Techniczny, hyper brutalny death metal z Australii!!! 10 utworów w 34 minuty. Szybki, prezycyjne i ekstremalnie brutalne granie!!!
Dla fanów CRYPTOPSY, DYING FETUS, SUFFOCATION, THE BERSERKER, BRAINDRILL...
Metal Observer [7/10]:
With neither the band name nor the album title smacking of creativity, coupled with the clichéd cover art and the notion of adding yet another entry to the oversaturated brutal Death Metal sub-genre, I felt like dismissing this album on principle alone. Despite every indication to the contrary, “Born of Suffering” actually turned out to be an enjoyable blast of brutality.
They say that if a hammer is the only tool at your disposal then every problem will look like a nail, a point I’m not inclined to protest since these Aussies clearly love wielding that big-ass hammer of theirs. Subtlety is not high on the agenda here as they smash their way through ten tracks of blast-ridden intensity that is the sonic equivalent of a sustained carpet-bombing campaign. Very much in the vein of stuff like THE BERSERKER and BRAINDRILL, theirs is a sound that is chaotic to the core, somewhat modern and perhaps even a tad mechanical in places. On the surface it may appear quite tawdry but there is also an underlying sense of adventure coursing through the album’s bulging veins. For examples of this look no further than “Decipher the Ruins” and “In Death, Absolution”. The former sees relentless face-blasting leavened out by a crescendo of swelling leads, while the latter has a leftfield Black Metal vibe that wouldn’t be out of place on an early CARPATHIAN FOREST album. Waves of ‘cold’ tremolo riffs eventually segue into unsettling dissonance and female vocals that pop up at random. Not your average DM track then.
It’s a shame that the album didn’t feature more tracks in this vein. I suppose that would have defeated the purpose of a ‘br00tal’ DM album, but damn – when they let loose with these unorthodox moments the album is lethal. Most of the more straightforward DM tracks don’t hold up that well in comparison, with only the oppressive KRISIUN-like bludgeoning on “Bleeding the Innocent” leaving an impression. Having said that, the album is brisk enough not to overstay its welcome, and the instrumentation is deftly handled throughout. IN THE BURIAL won’t win any accolades for creativity but this debut of theirs has more than a few wily tricks up its sleeve, and I’m sure that in time they will blossom into an interesting prospect in their chosen field.