Cephalic Carnage
Conforming To Abnormality

THE REVIEW

It's called "Rocky Mountain HydroGrind".

It is extremely difficult to describe every minute detail because it gets lost in the chaotic succession of notes, accompanied by hysterical screams, inhuman distortions, electronic sounds: an extreme synthesis of modernity, its violence, and the contradictions that accompany it. It is also difficult to narrate the psychotic delusions of "Analytical", whose hissing guitars mark impossible times.

A truly delirious chaos that flows into about 32 minutes of asynchronous rage, almost incomprehensible lyrics, frantic riffs. As if they were incapable of giving anything to anyone, like an anti-melodic rebellion marked by crazy dissonant arpeggios ("Wither"). They present themselves relentlessly as pieces stripped of all structure, which have ground down the concept of 4/4, of sound itself, of voice in all its extension. This is perhaps the essence of the indescribable "Regalos de Mota", for a reason unknown to me, the lyrics are absent (the site mentions "legal issues"...). A bass intro leads us into a fusion atmosphere, which explodes into the usual ferocity ("Extreme of Paranoia"), and tremendously slows down the pace of the work, with positive repercussions on our mental health. It concludes with a surprising outro entirely made with an electronic drum and ultra-compressed bass.

Once again "underground" tones in "Bleeding for another day", as well as in the splendid concluding "Waiting For The Millennium", complete with a classic (?) sudden stop and subsequent disturbing noises to crown the work. The rejection of "conformity to normality" is well expressed also by the lyrics accompanying the booklet: not trivial accounts of blood but current events ("I have gone beyond your lies"), police violence, environmentalism (!), lacerating introspections ("You choose to run from your demons and hide"), individual freedoms ("Prohibition must be stopped"). What better way to express them? Some parts are a bit muddled, they do not perfectly convey the finesse (!) of some passages, and the skill of the musicians is somewhat overshadowed by the heaviness of the context and the mad compositional technique. But it is not important: what matters is the content, the substance of this deadly "cocktail" of fusion, grind-core, and death-metal.

And I mention only at the end the splendid industrial intro and the deadly "Jihad": for the record, it was 1998. Little else to add, to be listened to carefully.

"...is gonna make us die..."