Exhumed cement their reputation as kings of the Horror organization with their new complete length. And they’ve returned to the bloody fundamentals, with a grindcore sense of urgency. Horror slices straight to the bone with the surgical precision of a buzzsaw.
This album is a whirl of chugging death metal riffs and cacophonous percussion. Regardless of the outrageous lengths of musical depravity Exhumed explores with every album, their most recent maintains a succulent simplicity. This is not noise for the sake of harshness. Nor is it guitar shredder salad, a trap several intense metal acts fall into. Horror is crammed with (meat) hooks sharpened to pierce one’s synapses for maximum riff saturation. The tracks will linger in one’s thoughts for days immediately after the 1st listen, like the stench of a thing horrible rotting beneath the floorboards.
Horror‘s 15 tracks clock in at about the time it requires to watch a Seinfeld episode. The magnum opus of this record, “Red Death,” is just shy of 3 minutes. Most of the songs are two minutes or much less. The album’s brisk speed bears a ghastly resemblance to early Napalm Death and Carcass, along with Mortician‘s blood-soaked brutality.
“Unsound” straight away rips open the album with a volley of blast beats, complimented by Matt Harvey’s deranged, but intelligible screams. This quantity tells the story of a morgue worker who enjoys his job a bit as well a lot, the similar twisted humor that tends to make Autopsy so entertaining to indulge in. “Ripping Death” is a ripper, certainly, with an infectiously catchy gang vocal chorus that produced me want to scream along. “Slaughter Maniac” reeks of a sturdy similarity to Napalm Death, with its structure reminiscent of their classic grindcore anthem “Instinct Of Survival.”
“Playing With Worry” is yet another standout track, which covers all the higher marks of eighties death metal in a tiny more than two minutes. It starts with a fat, mid-paced mosh pit riff, evocative of Kreator’s “Riot Of Violence,” and offers way to an evil, tremolo-choosing passage along the lines of Leprosy-era Death. The guitar chops are of the tight and technical selection, akin to Terrorizer, and they wisely transition into a screeching solo amid the carnage. Respect to Harvey for melding so several types in a way that by no means appears bloated.
“Naked, Screaming and Covered In Blood” kicks off with a throwback to “Johnny B. Goode.” It really is a hilarious pairing, to hear down-tuned, chainsaw guitars churn out a classic rock n roll lick. Frontman Matt Harvey’s rock sensibilities are the fantastic counterbalance to his encyclopedic understanding of intense music. No matter how vicious their auditory assault, Exhumed know how to make it catchy and entertaining as hell.
Vocally, Harvey’s mid-variety shrieks are normally supported by Ross Sewage’s animalistic grunting. This gruesome twosome trade-off in their lyrical lacerations, after once more channeling classic Carcass.
The only criticism of Horror is that it really is a bit derivative of its grindcore and death metal forefathers. It really is tough to describe this album devoid of mentioning all the wonderful records it conjures fond memories of. But, that could be precisely as Exhumed intended. Just after all, this record commits to the horror film theme. Its song titles study like they’ve been pieced with each other from the tag lines of a scary film collection, specifically the low-price range, VHS sort. So it tends to make sense for Exhumed‘s musical mayhem to unfold like a highlight reel of the death metal genre.
General, Exhumed‘s most recent is an energizing affair. It by no means overplays its hand or grows as well ambitious for its personal superior. Horror justly pays homage to the death metal pioneers of yesteryear. It has the youthful frenzy to appeal to the new college of grind freaks, and also, the accessibility to win more than casual metal listeners who could not be prepared for Portal. This is horror, plain and easy.
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