Ελληνικά
Last Updated on 03:06 PM by Giorgos Tsekas
Genre: Black / Thrash
Country: Peru
Label: Boris Records
Year: 2015
After the release of three demos, an EP and a compilation, it’s time for the first full length release of Black / Thrashers Morbid Slaughter from Peru. The album is titled “A Filthy Orgy of Horror and Death”, consists of six tracks by the band and a cover and was released by Boris Records in September.
Up until now, Morbid Slaughter belonged to the most raw and primitive Black / Thrash genre, however in their full length release, they somewhat expanded their musical horizon, bringing to our minds a junction between Bathory and Toxic Holocaust, Midnight and Inepsy. The compositions theoretically retain the primitive view that refers to Hellhammer and early Bathory era, but they are supported by more melodic forms on the one hand and punk-ier ones on the other. There are times when the guitars are so melodic, making you think that suddenly another band bursts in, just like radio frequencies get mixed up while on air. As for the vocals, they are full of malice and hatred, unleashed upon everything that moves and everything that breathes, like listening to a witch from the Carpathians casting her spells or singing over her magic cauldron.
The record opens with “Cannibal Butcher”, which brings Toxic Holocaust immediately to mind. The logical thing to say is “Of course; Toxic Holocaust brought back this sick Black / Thrash sound in early 2000”. So more or less, you can understand what I’m saying. There are simple, but fast and sharp guitars, drums pounding endlessly, maintaining a somewhat d-beat rhythm. The only difference between the two, lies in each one’s vocals, which in Morbid Slaughter’s case, are more sick and paranoid. In “Zombie Splatter Axe”, the rhythms fall into more rock’n’roll paths, having an Inepsy character, which adds points to the track as it feels like an intermission from the pompous and overfed essence of the tracks that preceded it. We carry on with “Chainsaw Blade”, which is characterized by several more Punk / Thrash elements. It’s fast, but synthetically plain, without any special / elaborate work on guitars / drums / vovals. Later on there’s a cover of “Fuck Off, We Murder”, originally performed by GG Allin & The Murder Junkies. This cover is noticeably heavier than the original song, giving a different twist to the whole Morbid Slaughter’s effort. It’s supported by a central rock’n’roll riff while the gang vocals that Morbid Slaughter maintained play a central role in the track, despite the fact that the presence of gang vocals in such genres isn’t frequent. In “Death’s Cold Blood”, Morbid Slaughter lure us into a slow-moving, almost Doom pace, with slow, however heavy, riffs and drums, without adding something excessive in the whole composition. In “Torture Without Anesthesia” Morbid Slaughter return to their original form; quick guitars with punk element, while the main riff is short, thus playing in a loop. The composition is supported by the constantly pounding drums following Punk / Thrash rhythms; however the relentless kicks and cymbal – striking smother the sound, leaving it no air to breathe. Based on the same notion and composition structure comes the track “Slay With Steel”. It seems to be the continuation or, more correctly, the second part of “Torture Without Anesthesia”. The good thing in both of these compositions is the solo of each track, which somewhat alleviate the structure, as they add more melodic elements in the structure.
Compared with the band’s previous Demo and their EP releases, there is an obvious improvement in production. Although most of the genre’s enthusiasts (this applies to me as well) prefer a “rotten”, “dirty” production, here we must admit that the sound polishing and the distinctly audible instruments, work in favor of the band. In addition, again in comparison with the past, there are differences in the compositions, especially on guitars. The guitar playing here is much more serious, as the riffs and solos seem to be more elaborate, more organized (but lose in inspiration and the fact that they’re repetitive).
The brown / gray cover is definitely added on the plus side, with its distinct symbols and well – crafted shapes, translating nicely the title of the record.
You should check them if you want to stay informed about the new releases in the genre, but don’t expect a record that will amaze you. It’s a good, decent album, but it is somewhat monotonous and repetitive.
3,5/6
