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More good slam? - 90%

DomDomMCMG, October 21st, 2011

I seem to be finding more and more good slam these days. On my many travels into the realm of slamming brutal death metal, I discovered Post-Apocalyptic Segregation by Katalepsy. What attracted me was the use of the distorted guitar tone you're likely to hear from Swedish death metal bands like Grave or Dismember. It was something different within an over-saturated, and simply put, shit genre.

The musicianship found on here is pretty superb. The guitarists are more focused on fast riffs and on the rare occassion the band do slow down, it's not so painfully slow that you become bored of hearing the same chug patterns over and over *cough*Abominable Putridity*cough*. Like i've already said, the guitar tone is quite reminiscent of Swedish death metal, so this will appeal to fans of Grave as well as slam junkies. The drums are pretty technical with lots of double bass use and gravity blasts, but then again, it wouldn't be slam without either. The bass can be heard at certain points, and when you do hear it, it sounds like and chunky.

The vocalist gets a paragraph all to himself. He's absolutely superb. In a genre where most vocalists do that gurgle that sounds like one long fart/burp, this one (or more?) mixes it up with different styles, including the incomprehensible slam gurgle, the pig squeal and some lower almost slurped grunts. The final track also contains some almost metalcore esque barked vocals. Whether this was intentional or not is another matter, but it shouldn't put you off too much.

Another thing I have to praise them on is the use of samples. Most, if not all, were taken from Resident Evil, and actually set an atmosphere as opposed to just being placed there to be "brutal"

Overall, a solid EP with not a single bad track on it. Kudos to them for showing me you can be both a slam band and an original band.

Strengthening Their Style - 85%

Five_Nails, December 3rd, 2010

Improving on their slamming and crushing style of brutal death metal, Katalepsy unleashes the beast again and with more rhythmic fury in “Postapocalyptic Segregation”, the opening track of “Triumph of Evilution”, stronger vocal delivery and range demonstration, a more focused concept, and grittier riffing leads. With a brooding breakdown meter that decays throughout the track, Katalepsy exemplifies each falling riff with a competent display of drumming that interchanges well between blasting speeds, wanders around the kit quickly, and bashes each riff into submission. The vocals have definitely improved with more variations between inhaled “brees” and gutturals, and sound perfectly disgusting over this ruthless mix. Another element making its appearance right off the bat is B movie sound clips. Setting off the ensemble right, the track opens with a creepy clip of a little girl saying “you’re all going to die down here” in a British accent showing that Katalepsy still strives to outdo their amazing “Musick Brings Injuries” debut while firing every salvo they can.

With a very catchy breakdown pace and a couple of “Saw” clips, “Carpet Wounding” is slow on the surface but tears ass through some great snare marches that develop into grinds, growing blasts, overall absolutely uncompromising drumming, and in one standout cycle brings some delicate unexpected cymbal rhythms on top of the hammering double bass template. The song kicks relentlessly after joining the thumping heartbeat of another sound clip with great layered vocals “breeing” from different directions and a percussive assault ripping the riffs apart. Katalepsy does some damage creating their sound, but with two tracks going at breakdown pace and little riffing variation except for a stellar tremolo part during the second sound bite, the pace tends to get played out while the band shows more creativity in their B movie clips than in their ability to move the instrumental pace further.

Just when I start complaining about the riffs, Katalepsy does it again and brings some awesome progressions that psychotically rip through the pounding pace of “H. Tearing Sinew”. Rising to shrieks and harmonizing astutely, the guitars seem to be aching for more open areas with which to really let go, but these areas don’t come as the guitars continue to pummel rather than rise, and when the guitars do rise it’s only for another quick shriek rather than for solos, leads, or anything to further move this meter. Some great blast beats occur through the disturbing end of “H. Tearing Sinew” in an uncompromising breakdown as the band plays through a crescendo of a B movie bloodbath. Sound clips help the track blend well into the final track, “Number of Death (13)”.

Bringing back something that I hoped Katalepsy didn’t forget, the vocalist brings back the “bree” breaks into a very catchy “bre eee eee eee eee eee eee eee eee eee eee eee ragh” joining the percussion breaks early in the track. The vocals then change to throaty elongated yells through the breakdown meter led by the somewhat boring guitar riffing, but the vocals and drums are a perfect combination in this mix. Sure, a few could consider this track another “jump da fuck up” bit of –core stupidity, especially in the catchy sounds of the vocalist’s inhales, but structurally and instrumentally Katalepsy delivers another strong example of consistently falling into a pummeling pit with their crushing style.

With another awesome release under their belts, Katalepsy hasn’t failed to amaze, but as the band continues in their music, Katalepsy could do well to re-examine the roles of their guitars as percussive movement and instrumentation gives much more for the guitars to compliment. Like the incredible Megadeth cover on their first release, this band knows how to utilize guitars well, and this is something I want to see from this band to truly intensify their delivery. As this band, styled as Texas style brutal death metal, works to develop their crushing style, they would do well to examine NYDM bands like Suffocation and Immolation to improve on their linear style as well as their crushing evolving breakdowns. So far, Katalepsy has what they began with perfectly down, but now it is what Katalepsy was missing that this Russian example of American brutal death metal should look to.