Jon Boling aka Skatch MC - Sincerity : The Soundtrack to Life review

Year : 2012
Genre : Rap / Hip Hop
Label : Independent
Origin : United States
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Jon Boiling aka Skatch MC comes your way with a debut LP that is quick and efficient to reveal its crystal clear agendas, and you can take this quite literally. The name of the game herein is traditional-, heartfelt 4/4 hip hop with super-polished production values, - more on those later - and one thing that hits your receptors right away to cause a pleasant extra surprise in them, is the precise vocal articulation of the whole contribution. I know, grasping the lyrics on the fly Family Guy style is not something you thought you will have to fathom (while driving by) amidst steady rap warfare, but, behold : here is a ripe hip hop release with very easily understandable lyrical content.

The primer modal characteristic of The Soundtrack to Life album is more of a laid back, peaceful demeanor, with which the LP comes through as much more authentic, than if to address the Tuesday night gunfight and the size of the premiere local female butt without end, as it is a somewhat common and safe shortcut to flatter the genre. The fact that Skatch MC puts more emphasis on mood and atmosphere than on intimidation and 9mm subterfuge, guarantees a laid back-, yet intimate, and most importantly : FUN listening experience. Read on to find out more about this decent, meticulously polished hip hop debut.


As noted, Skatch MC is not approaching you with the arrogant gloating stance so common to the style, which does not mean that he lacks a firm position on consensus issues OR the readiness to share those inputs with you. The primordial themes of the lyrical content are ranging from witty takes on the paradox nature of a global economy system which insist that the most sober goal is to consume infinitely amidst limited supplies, to the everyday life of micro communities, heavily characterized by the terribly dangerous combination of drugs and the most serious responsibilities, like having to groom a child or two.

From a compositional point of view, I honestly can say that I like what I hear, because I hear what I like, based on the related central intents of the LP. The soul of the attraction herein, of course, is the flow of the spoken word, and the meat and bone sonic structures to back those up, are decently realized studio constructs without any mispositioned will being present in them to take risks or to exhibit futile shock values. Each element the record utilizes, is realized with a steady hand and a stone cold sober mindset, and THAT is sufficient : the kick drum packs both a punch and a bite, the synths bring the grit, while the piano always steals a tint of mellow into the - mainly - friendly sonic fabrics the album is fond and efficient at utilizing.

Jon Boiling aka Skatch MC - Sincerity : The Soundtrack to Life is hip hop from the heart resonated through a spiritual stance that is very easy to relate to, courtesy of its bravery, elegant capacity and well positioned cunning of not wanting to be anything less than that.

Rating : - review requested -

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Biohazard - Reborn In Defiance review

Year : 2012
Genre : Hardcore
Label : Nuclear Blast Records
Origin : United States
Rating : 9.5 / 10

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This here latest to date Biohazard LP brings down ultraterror, fake UFOs and old school hellfire upon all who is looking for a blemish in its full musculature fabric. These guys have been around since ancient times as far as I know, and let me tell you that their game looks as intact and fresh as ever. Biohazard brings to you a type of music bordering on the shared field of venomous thrash metal and rebellious groove metal, but administers this kind of rabid sonic data with a proud finger given to recent day polishment-production wizardry. The album sounds like you'd expect a post apocalyptic band to sound when witnessing them on a stage set up on the back of a warproof truck. The sonic data is equally gritty and lush, always packing the instant charisma of a lit up barrel and a Molotov cocktail, and that what the idea is, I tend to think. Read on to find out more about this heavy duty release.


Biohazard is all about the primer elements I personally think are amidst the most important building blocks of hefty music that seeks to waste stuff to obtain great spiritual satisfaction. These guys have the capacity to deliver sets and sets of intricate musical hooks per song, and not for a moment, you are taken for a fool like on a Nickelprick LP, abusing family proof soft rock chord progressions. I'll tell you a joke : Nickelback. Now, back to this Biohazard LP. The stimulus of this album comes from the heart, and shows constant capacity to flatter the mere heft in music you most probably signed on for. This album does not disappoint, not for a second, in my opinion. An intact, aggressive sonic fabric is achieved by the sober production decisions, making the album sound honest and "real", eliminating all need to rely on the recent day stock studio sound your gecko loves to drop saliva above.

While the sound manages to strike you as something truly fresh and - paradoxically enough - timelessly old school, the Reborn In Defiance LP weighs in as super heavyweight, courtesy of the trusty musicianship and destructoid songwriting witnessable on these tracks. Tasteful variation never relents, and the band showcases an apt readiness to flatter luscious riffcraft without shame and without end, and this particular aspect is KEY, of why these guys ARE the Grandmasters of the genre, and not just decent runner ups of it. Whereas other bands would be content with the elements/sections per song they already have, you can be sure that Biozahard always will have one extra surprise/section for you, regardless of the momentary behavior and intensity the current track cultivates.

This album sounds to me as a vastly authentic and immense release, and here is why : this disc contains the exact kind of music I hoped to hear from Biohazard. They give on this LP what I was hoping to get from them, only, they shape the form of their very best music in the process. I'll be honest with you, I love this Biohazard album, and, as such, I gratefully deem it an immediate recommendation.

Rating : 9.5 / 10

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Dissentient - Black Hole Machine review

Year : 2011
Genre : Death Groove Metal Hybrid with Djent elements
Label : Independent
Origin : Canada
Rating : 9.0 / 10

Dissentient's Black Hole Machine LP is a freshly sounding variant of death/groove warfare. While the consorting intent evidently is to eradicate all on spot foolish enough to stand in the way of the organized sonic terror, the form of these rampant tendencies still exhibit a sober tendency to bow down to certain compositional dynamics, primarily taken from the ultimate meaning of raw T-rex meat groove metal, spiced tastily and rather bravely by luscious djent fixations. If you think that a groove metal/death metal hybrid with a djent affection might actually be sexy and worth checking out, then you are not just close to the related truth, but occupy the graceful center of it. Let me assure you in advance that Dissentient's delivery has all the sonic tools in its possession to make your neighbor suffer legendarily, and it is not afraid to use them, either. Read on to find out more about this fine package.


This record, as hinted, is as much groove metal as is death metal, and it remains free of the need to address these influences/agendas on separate rhetorical channels, instead, it manages to come up with audio data striking a delicate-, but relentless balance between death, groove and the madafakin djent. The album, thank God and Affiliates, is angry like a crocodile on wardrugs and won't satisfy until you sport limbs not incorporated in it yet. Talking about "in" and "corpo", track number 3, called "Incorporeal" is a good example, in my opinion, of what the primer elements of the release are : on this particular track, you will hear the band engage various intricate rhythmic deviations from the standard 4/4 rumble without any sign of running out of legit ideas, and the way the riffcraft utilizes artificial harmonics on the guitars, is something even Dimebag Darrell would nod on. No, he did not object against the notion.

This release, 38 seconds shy of 1 full hour in its program length, comes to you more as integral sonic data that exhibits major regularities and relative similarities, and not as a release that seeks to deviate from its favorite, honest affection to punish silence ASAP in ultraviolent fashion. I personally tend to think that this disc looks utterly good with its relentless hyper-aggression engaged full paua 90% of the time. That remaining 10% still is intense music, yet, with a more tame character rendered as the core of the related data. This readiness to deviate - in thought - from sonic aggression at the climax, signifies musical maturity.

It is very easy to join in at any time to this spin, and appreciate the great variation it is ready and able to subject you for an hour. A great deal of this variation, fortunately enough, comes to you via the djent leanings of the record. The djenting, for the most part, sounds to be more melodically sculpted than what you most often hear, and that might be the result of the fact that seldom are the times that you are subjected to less than 3 guitars playing at a time. There is something extra, too : if you listen very carefully, then you will notice that the band often features a Faith No More synth in the background, but, its volume is more tame than that of the synth of Faith No More. A safe, immediate recommendation with a whole lot of quality stuff going on, and you need to be very bitter to be disappointed by this fine release, in my opinion.

Rating : 9.0 / 10

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Xipe Totec - Eztlacuani review

Year : 2011
Genre : Atmospheric Death Metal
Label : Independent
Origin : Mexico
Rating : 9.0 / 10

Mexico expects a superb year from a touristic point of view, courtesy of the 2012 apocalypse some portion of the masses anticipate. Xipe Totec's Eztlacuani is coming to you from the most authentic soul content you could possibly imagine, as this Mexican formation channels the sonic variant of the apocalyptic ancient energy steadily summoned on the cover art. If you did not yet see Mel Gibson's movie Apocalypto, - a vastly significant movie, in my opinion, and people dissing it are failing to realize what they are witnessing, seems to me - then now is the time to do so. What you - in my view - witness is a real life historic science fiction movie in which the wrath of anguish Gods indeed seems to threaten the life quality of the Mayan community. As such, this hive entity, driven by fear, accepts and follows the direction of - haha! - religion, - ahhhahahahahahaha! - that which declares that lives must be sacrificed in vast numbers to gain the mercy of the anguish entities up above. Comfy so far? I dare you to imagine that you are a Mayan woman or man with an impending eclipse above the scenery, tribal music by million drums and animalistic shouts in consensus air and in your ear, and you are being led/dragged to the top of the sacrificial pyramid with the High Priest on it, who, rest assured, will have no problem cutting your heart out, having done that 23 times in the past 30 minutes already. This horrifying experience is a part of the collective psyche, and these humans had no choice to tap out of this, to dismiss the terrible, real life 3D life experience crushing their current form of existence. They had to die by this trauma, and had to experience it emotionally and physically. Infinitely disturbing and infinitely sad thing.

I confess I do not understand a single word sung on this release, but I instinctively understand that they promise no good. To me, it is a record made both for the timeless remembrance of sacrificed Mayans, - talking about death metal, hm? - and, for the timeless remembrance of that ancient variant on the fabric of physical reality, in which you, as a living human being, indeed lack both the capacity and awareness to convince anyone that no one needs to die, it is "just" an eclipse. There are no words in use in that reality fabric to make them "understand", even if you would knew the information, you would have next to zero chance to convince the religious leaders of this collective psyche to give up on their ancient traditions, losing their face in the process. You will be sacrificed. Read on though, Lover.


Xipe Totec's Eztlacuani is a superb, authentic addition to the attractions you can properly anticipate your personal apocalypse with. This rampant spin comes to you along a traditional-, yet very well realized death metal register, soaked skillfully and tastefully in Mayan atmospheric elements. Among these, tribal drums and the Mayan flute are the focal ingredients. You got to love and fear all of them. They summon an ancient vibe that flatters a cosmic secret of timeless significance regarding mere cosmos and the oh, so casual existence, and, though the Mayan flute herein has only two favorite pitches, those two pitches will always find their way to your core, courtesy of the lack of all doubt on their part that they will do so indeed.

To make the metaphoric picture given earlier - with the pyramid and tribal drums - more precise, imagine that there is an ancient, anachronistic Mayan death metal band playing on one of the tribunals when you are being dragged to the top of the pyramid to be sacrificed. The music you hear during the process, is contained on this spin. As such, it is needless to say that Xipe Totec's Eztlacuani is both a disturbing-, but very significant spiritual ride, after which you give all grace you can to the fabric of cosmos that you are not in the position of having to die by the trauma the sacrificed Mayans had to die by.

As for your Personal Apocalypse of any other kind : if that is what you are after, than that is what you will get.

Rating : 9.0 / 10

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Lacuna Coil - Dark Adrenaline review

Year : 2011
Genre : Alternative Metal Gothic
Label : Century Media
Origin : Italy
Rating : 8.0 / 10

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Lacuna Coil attempts to bring the energy of Rammstein to channel the music of Kidney Thieves, and, as soon as someone attempts to do so, it deserves immediate attention. The key-, minor deficits of the current formation are quick to reveal themselves, as are the beneficiary soul contents and other goodies the squad is able to deliver. The best potentiality of the record lies in its honest-, nevertheless elegant bubblegum character : the structures hardly-, if ever deviate from the standard compositional technique of verse-chorus, verse, breakdown, biiiigbig chorus, yet, as long as the served elements are able to please your receivers, this template is still quite efficient. The album's most favored song length of 3 minutes - only two of 12 pieces topple this length - seems to solidify the impression that the prime agenda herein is to deliver a hefty, easily accessible Goth soulride for the whole family, your secret latex gimp in the closet, - HA! - included. Read on to find out more about this slick release.


Dark Adrenaline shows capacity to exhibit a diverse set of moods, fortunately. Opening track "Trip the Darkness" has a pronounced leaning towards a dangerous, sanely limited fairy tale register, while "Fire" - much later - is a cybernetic soulhack inviting you to rebel without a pause. The hooks are coming your way in the forms of the choruses, primarily, and they bow to no boundaries regarding the tools and sets of moods they seek to utilize to administer steady entertainment. As for the moods, a good portion of this release sounds as traditional alternative - oops! - metal to me, and, to be honest, it is great to hear an LP that does not take its Gothic sentiments to the perplexedly extremely serious. The content herein has dignity, and a good amount of hooks.

Now for the good old fashioned beating. The absence of a Free Dominguez and an Animal like Corey Taylor is regretful, as the fronters herein - one female, one man - are giving acceptable and mediocre vocal performances, respectively. Their accent is tolerable, even cute at times, yet I not always am content with the "emotional" renditions they are portraying. The male fronter has only one favorite style of singing, and that is the bluesy rasp you already had the chance to bore yourself to hell and back with, while the female singer has a more diverse set of singing rhetorics. At track 11, "Fire", the chick fronter starts out the fray in comic book Free Dominguez fashion, and must say, she does quite a decent job at that. Yet, this rabid kind of borderline intensity is a rare invitee of the release, as Dark Adrenaline has a more tame character as its prime attribute, instead of angst. This, of course, is not a blemish, rather a probable heartfelt decision of the band, and, as such, this factor should not be subjected to criticism. On occasion, Lacuna Coil is able to reveal superb mid-tempo harmonic environments, like the chorus of track 7 "I don't believe in tomorrow" : this hook reeks Slipknot's "Sulfur" without ripping it off, so : Kudos!

Lacuna Coil's Dark Adrenaline is a solid offering all in the spirit of Italian gothcybermetal, yet, with a more pronounced spiritual leaning towards the peaceful than this particular Italian beauty. Lacuna Coil's latest weighs in as a serious addition to the first month of this particular year, and, the fact that it is largely free of gloom, appeals to me greatly. A safe, immediate recommendation and I like it.

Rating : 8.0 / 10

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Enter Shikari - A Flash Flood of Colour review

Year : 2012
Genre : Whateverthefuckyouwantcore
Label : Ambush Reality, Hopeless
Origin : United Kingdom
Rating : 4.0 / 10

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Step 1. Imagine a music box filled with different albums representing each one of these genres : metalcore, post-punk, lightweight dubstep, drum and bass, trance, hell, even annoying-ass Elton John pop, inviting you to drop saliva to your favorite pink plusch hyppo you love to sleep with since you are 12. (In other words : since a year.)

Step 2. Hook yourself up with a portable mini nuke and a cup filled with the green goo of musical DNA enfusion, arm the mini nuke to 30 secs and put these things into the music box. Close the lid. Wait one minute. Put on your HAZMAT suit. Open the lid. Get the resultant hyper-hybrid of a disc. It will have Enter Shikari - A Flash Flood of Colour written on it, and your nervous system will be hijacked! Now, if you are 13 years old, it is your lucky moment to produce your catharsis-run for the honest bewilderment of all traditions, because, what you are holding in your hands is none other than your : oh, so favorite album of all remembrance. If you are past 13, then you still do NOT need to be a retrograde douché to steadily dismiss this record as

VAAAAAAAAASTLY

I mean :

VAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAASTLY overrated.

This is what the cover art suggests, too, (- "V"-astly overrated - ) and it mimes a triangle only to please the highest levels of the Illuminati, I suppose. It would be supremely easy to be an utter douchebag with this release, because, frankly, as I just wrote, it sounds to me that it is the music of the rebellious acne-kit 13 years old, yet it has its share of acceptable-, even (relatively) enjoyable moments amidst the immense dosages of supremely superficial political rants administered in the copied tradition of the action figure-variant of Rage Against the Machine. Read on to find out more about this - in my opinion - overrated release.


"Spiritually", this record seems to attempt to emerge as an after-feel experiment of everything Clockwork Orange on an antitheses-register, as the band members seek to occupy the position of the Good Willed Villain, the Warm Hearted Brigand, the Good Outlaw, or whatnot. They are your popculture Robin Hoods, armed with a fraction of the talent of their role model inspirators. Unfortunately, they seem to lack the charisma of an American z-movie star who has just been denied the key role of a shampoo spot, - or maybe I fail to pick up on their charm - but, what the hell, these dudes still behave like they just pulled the galaxy out of their asses. It would be acceptable if they'd sport the collective charisma of primetime Rutger Hauer, but what I see, is angry (sex) dwarfs being pissed off at my garden. WOW! Promising sight, I must admit. Lemme bring my lé pink lingerie.

Lyrics? Oh yes, some claim that the lyrics are superb on this disc. Uhm. Naive little thoughts seeking to emerge to bombastic qualities, - doomed to Fail Legendarily, of course - like : - can't quote verbatim, thank God - "do not think that little groups can't change the world! They CAN! They DID before!" Oh dear oh dear.

The members of Enter Shikari are not quite ripe musicians yet, in my opinion, and they reign in the position of being free to conceal their deficits with pseudo-content generated by the state of the art production environment they rely on. You are, of course, free to suggest that I should chew on a flamethrower with your finger on the trigger for saying so. Currently, the Enter Shikari dudettes seem to me as enthusiastic fanboys and Kerrang! readers, indulging amidst their musical inspirations, accounting those with stock-talent levels in a professional production environment, being fixated on superficial, naive political rants about the ideological and economical state of the planet. Nothing beyond-, and nothing new when compared to what you have heard a 23423423 times before in this field.

Their flamboyancy is their biggest and greatest asset, and there are moments when they seem to go - only in character!! - Faith No More, and you know that I'm a Faith No More fangirl. I dare say that the lyrical behavior of this LP is more conscious POSE than thoughtful-, heartfelt CONTENT, and it shows no capacity I can pick up on that would offer anything above the platitudes of narrative political rants. Buuuuuuuuut. The music, for the most part, is not stellar on this release, okay?? It is, for the aforementioned most part, is above average at best, and seldom are the times it goes beyond that. You suck ancient Baphomet dick if you think it is great music all over. Same as with Meshuggah : if you don't like Meshuggah, you suck. Sorry. Deal with it.

I have little doubt that mainstream UK media will be absolutely baffled by the superflamboyant stylistic intensity brought on by these dudes, though. Mainstream UK media needs to bow down to-, and needs to worship its own products. Its own current Idols. Oh my God. What the world has come to since the brilliant-, still-kill evergreens of Rick Astley. I like Iron Maiden and Susan Boyle, too, so be quick when you kill me.

On Facebook, everyone is rockstar, therefore no one is. I feel every little group with an affection towards music, with a superb production team behind the squad, could bring the primer qualities of this release. Let me draw a parallel. The faultiness-, the tasteless pretentiousness of the dogma that everyone should be put on a TV screen that enjoys receiving cheap attention, becomes evident. Like : what the hell do you show those two idiots in the Britan's Got Talent TV show for? I show zero interest in witnessing their eventless faces and their anti-humorous, attention seeking behavior. I'm 100% sure I'm not the only one who feels this way about the matter, too, because I have asked others. I have nothing against them as human beings, of course. But don't attempt to serve them for me as elements of entertainment. They are NOT that, and they are not funny. Monty Python is funny. Mr. Bean is funny. Anything below THAT level, should be witnessed with sobriety and relentless, scientific rigor. In this day and age, the mildly talented is invited and free to invade the camera, and this is what they are doing to the inappropriate invitation of a pretentious production ethos. You are no longer free to say to somebody :  "Dude, you look like shit on screen. Only worse." This tendency is a terrible thing to witness. Why do you violate my awareness with those two?

Same thing : this is not great music, because it constantly seeks to pretend that it so much more than it actually is. This is music with promise in it, and its primer promise is its relentless urge to project myriad lights - ANY kind of light, for that matter - on itself. It is above average pop festival medley administered in the spirit of 238947237423423 different genres to serve out everyone out in a building like a cheap prostitute would do, only, this propensity can be regarded as degrading, because the elements served to you hardly are consistent in their quality.

Anyway, each song on this release is composed of about 25 segments seeking to serve out different genres like a prostitute that has been paid upfront, and none of these segments tend to last more than half a minute, tops. This album is a commercial product that is aimed to serve out the capricious appreciative "capacities" and harshly limited artistic horizons of the hormone-trodden 13 years old adolescent who thinks throwing up on a random face at a festival is a rebellious obligation that must be done once a month. As noted, the actual music is not all that sharp when witnessed for the respective ultimate worth of its myriad components, and the vocal style propagated on it makes me feel that the fronter needs a hug. Not necessarily by a bear, but. .. Just kidding. I'm looking forward for the next delivery of these dudettes, and word is, that their live shows are truly magnificent. Amen to that.

On a sentimental note : I realize that this is a harsh review, and I might write another one later on, to see if my initial views of this release have been changed. If you already have a radically different global percept of this LP than mine and you feel the urge to share it, then please feel free to educate me regarding my suspected deficits in the comment section below. Remember : I'm not against these guys, I simply think - currently - that they are vastly overrated. But I'm not 100% sure yet.

Rating : 4.0 / 10

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Mors Subita - Human Waste Compression review

Year : 2011
Genre : Melodic Death Metal with Groove and Thrash tendencies
Label : Violent Journey Records
Origin : Finland
Rating : 9.2 / 10

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Mors Subita - the band's name translates to "Sudden Death" - brings to you a fervently hefty variant of its operative subject matter, which is none other than the eloquent kind of comic book melodic death metal proposed by fellow countrymen Rainroom. The element that I think works best on the Rainroom record I just linked the review of, is virtually omnipresent on this particular LP, so my delight is considerable. (And not slim.)

Imagine a neoclassical music lingo that sports the inherent elegance and beauty of its mere own nature, yet it occupies the position of wanting to obtain the hefty-heavy melodic/harmonic hook for itself as backup as soon as possible. The sense of power metalic epic determination is being put on ridiculous dosages of war drugs herein, and so the music itself impertinently taunts both hope and hopelessness until these opposing entities end up in a no holds barred fight, - hopelessness is a tough motherfucker of the delivery - and you are invited to be the observer of the puzzling event. This particular method of orchestrating fragile classical gloom and intricacy with the rumble of wartanks is a prime fascination of the whole album, and it also is the aspect that makes the wartank-ride a truly enjoyable one. Read on to find out more about this fine LP.


The behavior of the record brings to mind massive groove metal connotations via its sheet temper, yet it must be pointed out that the groove on display is operating in a more wide spectrum than "just" the neoclassical register. When it deviates from the neoclassical moods, fueled by the intent to go bluesy for a bar or two, the re-arrival of the fragile punishment always is a superb trade-off to greet, and its subsequent dismissal equates to the reinvigorated return - and related charm - of its bluesy peer.

The release has a set of favorite musical sub-attitudes it is sporting along the way, showing frequent willingness to color its numerous hooks with a thrashy temper, and looking similarly good in mid-tempo, courtesy of the smartly sculpted riffcraft that is an immediate trademark of the release. It is not an exaggeration to state that Human Waste Compression is LOADED with hooks, top to bottom. And smart, beautiful ones at that. This diligent-, at heart experimental propensity is toppled by superb choruses that are gracing your awareness as intact, super-efficient peak moments you can hop on no problem. If you don't want that, they will destroy Nibiru and Uranus. The choruses are deeply melodic in character, as result of the rich harmonic environments they are unfolding in. Talking about the summoned harmonic environments, the release weighs in as immediate super-heavyweight in that department. If you are not impressed by the inventiveness of the harmonic fabrics in tracks like SCS, Entrance to Sickness or titular Human Waste Compressor, then I don't know what to tell you. Human Waste Compressor is a good sample-song, by the way, as it immediately starts out with a tremendous fucking harmonic fabric, engaging 111% of the band's full capacity.

Don't be too swift to relate to the term "melody" in the context of this album. The fronter, thank God & Co., does not even THINK about going melodic. He gutturals/growls the momentary prime misery no problem, yet his presence is situated in a harmonic environment that always is ready and able to simultaneously reveal a fine blend between neoclassical musical beauty/fragility and groove metalish neurosis and rampancy. Full-musculature-, real deal harmonic passages and grooves full of beauty and ruthless efficiency are abundant herein. That is the central idea, and the closely related ultimate charm of the record, of course.

It's getting uncomfortable that I can't kick into this album with a clear conscience, but, hell, the track palette is pretty well varied and tolerates no bitchwhining in pink lingerie about filler songs or anything similar. The release is a stable delivery with legit-, tightly focused content all the way through, and you need to do yourself a favor, and soak your ears into two or three tracks a time to form defendable initial impressions of the massive whole of this delivery. Many have tried to create this style-, this temper of music, but not many have succeeded yet, or please educate me if I'm wrong about this. Rainroom ALMOST did, but - in my opinion - came short via a sloppily focused mid-section. Hellfrost failed legendarily. Insomnium - then again from Finland - came forth with a brilliant release in 2011, yet the One for Sorrow LP has a much more unforgiving temper than THIS baby. This Mors Subita release is a monster and it came to kill. But it has its balladistic moments, too, and those are superb stuffs, too. The efficient combination of rabid groove and neoclassical gloom brings you a release that either puts a spiky cyborgdemon with no love in it at all on your sorry hide, or, it simply makes you one. The choice is yours.

Rating : 9.2 / 10

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