Rabies Caste
Let the Soul Out and Cut the Vein

THE REVIEW

Second full-length and also the last official chapter for Rabies Caste who for this record had signed with the illustrious Earache Records.

Almost practically unknown in DeBasio's circles (I suppose), this trio straight from Jerusalem, Israel, did not have a long life: they were born in 1995 and put an end to their adventure in 2003, publishing some demos/EPs and two studio albums in this timeframe, releasing some posthumous unreleased material. They also boast more than a dozen appearances in various compilations from different independent record labels.

Released in 2001, "Let The Soul Out And Cut The Vein", considered the leap in quality of their career, is a noteworthy album for the interesting offering it contains: although not so original, the trio carries forward the manifesto of contaminated Sludge, with Groove/Industrial reminiscences detectable in many riffs presented here.
Already the combination "Sludge & Israel" is quite unusual, who expected a more personal Sludge back in that distant 2010.

The main characteristics that are noticed immediately are two: hyper-distorted and processed vocals and snare drum hits that seem like violent blows on tin cans. In my opinion, excellent ingredients for an even rustier and rougher product, more muddy. I think of Rabies Caste as three gas station attendants with poor personal hygiene and a considerable need for dental care at a disreputable station. Smell of diesel.

The beginning of the album is not the best, let's say. "Got It From Blake", "Prove Me", and "The Bleeding Mermaid" are not too exciting, excessive similarities among them, but you start to hear the reminiscences I was talking about, with slightly robotic riffs. In general, there are excellent riffs that don't need to be complex or articulated to oppress the listener.
With "There Is Nothing You Have Seen", among the overall key moments, the so-called pearls begin: the track in question starts a little underwhelming but then vomits everything in a muddy outburst, in a sort of chorus (?).
After decent more oppressive and classically branded Doom tracks ("Out In The Solar System", "Steel Right Through The Mouth"), the trio unleashes heavy-caliber weapons with bullets named "Hand Abortion" and "Haemophilia", the other peaks of the album: tracks that give no respite between harmonics, incredible outbursts, and terribly Groove epilepsy attacks.
After traveling about 4 minutes for each track, the 9 minutes of "Andrea" close the cycle in which everything happens: electronic manipulation, Doom manifestations with a despotic character, minutes of silence, and a 30-second tail of earache-inducing feedback (EARACHE).

45 total minutes of tug of war between amphetamine delirium and post-hit down.