Gorguts
From Winsdom To Hate

After praising them for three reviews, I believe you have an idea of who Gorguts are: for those who haven't read them, here's an epitome.

The Gorguts, led by the impressive singer-guitarist Luc Lemay, are a Canadian band active since 1991, dedicated to Brutal Death metal that could be defined as “progressive”. With a superb technique and definitely at the top of the genre, they coined a very particular sound starting from 1993 with their second album, “The Erosion Of Sanity.”

After a five-year break, they released “Obscura,” further intensifying their musical proposal and creating sounds that are nothing short of cacophonous and dizzying, but certainly emotionally very evocative. Their connection with Death metal (excluding the debut) has always been very marginal; although they possess the structures and the gloom typical of the genre, the mixtures they propose are so many and varied that they keep them from being simply defined as a Brutal Death group. An inspiring group (more or less explicitly) for their fellow countrymen Cryptopsy, they have always made a shift in direction with each release, establishing themselves as one of the best and “multifaceted” bands around.

Those who follow Gorguts perhaps expected another twist with “From Wisdom To Hate,” eagerly awaited the new “creature” from them, and wondered where they would head this time: unfortunately, many of these expectations were disappointed. Indeed, the CD shows practically the same structures and the same formula used in the previous “Obscura,” slightly harsher but deprived of those moments of respite that prevented the listener's complete collapse; basically, anyone who tells you they've softened lies shamelessly, the sound is more oppressive and insane than ever.
There are no noticeable improvements in terms of performance prowess (and it would be surprising if there were!), which therefore remains at stellar levels: continuous counter-tempos, unexpected, staggering, frantic tempo changes, accompanied by guitar riffing that hammers mercilessly. Among fast and impossible scales and outlandish chords, but united by a thin vein of sorrow, Lemay's voice tears the staff with his suffering growl. The bass… what bass? If it weren't written in the booklet, I would swear there isn't one; its sound is untraceable in all the songs (there are low notes, but to speak of bass and bassist is an exaggeration).

The eight songs (thank goodness there aren't more) literally manage to pulverize even the most incorrigible fanatic of extreme sounds: the compositions are truly very complicated and perfectly refined, demonstrating the group's experience, passion, and talent. The production is again very good, although the sound of the guitars is a bit rattling and rusty, a factor that contributes to considerably dizzying the listener. Unfortunately, words can't describe Gorguts' music well, but it is truly a devastating experience; no band has ever managed to recreate atmospheres so desperate, leaden, and swirling: mentally measured confusion set to music.
The mood is something unimaginable, truly exacerbated and exasperating: the work leaves one physically and mentally exhausted, a true endurance test. Hallucination and paranoia become companions for the entire duration of the approximately forty minutes of music: if you combine this with metaphysical lyrics based on Eastern doctrines and proto philosophies, you will understand that the psychological impact is devastating.

However, in the previous “Obscura,” the quartet managed to control themselves and not exceed in extremism: instead, here they reach peaks truly unbearable, although the ideas developed are always the same. The limits of “From Wisdom To Hate” lie in the lack of evolution of the Gorguts’ sound (to which they had always accustomed) and the product's low digestibility. For a novice or even a usual fan of Brutal Death, it's impossible to approach this work: anyone coming to these Canadians for the first time should not do so with this album, but start getting acquainted with the two previous ones. However, those who already have ears accustomed to artistic noise should not expect great variations from the past. In any case, it is a very good record and well-packaged, but a bit less laden with ideas compared to Gorguts’ standards and a bit too uncompromising.

At this point, it's just a matter of taste. It's a pity that this might be the concluding chapter of such a glorious band's career: the four have, in fact, (hopefully temporarily) disbanded following the tragic suicide of the drummer, and as far as I am concerned, I was hoping for something more.