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Haemorrhage - We Are The Gore

We Are The Gore
by James Peterson at 25 December 2017, 9:07 AM

Gore metal, or goregrind, or death grind or whatever you wanna call it, doesn’t need to be a very broad style to play in in terms of influence. The albums don’t have to be extremely diverse either, and certainly not very long. It’s just gotta be messy, grimy, to-the-point and relentless. That’s what HAEMORRHAGE grant the listener the experience of enjoying with their latest effort. Thankfully, some of the songs have at least one point of note that distinguishes them the others, making this album not seem like a complete blur, and the songwriting is more than solid enough throughout, making this a rather an engaging experience. That being said, it’s a pretty consistent sounding album, so I’m not going to be discussing every single one of the 14 tracks of the regular edition on here. But yeah… let’s get into it.

The opening song immediately pummels with a gross intensity of delicious blast beats, disgustingly brutal harmonized vocals and chaotic riffs using a guitar tone that actually, oddly enough because I can’t pinpoint why, reminds me of BEHEMOTH. I also noticed in listening to this song that the snare tone you hear on the record slightly resembles a sought after “ping” tone in deathgrind music. Like the snare tone in the “Bert and Ernie Go Brutal” meme video but… not quite as drastic a “ping” as that. The title track also stood out to me, but not for a good reason at first. The opening filtered guitar tone is genuinely awful: as though the guitarist put 2 Boss Hm-2s and cranked them both all the way up. Oddly enough, when the song actually kicks in and gets good after this, some of the grooves aren’t too unlike the band that made that Boss Hm-2 buzzsaw tone famous (ENTOMBED)’s “death n roll” era. These are balanced out by sections here and there where the drumming becomes more intense and notey and less groovy (this is also present in extremely chaotic cuts here like “Bathed in Bile” and “The Cremator’s Song,” the latter of which sounds almost as if CANNIBAL CORPSE or a similar OSDM band wrote a song with Pete Sandoval on drums… which makes sense because these guys literally are just that. An OSDM band having been doing this since the early 90s just like EXHUMED.

Fuck, the first release HAEMORRHAGE even did I noticed while listening to this was a split with EXHUMED back then). Aaaaanyway, just before 2 mins in the title track to “We Are the Gore," it changes up from the franticness and grooves to a really sick riff and solo that stood out to me as well. Despite the really tight musical ideas, the performance of the band here isn’t the tightest I’ve ever heard, but instead of detracting it actually adds to the grimy quality. I’m wondering that perhaps the band didn’t record to a click. The rhythms here have a very human feel. Not much sounds quantized or perfected and I love that about the engineering. Or so I thought I did.

Track 7, “Medical Maniacs,” kicks off with the rhythm section first, and while at first in listening to the album I thought I really liked the production 100% and couldn’t hear anything that bothered me, just hearing two of the instrument layers in isolation revealed things I wasn’t very keen on. I’m not a big fan of the kick tone at all. The drums all at least sound very natural (In contrast to the kick, you can really hear how great a tom tone they managed to capture on the rolls on "C.S.C…”) and the timbres captured seem like real recording craft was put into them. The performance sounds a little perfected on this song rhythmically, despite just a few songs ago I felt like there was no quantization happening. Also, maybe I’m just tripping balls but the snare tone also feels inconsistent across the record. That’s when I looked up on metallum and realized. There isn’t just one person credited for recording this thing. There’s two: Javi and Alfredo Ustara. I’m not sure if one was the main tracking engineer or the other was the assistant or really anything about how this was tracked just from listening, but I’m just saying that while for the most part the record sounds consistent sonically, there’s a few things that seem to fluctuate as you listen through the different pieces here. I’m also not huge on the bass tone but I must admit it works for the style.

“Forensick Squad,” I have to say to start off with, has a great pun for a title alongside “Gynecrologist” (even though THE HAUNTED did “Forensick” first, so maybe THE HAUNTED… Made Them Do It? How many of you even reading will get that reference. Why do I even bother). The former of the two punny songs continues the ENTOMBED-esque musical stylings from earlier on the record with a skank beat on the drums forming the rhythmic basis. This song has more of the punk attitude from grind than any of the other songs on the record that I noticed, and the drumming style also shifts to a more traditional black metal style of slow blast beats later over a really intense section.

In discussing the approach to their instruments for the other performers here, the guitar is pretty much through and through playing goregrind (tons of tremolo and brutal chords) without much deviance into other styles. A few examples where it does though, and provides some much needed changes of “Miss Phlebotomy,” “Prosector’s Revenge” and “Organ Trader.” “Miss Phlebotomy” has a really rock driven break that comes out of nowhere replete with a wah-heavy guitar solo, and "Prosector’s Revenge” has a bit of a mid-slow tempo to it and really feels like a nice (and much needed) change of pace with where it comes in the tracklisting, before “Organ Trader” kicks the notch back up to eleven with its furiously frantic stop start groove metal shifts. The vocals throughout this album do the full range of screams, from high to low, with a focus on lows. The high screams have an utterly menacing snarl to them, and the lowest gutturals you’ll find on here are… ridiculously low. We’re talking nearly FECALIZED RECTAL SPERM SPEWAGE levels of low. And no, I did not make that up just now. You can Google them, they’re very real.

After the closing track breaks the scale with how fast it is, and a pretty humorous outro skit after a number of silence passes on the CD, the journey through “We Are the Gore” has ended. For the most part, I was left satisfied. The unfortunate thing is the album starts to become a little repetitive past a certain point, and of course the sound engineering seems kind of inconsistent/not optimal, but other than that, fans of EXHUMED and DYING FETUS like me should absolutely positively eat this up like hot cakes. There’s tons of riffage on here that really reminds of those two bands in particular, and it’s a pretty solid record in general as I’ve said.

Songwriting: 8
Originality: 6
Memorability: 8
Production: 7

3 Star Rating

1. Nauseating Employments
2. Gore Gourmet
3. We Are the Gore
4. Transporting Cadavers
5. Bathed in Bile
6. The Cremator’s Song
7. Medical Maniacs
8. Forensick Squad
9. Gynecrologist
10. Miss Phlebotomy
11. C.S.C. (Crime Scene Cleaners)
12. Prosector’s Revenge
13. Organ Trader
14. Intravenous Molestation of the Obstructionist Arteries (O-Pus VII)
Luisma - Guitars (lead), Vocals (backing)
Lugubrious - Vocals
Ramón Checa - Bass, Vocals (backing)
Ana Belen de Lopez - Guitars (rhythm), Vocals (backing)
Erik Raya - Drums
Record Label: Relapse Records


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