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Tuesday, January 24, 2012

Aborted - Global Flatline review

Year : 2012
Genre : Death Metal
Label : Century Media
Origin : Belgium
Rating : 7.0 / 10

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The fresh Aborted LP is as straightforward as its cover art in its hastiness to serve out your rudimentary death metal anticipations, and it shows no eminent desire nor ambition to deviate boldly from the superorthodox death metal formula of blast beating the shit out of silence the old fashioned way, supported by riffcraft that has a more pronounced urge to lock in a certain frequency domain than to administer riffcraft along that silly little thing called melody. Exceptions are present, but few and far between. Whenever the album deviates from the brutal side of things for a moment, the content emerges quite significant and musically more colorful than it weighs in with via its over the top comic book intensity it favors 90% of the program time. The traditional-, decently realized pig squeal vocals are oftentimes supported by metalcore screaming administered in a much more tolerable mid-tone register than the faked-ass fry screaming you hear from metalcore teenagers looking like separated sperm cells on the cover of your favorite music magazine. Talking about music, the actual audio data on this spin, as is somewhat common to the sonically brutal side of death - !!ROARR!! - metal, is not always easy to realistically relate to, because the drums often are so prominent in the mix that they show a relentless urge to command ALL under them with a row of pummeling iron fists. As result of this, the character of the sonic content with any pitch value to it, pretty much lies beneath the monumental percussion work. According to my percepts, this tendency is more prominent in the firs half of the release. Read on to find out more about this anti-neighborhood device.

What I personally think the record looks best with, are its intense drum fills and the capricious rhythmic patterns in its climax, let alone how one of the songs features a line from Hellraiser II if I'm not mistaken, about suffering and hell. An ubiquitous urge to offer variation IS present on this spin, but, as I just mentioned, the riffcraft shows mixed desire and capacity to address its ultimate meaning via its given potential. Sometimes, when the audio fabric is not trodden over by vocals and the wartank drums, it becomes - uhm - audibly visible. Aua, I just lost a level. Yet, for a good amount of this spin, the name of the game will be uncompromising blast beat galore with no love in it at all, and this rhetorics gives you the kind of extreme music which intentionally flatters the epitome of good old fashioned noise warfare. Sir, Yes, Sir, it is great fun, but also a kind of fun I think the album tends to violate by relying on it way too fucking much. But this is a subjective matter, and these segments might weight in as the favorite segments under your roof.

It is very hard to miss the similarities between this baby and that of an output of akin character from Italy, and I would not even go as far as to deem the peak moments of this album less efficient than that disc, courtesy of the last THIRD of this album. My current opinion is that this release gets better and better as it progresses, reaching the peaking I personally noticed via its last three tracks. The music on these regions are especially well varied, and its complexity borders on technical death metal in its rhythmic and sonic complexity. The release is a safe choice if you want to bang your head against a wall until one of these elements gives in, and, with its limited share of intricate musical stimuli, it weighs in as a ride even the snob finds attractions on that are worth revisiting.

Rating : 7.0 / 10

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