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Apart from the symphonic/melodic black metal band Kalodin, metal from Nepal has been rather unheard of for me. Dubbing themselves “fun death metal”, Binaash is the second band that I will encounter from the country, and Binaashkaari is the band’s debut full length release.
The intro to the album is rather melancholic, with the acoustic guitars sounding like it could easily be an introductory track to an atmospheric black metal album, but as the intro gives way to Swagat proper, the listener would certainly be thrown off-guard. The music that Binaash plays is not exactly what one would associate with what the band has called themselves – “fun death metal”. The music on Binaashkaari is brutal as fuck, with influences ranging from Devourment to Suffocation all present, as the band happily blasts their way through the 52 minutes of the album. The riffs that are unleashed are crushing, with the heavy, low-end chugging creating a heavy impact on the listener, with drummer Jay’s beats often being in sync with the picking patterns. Bassist Bijent also has a rather high presence on the album, often littering the album with equally complex riffs as the rest of the band. The intensity and energy that the band emanates reeks of grindcore influence, and is definitely infectious as hell, as the listener goes into a one-man frenzy moshing fit easily. The themes of gore and violence also make the entire listening experience of Binaashkaari all the more exciting.
Perhaps the “fun” side of the band comes in the numerous interludes that are present on the album, all of them being placed as the intro to each of the tracks on the album, ranging from what sounds like random plucking of notes on the acoustic guitar to haunting sound samples like the creaking door on the intro of The Wests. It is also in these interludes where the rather traditional or eastern side of the band’s music shines, with the melodies and the clean or spoken vocals that are contained within. Yet while the inclusion of these large numbers of intros could have been to provide some relief in between suffocating tracks, these tend to be overly abundant, and at times break the flow of the progression of the album. So as the album drags on, these interludes get rather irritating, and one would soon find himself heading for the skip button to cut out the bullshit.
In all honesty, finding such an extreme metal band out of Nepal has been rather interesting, and the death metal that is on Binaashkaari is pretty good, and the influences in the band’s songwriting certainly shines through. However, the album would have been a much better one if not for the over-indulgence of interludes.