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Krisiun are the popularizers of a brutal death metal framework which is very unlike the NYDM approach, consisting of extravagant percussion that stresses on double bass and very rapid Morbid Angel-esque riffing and soloing. Before usurping a pretentious semi-epic tone, (which has been better emulated by compatriots Nephasth) Krisiun has used this limited percussive style most effectively on their debut album Black Force Domain.
Ever since, the band has risen into an unjustified godlike status of frontrunners of extreme metal on their homeland, a true affair of national pride for many of their fans. Worldwide recognition for very intense concerts and an ever expanding audience granted the band an early contract with Century Media Records. What is vividly portrayed in an album like AssassiNation (pathetic title gimmick, already used by decadent Sepultura before) is merely the natural consequence of bearing a famous name, lacking artistic commitment and willing to expand the fan base.
The introductory track "Bloodcraft" denounces some of the primary artifices the band will employ in order to advance next to the axis of the radio airwaves; the repetition of very heavy short guitar phrases, over-emphasis in chorus and groove-laden sections. Such resources going to appeal a more mallcore-oriented crowd and the casual listener of "brutal" music. Most of the evil-sounding riffs are merely distant, impotent paraphrases of the band's previous material.
The power trio is even deliberately sacrificing some of the presence of its extravagant drumming, legitimately one of their trademarks, to allow the overly distorted strings to shout as heavy as possible, something which appeared to be the production motto. The guitar essentially becomes another percussion instrument in an already rhythm-oriented style of music. Leads are generally embarrassing random, uninventive droppings.
Vocalist Alex Camargo has grown himself as a proficient growler but generally doesn't have any meaningful message to express; of the few tracks that bare a decent lyrical setup stands "Natural Genocide", concerning tsunamis. The rest is generally generic babble to frighten Christianity. Sometimes the vocals are semi-rapped as in the begginning of "House Of God", just another hallmark of modern death metal acts like Origin or Psycroptic.
A record like this immersed in ear-friendly rhythms represents the appropriate background music for the release of teenage angst; it's pop music disguised as death metal. And as if the album itself did not present enough filler, it contains the inutile percussion instrumental "Summon" attempting to mimic native, south american music.
Not surprisingly, the most spirited track, despite the rock vibe, has the authorship or Motörhead, a cover of "Sweet Revenge". Krisiun on the other hand has failed as stand-alone death metal group once more.