Hatesphere
Ballet Of The Brute

THE REVIEW

Jacob Bredahl (vocals), Peter Lyse Hansen (guitar), Ziggy (guitar), Mikeal Ehlert (bass), Morten Toft Hansen (drums) - these are Hatesphere in 2004, at the time when they released "Ballet of The Brute," the third chapter of their discography. The band was formed in 1998 in Aaruhus, Denmark, discovered by the Italian label Scarlet Records, they are now among the most acclaimed modern metal bands. The musical offering of the quintet is a very aggressive Thrash-Death, composed mainly of palm-muted riffs that provide a hyper-compressed sound characterized by sporadic melodic touches (at times reminiscent of the music of At the Gates) with a sprinkle of metal core. At first glance, they may seem like just another band that can be lumped into the so-called "modern metal cauldron," mainly composed of similar-sounding bands, lacking personality and with plasticized sounds. Hatesphere are "the exception that proves the rule," managing to stand out from the masses, showcasing a well-defined personality and Hardcore attitude.

The album opens with the brief instrumental "The Beginning and the End," which serves as a prelude to "Deathrip," a true killer track—short, fast, and direct. It continues with the more melodic "Vermin," lightly tinged with metal core. Don't relax too much, though, because with "Downward to Nothing," they return to stun us; the track has a great drive, alternating well-constructed up-tempo and mid-tempo parts. There's no room for melodies and refinements here! Only tight and pounding rhythms.

At the halfway point of the album, we find the first mid-tempo track, "Only the Strongest," characterized by Slayer-like riffs, where Jacob Bredahl's voice turns into a deep and full-bodied growl of pure death essence. The track exudes significant aggression and sonic power.

Unfortunately, in the second half of the album, there's a noticeable drop in quality in tracks like "What I See I Despise," which follows worn-out patterns, or the excessively melodic "Last Cut Last Head" and "Blankeyes," which, despite its brutality, can't reach the peaks hit in the first five tracks. Of a whole different caliber are "Warhead" and "500 Dead People." The former is another killer track that brings out the full Hardcore vein of the Danish quintet, which I'm convinced will incite headbanging and sizable mosh pits during live performances. The latter puts the final seal on the album in the best way, a complex piece made up of multiple facets, filled with reprises and rhythm changes that keep the overall level of tension high.

We can't say we're facing a masterpiece, but certainly one of the best examples of contemporary metal. The band's performance is solid, granite-like, and brutal, without neglecting some melody and refinement, thus helping to highlight the decent technical skill these guys possess. I consider Jacob Bredahl's performance to be noteworthy, with his continuous vocal register shifts, alternating death-rooted scream and growl with more shouted hardcore elements, adding variety and personality to a style that often risks fading into anonymity.

The album's short duration (only 36 minutes!) allows "Ballet of the Brute," despite the presence of some filler, to keep the level of attention and adrenaline high until the end.

A good record for some healthy headbanging without too many expectations.