Register Forgot login?

© 2002-2014
Encyclopaedia Metallum

Best viewed
without Internet Explorer,
in 1280 x 960 resolution
or higher.

Beaten to Death - Dødsfest! - 89%

Twin_guitar_attack, March 18th, 2014

Well I just stumbled across Norwegian grindcore band Beaten to Death, and their 2013 album "Dødsfest!" and it's a monster of an album. Full of excellent musicianship, a good deal of humour, and a huge degree of creativity, this is a really unique and brilliant album.

Sure, there are the usual hallmarks of grind, tracks mostly between 1-2 minutes, and a heavy dose of blastbeats, but there's also so much weirdness and creativity on display too, that don't get fooled for a second that this is a typical grind release. The vocals are of the metalcore blueprint, the metalcore grunts and screams aren't my usual preference, but it's done well enough here, and they're vicious enough to rip the flesh from your skull. The bass is staggeringly good on this album, massively groovy, bouncing up and down throughout, in a manner that's simultaneously smile and headbang inducing. The most interesting of all is the guitars. Unlike most grind there's not a heavy crushing distortion on the guitars, rather they're more of a softer post-rock style. Trading off between strummed chords and pretty melodies, which could come out of post-rock music, to some really discordant and technical fretboard wizardry, and some heavy grinding chugs and breakdowns, the guitar performance here is monumental. "True Norwegian Internet Warrior" has these technical riffs at their best, really interesting, while the post-rock melodies of "Døv, Døvere, Død" are a real joy to behold. And with that bouncy bass, blasting drums and vicious vocals it's still a really brutal album at points, there's no danger of the technical and melodic side of their music detracting from Beaten to Death beating your ears to death, especially on the climax to "Aspen Hellweek", one of the best tracks here.

While having the technical grind elements of Gridlink, and the melodic purpose of Deafheaven, Beaten to Death maybe lack some of the refinement of those two bands, but what they lack in refinement they make up for in fun, energy and a sense of humour. Some of the song titles are weird and humorous and some clean "woahs" in the background of "Nazi Slipper" are fun as hell. Throughout the album, in spite of the excellent technical and melodic edge to those guitars, it still remains really fun, humorous and constantly headbang-demanding. Beaten to Death don't take themselves too seriously and the album just oozes fun. Any grindcore fan who wants something really different should give this one a go, this is a really unique album, and one to bring a smile to your face. Beaten to Death's mix of ripping grindcore, technical fretboard wizardry, melodic post-rockisms, and a good deal of fun and humour make Dødsfest! a beast of an album., and one that just DEMANDS back to back listens!

Originally written for swirlsofnoise.com

Aural Entropy - 94%

atanamar, January 19th, 2014

Beaten To Death give gloriously little in the way of fucks. The band can be found assiduously shitting in the woods, just off the beaten path of metal. I loved the band's debut, and Dødsfest! finds the band again grinding out absurdly ferocious, melodic, addictive, and categorically uncharacterizable music.

The first thing you’ll notice about Dødsfest! is the production; the guitars are barely distorted, and the bass bounces on top of the mix with ballistic pointillism. The album has a gloriously odd center of gravity, feeling simultaneously compressed and airy.

Beyond its acoustic dementia, Dødsfest! is a rabid smorgasbord of styles, united by a disregard for convention. Beaten to Death bring plenty of blastbeaten grind to the table, mincing dissonance and speed with inhuman skill. There are oodles of grooves and the occasional over-the-top breakdown; it all just works. The album’s most salient feature, however, is its blatant melodicism. Indie-rock poignance is poured copiously into the album’s voracious maw.

The appropriation of cross-genre aesthetics into metal is a theme, of course (see Deafheaven). Such purposeful and calculated maneuvers usually set off my bullshit detector, for better or worse. Beaten to Death pull this off, somehow, in a manner that I can enjoy without twinges of misgiving. This chaos doesn’t feel like a marketing ploy, but more like a car crash, a demolition derby for its own sake. Follow me?

Most importantly, Beaten to Death manage to shape their ear-mangling machinations into discernable, recognizable and memorable songs. Its lifespan is brief, but Dødsfest! leaves a mental mark. I’m quite happy that there’s a continuity between Xes And Strokes and Dødsfest!. There’s a vision in this aural entropy; it’s just wonderfully fucked up.

Originally published here.