Tag Archives: hatebreed

Review: The Brood’s The Truth Behind

London-based grind-metallers The Brood have dropped one hell of a debut with The Truth Behind. This 33 minute monster sounds like Carcass battling it out with Hatebreed and it absolutely delivers a level of savagery fitting of that analogy.

Now this isn’t a particularly smart album and it was never going to be when it has such song titles as Barbie Voorhees, Free Range Meat and Mindfuck. The Brood have a very specific goal with their music and that is to make the heaviest, fastest metal imaginable. While it’s not exactly as creative as similar sounding crossover acts like Corrupt Moral Altar, The Brood’s song-writing is certainly effective and if you like grindcore then you’re certainly in for a treat.

The Brood’s music isn’t exactly for the faint of heart. We’ve got low-pitched, grunty screams throughout, a near-constant abuse of double-bass drumming and blast-beats and it’s all drenched in a healthy dose of blistering guitar work, full of chunky riffs and tremolo picking. Thankfully, The Brood have the chops to meld their noise into a cohesive package that moves exactly as you’d expect it to and lets you get your mosh on in a thoroughly satisfying way.

While most of the faster songs on The Truth Behind clock in at around 2 minutes, The Brood do manage to show that even when they’re making the loudest racket possible, they’ve got enough ideas in them that they can write some longer-form songs like Lobotomized, GIL and Mud Doll Factory. These tracks showcase more of a metallic hardcore sound that is flourished with elements of grindcore and it makes for the most varied and exciting songs on the album. The Brood might be a heavy band, but they certainly know exactly where to focus their anger with satisfying results.

The Truth Behind isn’t going to win many awards for originality and The Brood do run the risk of finding themselves lost in a sea of similar grind bands, but thankfully their song-writing is robust enough to carry their debut album for its entirety and it makes for one nasty beast of a record. The Truth Behind has enough solid grindcore barnstormers on it to deserve your attention and it’s a great starting point for a band certainly that have the capability to step things up a notch on their next release.


The Brood’s The Truth Behind is out now and can be bought on CD directly from the band’s Bigcartel page.


Review: Pariso and Svalbard’s Self-Titled Split Album


Pariso and Svalbard return for a release that is truly unique among hardcore splits; this is a collaborative album with both bands contributing a set of songs as well as joining forces for 2 very unique tracks that showcase a beautiful cacophony of styles that draw from the best parts of both band’s sounds.

Pariso lead the proceedings on this split and the band have decided to play in a lower tuning than usual to make their sound even more difficult to pigeonhole. Pariso make a form of progressive hardcore that brings in elements of groove metal that result in crushing breakdowns like the one featured in Underground Notes. If you can imagine Hatebreed by way of Korn and Every Time I Die you’d be in the sort of area you’d need to be in to appreciate Pariso’s incredibly unique sound.

I’ve joked in the past that Pariso are the founders of nu-grind but thanks to the band’s lower tuning this is becoming less of a joke and actually the only genre I can think that suits them perfectly, especially in regards to these recordings. The opening of Delirium also abides to this rule by featuring a relentless grindcore-esque blast-beat that only gives up to deal another punishing groove.

What Pariso are becoming very good at is interspersing their noise with some brilliant leads that actually help deliver a lot of melody. This was brought into the fold during the writing of their previous album Consanguinity and it’s great to see it used prominently in songs like Helios, The Great Demise.

Now onto Svalbard who despite having a sound rooted in hardcore are somewhat different to Pariso. Svalbard’s sound draws from punk far more heavily than Pariso’s and the no-nonsense opening of Ripped Apart delivers an awesome punk beat that soon expands into a post hardcore sound that is far more melodic in nature.

Svalbard’s music is wonderfully textured and features some absolutely soaring leads that add a sense of euphoria and positivity that’s at juxtaposition with the band’s aggressive nature. The band reminds us of gone-but-not-forgotten post rockers Rinoa but with the hardcore punk leanings of a band like Vales. It’s quite a beautiful racket.

Like Pariso before them Svalbard are another underground UK band who have absolutely nailed a sound of their own and despite their longer songs the band also manage to sound like they’re giving it their all for the entirety of their music. Grayscale is mind-bogglingly intense but it still manages to fit some glittery leads into its near 5 minute hardcore punk attack and it’s an exhausting yet brilliant post hardcore anthem.

Finally it’s important we discuss the collaborative tracks on this split. While the two songs (Floating Anchors and Faceless) clearly draw on elements from both bands’ music, it’s Pariso who seem to be making the decisions in regards to the songs’ structure. Both tracks are shorter 2 minute bursts of extremely progressive metallic hardcore with the only discernible Svalbard elements being the melodic guitar leads and the inclusion of Serena on vocals as well as Mazz.

Regardless of the fact that the amalgamation comes off more as Pariso instead of Pariso and Svalbard, this collaborative album is an incredibly special release from two very unique bands. Pariso’s heavier yet more metal-laden beginning leads into a more positive and melodic second half courtesy of Svalbard that actually feels like the album takes you on a journey through the dark and into the light. This split actually tries to break down the boundaries of the split record concept by showcasing two bands that are very much on the same page regardless of their differences in sound. This could have been a Loutallica but thankfully it’s a wholesome and focussed release that any fan of heavy music should be listening to.


Pariso and Svalbard’s split self-titled album is out now on 12″ vinyl through Tangled Talk Records.

Review: Corrupt Moral Altar’s Whiskey Sierra


The grindcore/groove metal lunacy of Corrupt Moral Altar returns for ‘Whiskey Sierra’; a new four track EP for fans of Confine, Oblivionized and War Wolf. The band have taken no time in churning out another slab of extreme metal after the release of their first EP ‘Luciferian Deathcult’ back in February and it’s amazing how quick the band have grown as songwriters in such a short space of time.

The big draw on this EP is the title track which adds a brilliantly welcome element to Corrupt Moral Altar’s sound: it’s catchy. There’s a massive hook here that takes the form of a dual vocal scream of, “WHISKEY SIERRA!” This is such a simple inclusion that gives the band’s music and far more memorable quality that is then followed up with a punishing series of blast-beats. Corrupt Moral Altar have lost none of their edge by adding something as simple as a vocal hook but they’ve gained from it greatly.

The other new track on the EP comes in the form of ‘Lord’ which continues in the band’s patented Hatebreed-esque stomp but peppers the song with bursts of grindcore and crust punk to create an intense, chunky, groove-ridden piece of metal that is immensely satisfying to listen to. It lacks the hook of ‘Whiskey Sierra’ but it succeeds in showcasing what Corrupt Moral Altar do best and that’s making crushing metal that takes influences from a range of genres.

The b-side of the EP takes the form of two re-recorded tracks from the band’s debut EP ‘Luciferian Deathcult’. If you’ve already experienced the two songs then the real pull of hearing them again comes with the masterful production and mix that ‘Whiskey Sierra’ has received. Some incredible work has been done in making the whole EP sound raw and aggressive, but it’s done in a way that allows the listener to appreciate the musicianship on display. Every element of the band’s sound is as clear as day from the manic drumming, distorted bass, crunchy riffs and ungodly dual vocal attack and it’s a glorious racket to behold.

The only issue with this EP is the whole thing is over and done with in ten minutes. It’s an absolutely gripping ten minutes but it’s an abrupt start-to-finish that leaves you begging for more. In a way the band have succeeded in making a great EP that does generally make you want more from them, but in turn it’s such a shame that there isn’t a lot more new material here for existing fans of the band.

Luckily the band are returning in 2014 to release their début album which is bound to be something special if ‘Whiskey Sierra’ has anything to say about it. Corrupt Moral Altar already sound like a band who have mastered their groovy grindcore and after this ten minute burst of extreme decadence you’ll be more than happy to see more music from the band roll around sooner rather than later. ‘Whiskey Sierra’ is a solid yet short release that will leave fans of extreme music extremely satisfied. More please.


Corrupt Moral Altar’s Whiskey Sierra 7″ white vinyl EP is available to buy from Dead Chemists Records now.