Polish Hertz Studio is effective and of fairly good quality; the drums sounds could have been rendered even better on some occasions, with reference to the floor tom and the cymbals, and the vocals are too sibilant a couple of times.
In the end, this proves to be a highly enjoyable set of songs; I haven't heard the previous album, nor the first two when they were playing Symphonic Doom/Death, but I'm convinced they are going to please a wide spectrum of public: lovers of old Death, new Death as well as younger audiences with less musical experience.
50 minutes of pound your face into a steel girder whilst inserting your fingers in a meat grinder. From start to finish, top to bottom "A Social Berserker" is one all out rage of a recording!
|MARKUS GANZHERRLICH - November 20th, 2014|
Line-up on this record:
Enoch - guitars, v.
Imidazo - drums (ex-Oblivion Machine)
German - bass guitar
Moscow - Russia
-Voice of Prophecy (demo - 2001)
-Imaginary Suffering (CD - 2002)
-The Invented Pain (CD - 2006)
-Horrors from Depth (CD - 2012)
-A Social Berserker (CD - 2014)