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Five years after Massacration's accidental birth, and four years after releasing their debut (which was good yet not really impressive) the band is back with more broken English, high-pitched screams and traditional riffs. This time, however, they seem to have improved their riffing and their lyrics, and instead of an album with few songs that are really enjoyable, Massacration delivered a whole album of solid songwriting and varied riffs. In the 40-minutes journey that the album provides I found nothing that wasn’t enjoyable except (maybe) the song that bears the same name of the band.
The album opens with a song that easily reaches thrash metal speeds: Hammercage Hotdog Hell, and at the very start it is easy to notice that this time the band put a lot of effort in order to come up with new drum patterns. Instead of being simple and repetitive like in “Gates of Metal Fried Chicken of Death” (the problems were partially caused by the lack of an actual drummer in the band’s lineup), the drums in this recording are fast and creative, and deliver multiple interesting breakdowns in each track. The album’s first track, by the way, opens with a high-pitched, long-as-hell scream delivered by Detonator, which makes it clear that the vocals in this album are just as good as in the last one.
Once again, Massacration reveals influences from classic bands like Iron Maiden, Judas Priest and even Fates Warning (the riff that opens The Mummy, by the way, was partially stolen from Fates Warning’s Exodus) and shows that the band is up to making heavy metal that is as traditional as possible. They try not to be extremely technical (although the vocals are hard as hell to reproduce) and they avoid any sound that is made neither the by bass, the drums, the guitars or human voice. Instead of trying to make something that is technically impressive, Massacration focuses on the riffs, which are given birth to at an unusual speed. Blonde Hammet’s creativity is tested many times and he never fails to deliver an inspired riff or a catchy solo.
Most of the album is composed of fast-paced tracks apparently made in order to make you headbang the crap out of yourself, but there are sing-along parts (mainly in the last track, “Hymn of Metal Land”), emotional choruses and even a ballad-like parts. The highlights are “The Bull”, a ballad that starts out slowly, grows faster while retaining the emotional chorus and then peaks at a very fast yet catchy solo, “Bad Defecation”, which has one of the most epic introduction that I have ever seen and “The Mummy”, a song that begins with the aforementioned stolen riff, retains both that riff and the tempo until the end, peaks at the longest (and best) solo of the album and includes “Falcão”, a famous non-metal Brazilian singer as guest vocalist.
This is definitely better than the band’s last effort and should be owned by anyone who enjoys traditional heavy metal. The incredibly funny lyrics are a plus if you are Brazilian (if you are not you will unfortunately not understand most of the jokes) but they are definitely not the album’s highlights (although they are certainly the album’s main selling point). If you are expecting a display of technique and lots of fancy effects I suggest you to stay away of this album, but if you are a metalhead who enjoys traditional songwriting and a lot of riffs this album is perfect for you.