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Rating: Vomit The Soul is not just a song by Cannibal Corpse (in which I believe Glenn Benton participates, see "Butchered At Birth"), Vomit The Soul is also the name of one of the most extreme bands around here in Italy. Active for a few years (I believe their first EP dates back to 2003), Ycio, Andrea, and Max (respectively drums, bass, and guitar/vocals) initially decided to draw from the traditional American school of Brutal, then threw themselves headlong into Ultra Brutal Death metal in the vein of bands like Disgorge (U.S.), Devourment, and so on. A brave move, it must be said, considering that here in Italy, despite an existing Death Metal underground, no one has ever dared to go this far. Think of Septycal Gorge and Putridity, both undoubtedly heavy bands from Piedmont, which have chosen the so-called "normal" Brutal path. Vomit The Soul, on the other hand, chose the heavy artillery, ignoring the fact that they were stepping into a thicket (because doing Slam here in Italy means this) and, together with the Bari-based Stench Of Dismemberment (also Slam but much more "academic"), they made the big leap.
Initially, and I'm referring to the EP "Human Insanity," they seemed intent on reviving the New York-style Brutal Death (in this sense, the cover of "Beaten Into Submission" by Dying Fetus, performed live on that EP, is a statement of intent), but with the LP "Portraits Of Inhuman Abominations," the trio made a significant course change that brought them very close to the territory of the aforementioned bands, and in some cases even surpassed them (listen to the first riffs of "Genuine Female Submission" and bow down!). You might wonder why I chose to review a promo that fell into my hands more or less by chance (actually, Max gave it to me personally, but to be honest, I don't know where I would have found it otherwise) and the aforementioned debut album. The answer is clear: because this "Unrecognized Elements Presence" has something truly special, even more so than their previous work.
Only two songs with a total duration of about seven minutes, but believe me, these are minutes that are truly memorable; I don't love the "Track By Track" style but for a couple of tracks, I'd say it's acceptable. The record opens with "Overcrowd" and you get that "Genuine Female Submission" vibe again: a fairly paced song, opened by a guitar that tightens the throat in the very first minute. I can say this song left me with the same impression as when I saw them play for the first time; the darkest darkness. Max's guitar seems never to lower enough, increasingly darker and heavier with its meaty riffs that leave no survivors: you can still feel the influence of the New York school in the riffing (those squeals speak clearly), but this time our guys transcend Brutal and transcend Slam. Vomit The Soul has come a long way, I believe farther than they thought they could go. If before I could point to Devourment and Brodequin as reference bands, now the only band that vaguely comes to mind when hearing this promo is the Malignancy, a band from the Big Apple dedicated to a Brutal that in some cases goes beyond the Ultra Brutal.
The title track follows, slightly faster than the previous one but still at moderate speeds. This time the riffing gives a bit of breathing room and "opens up" from time to time in parts more similar to traditional Brutal (always and strictly of NY style), even though the song essentially remains more along the lines of "Overcrowd". There are many Stop And Go moments, the work of the precise and pounding Ycio whose instrument here is recorded with too metallic a sound (especially the snare) and too confused use of cymbals: this does not prevent appreciation of his work, which is truly done very well. Excellent performance by the bassist (Andrea), who also performs in some decidedly clean and fitting breaks. What can be said about the Guitar Work and Max... what always leaves me amazed is his voice: without taking anything away from his instrumental skills, his growl is decidedly one of the filthiest and most devastating around. As a guitarist, he still manages to build not only difficult but especially heavy-as-bricks riffs with a good dose of personality. Lastly, what favorably surprised me about this work, and it may seem silly, was the title; I liked the pairing of such a peculiar title with this promo, a combination that became a carrier of innovation both musically and emotionally (far better the Mood of "Unrecognized Elements Presence" than the previous "Portraits Of Inhuman Abominations"). Thumbs down for the recording quality, definitely a hindrance and somewhat "empty" and confusing, but on the other hand, one could not expect better as it was recorded rather quickly.
Of course, my review does not intend to urge you to seek out a Two-Song Promo at all costs (also because I am sure that unless you know one of them personally or make an order to Permeated Records when they happen to have one left, you will not find it), but to tell you to stay alert in anticipation of the release of the next album because it promises to be really good; I'd say the score, considering the fact that there are only two pieces, does more than say what judgment I have on this CD, it shouts it!
PS: I avoid scanning and sending the cover because it is just a square between black and gray with "Vomit The Soul-Unrecognized Elements Presence" written on it.
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