Gorefest
Rise To Ruin

Great return of the Dutch deathsters, coming back from a reunion which culminated with the release of the remarkable "La Muerte" in 2005. Many years have passed since "Chapter 13," a beloved album known for its notable seventies influences, but which ultimately led to the breakup of the band, torn between Boudewijn Bonebakker's emerging rock-blues influences and the combative spirit of singer Jan-Chris De Koe. Many years have gone by since then and little remains of what led to that premature fracture: with "Rise to Ruin," we're back to talking about old school death metal, the kind made the old-fashioned way, with notable ferocity and skill, without over-speeding or becoming claustrophobic and therefore indigestible for the listener (though if you like Nile and their brutal company, this album will allow you to breathe a bit).

The band decides that it’s time to hit hard right from the opener "Revolt" and to provide a showcase of power and artistic maturity throughout the entire duration of the album, alternating bone-crushing blast beats from the monstrous Ed Warby (I've always loved his precise, elaborate, and powerful playing style, recognizing his ability to hit the skins with such fluidity that other praised colleagues can only dream of) with slower and more tormented parts, sometimes extremely slowed down as if to slingshot into the solos of the Bonebakker/Harthoorn duo, capable of varying from romantic and tormented to the classical showcasing of notes in sequence possibly with the addition (and here we feel what remains of the pre-breakup period) of the ever-precious wah-wah/cry baby. Also noteworthy is Jan-Chris's astonishing vocal performance: since the beginning, he had been known for his cavernous vocal ability which has only improved over time (or worsened if you’re not fond of growls). Such a guttural yet clear scream, used intelligently to avoid appearing forced and combined with a metric that enhances it, is hard to find: truly ferocious.

Another point in favor of this "Rise to Ruin" is, in my opinion, the choice of sound realism: no bombastic enhancement of the drums, no use of triggers, Marshalls cranked up and Gibson Les Paul Standards tuned in B (I assure you that even if you know little about musical instruments and guitars, you'll feel a distinctive difference compared to other death productions), all to make the Gorefest trademark truly personal and recognizable.

Having said all this, I would highlight with merit the initial "Revolt", the earthshaking "The War On Stupidity" and "Speak When Spoken To", and the impressive 9 minutes of "Babylon's Whores", but in general, we are in the presence of a platter that gives a terrifying jolt to the cervical due to the amount of headbanging it compels you to do.

A great return.