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Turn On, Tune In, Slam Out - 95%

Necroticism174, January 25th, 2013

When I saw that this paragon of face ripping slam had no reviews, when my eyes gazed upon the criminal under appreciation of what should be considered a legendary release, I knew something had to be done. People had to be made aware of the monstrousness lurking in their wiggeripherals. The world may never know wether or not the band could have replicated what we find here on their full length, a thirteen track album which THEY DEMOED ALL OF BUT NEVER RELEASED. That's just not right. The cash problems proved too much I guess, and considering they only have 647 listeners on a site like Last.fm and only true slamtards ever seek them out, a picture starts to emerge. A picture of injustice. Don't get me wrong, this is brutal as fuck slamming death through and through, which appeals to a very limited number of people in the first place, but it could appeal to so many more metal fans due to it's quite experimental nature, utterly deranged, inhuman vocals, electronic enhancements, and skyscraper levelling guitar tone.

Let's talk about the ''vocals'' for a second. This bizarre sort of ridiculously guttural bubbling noise. I truly have no clear idea of what I could compare them too. They sound like some hitherto undiscovered creature dying in a gigantic, malfunctioning drain, while the wigger king takes a hit from his 250 dollar bong. Mixed louder than every other element, they cloak the music in an extra layer of sheer brutality, belching forth with their own diabolical rhythm. Sometimes veering into something resembling powerful exhaled pig squealing before crashing back down into nothing you've ever heard before. When combined with the electronic effects they sometimes throw in, it sounds like this music wasn't even created by human beings. There's no lyrics. They don't need lyrics. The first few seconds of Wring a Deep Brain being a perfect example, making them almost catchy. Though you probably should not attempt to sing along on public transportation.

I can imagine these three japanese dudes having a jam, wearing their Devourment hoods and Dying Fetus caps, and getting truly hammered. They're auditioning vocalists. After a few run of the mill grunters, growlers, and, strangely, a 40 year old man wearing pink tights and wailing over their devourslams, Sowtiis walks in. He politely introduces himself, takes the microphone, check, check, one two three, and then EXCELSIOR. Hexelvidom and Atutician look at each other knowingly, scrap all of the music they've come up with to this point, and decide to get STRANGE. Because that's what the guitar work is on here. Atmospheric slam, if there ever was such a thing. Slam with attitude. You could level lots of complaints at the music, (it seems unmemorable, they mainly switch between two styles of riffing, the vocals are retarded) but unoriginality within it's genre could not be one. They take the template that Devourment set, which is riffblast/slamittyslam/riffblast, and run with it. Contorting it every which way to fit their vile purpose. It's like they decided Devourment didn't have a massive enough guitar tone, didn't use enough wide intervals during their tech moments, and, most of all, didn't utilize odd enough time signatures in their slams. Despite this, most of the slams manage to really stick. They do this thing where they'll play a slam over some blasting, then slow it down more and more over even more insane double bass, etching it into your mind with a rusty musical scalpel. It works every time. The production is really perfect. They only tune down to B but it sounds like the lowest thing ever while still retaining quality and being made that much more intense by the speedfreak drum programming. Pinch harmonics sound sick, legato is clean. Everything cuts through and this is only a demo!

Speaking of that loving and precise drum programming, it's out of this world. There's some really interesting fast pinging rhythms in Sex Eyes Baby (these guys have the coolest song titles) and it really emphasizes the best slam ever (the one in Wring A Deep Brain, you'll know when you hear it) with crisp and crushing sounding bass pedals. You can tell that they really tried to utilize every piece of the kit and create interesting and varied rhythms. Even when they're just blasting the fuck out, a few different things are going on. Soon, drummers will become obsolete as mad slamitists assemble twisted creations in Japanese basements and the world will crumble.

So, with a name inspired by Final Fantasy of all things, surreal synths, of-kilter slamming goodness, neck snapping drums and a vocalist who probably wishes you dead, we have an album which succeeds at what it set out to do. Sure, it doesn't have the most variation, and being what it is, even if it's experimental it's formulaic, but it's a mere 17 minutes long and one of the best demos ever created, so if you have 17 minutes to spare and you like intelligent brutality, which turned out to not be an oxymoron after all, what are you waiting for?