Tag Archives: the truth behind

Review: Regurgitate Life’s Obliteration of the Self

Sammy “Twelve Bands” Urwin returns with a new Regurgitate Life long-player entitled Obliteration of the Self and it marks a significant change in sound that’s entirely a product of the addition of a live drummer in the form of Daryl Best from technical hardcore act Eulogy.

If you’re not familiar with the multitude of different guises that Sammy Urwin appears under, Regurgitate Life started as a solo project to allow Urwin to express his love for death metal. The project shares a similar level of heaviness to another Urwin project, (and Scumscene favourites) Oblivionized. The main difference between the two is that Regurgitate Life’s music adheres to its time signatures and isn’t so freeform as a result.

This isn’t to say that Regurgitate Life are a very straight-forward band when it comes to song-writing. Melodies and riffs rarely appear twice in the same song and each track on Obliteration of the Self follows a progressive structure that naturally moves towards its destination, with all the force of a runaway locomotive. This is extremely heavy music, full of constant double-bass drumming, low-end growls, blast beats, amp destroying riffs and flourishes of tremolo-picking.

Thankfully the song-writing always shines through the melange of death metal techniques and every song on Obliteration of the Self shows a level of precision musicianship that moves exactly as you’d expect it to. Special mention has to be given to Daryl Best who doesn’t sound like he’s trying to keep up with Urwin’s virtuoso guitar performance, but actually compliments it with a stunningly varied and incessant performance of his own that will certainly appeal to fans of Aghast.

The record also knows exactly when to give the listener a breather. Tracks like The Great Divide, House on the Cliff Face and Ownlife show moments of respite that never sound forced, but enable the music’s drop back into blast-beat territory to carry even more impact. It’s not exactly a light-and-dark contrast because this is a pretty dark album throughout, but it shows awareness that the music could have become exhausting without a little down-time.

Obliteration of the Self is a natural step forward for Regurgitate Life and the addition of live drums has made this a more cohesive package as a result. Urwin has admitted in the past that his programmed drum patterns are often a little unruly and near impossible for a real drummer to perform, so having a force like Daryl Best in the band has had such a positive impact on the music. Obliteration of the Self is a brilliant death metal record that showcases two musicians firing on all cylinders and is a “must listen” for anyone who can appreciate music this unrelenting.

8/10

Regurgitate Life’s Obliteration of the Self is out now and available to buy from Truthseeker Music on limited edition digipak CD.


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.

8/10

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