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At least they're still the same perverts - 68%

Byrgan, October 4th, 2010

After having a falling out with recordings due to their vocalist Oswaldo, aka "Pussy Ripper," getting prematurely, though appropriately touched by the Grim Reaper in the '90s, Sextrash decided it was time enough to revive their particular lewd status as a band similar to other Brazilian groups from the old days began to do in the 2000s like Vulcano, Attomica, Holocausto and some others that had a dropping out for one reason or another. This has original bassist Krueger and Marck, the guitarist from their second album "Funeral Serenade," joining up with vocalist Doom who played at some point with Brutal Distortion also from Minas Gerais state, which is home to Sarcofago, Sepultura, Mutilator, Chakal and many others beyond the infamous well-knowns.

"Rape from Hell" uses various speeds, from blasts to mid-range and slower sections. The band isn't all catastrophe and chaos though, most of the time they'll actually work through a particular section before switching it up to the next, instead of getting fidgety and just blitzkrieging everything all the way through explosively like you might initially think if you're familiar with their early work. To give you a general idea, this blends inspirations from American death metal from the '90s with shreds of Brazilian extreme metal from the late '80s, and I even hear some hints here and there that resemble some bands in Swed-death from the '90s as well. The music relies heavily on the basics to churn out their particular miscreant tunes: plenty of thick noted riffing and palm muting, rapid double bass pummeling, the occasional harmonic squealing, dive bomb soloing and gruff-growls that sound more discernible than you'd imagine compared to other sonically low growlers in the genre. This also has higher toned back-ups, and at select times uses some voice effects to make it deeper and almost uncharacteristically inhuman sounding. Though at times the chime-ins could be done without, such as the opening song I found distracting as the chorus wears thin pretty fast saying "suck me" with a higher screamer right after repeating the line.

The production is the loudest and most consistent that they've had at this point. However, it unfortunately sounds pretty even keel, essentially causing the instruments to be level and without "jump-outs!" or major surprises. Basically once you've heard a particular aspect, say a snare, kick drum, guitar strum, that's it, no pop-ups or things beyond the set-in-stone sound presented. Yeah, of course, some groups need that consistency, but this is Sextrash, the band that's all about excess, and here they're still bluntly referring to debaucheries of the flesh with songs like, "Suck Me," and "Brutal Sex," as if they haven't skipped a single hump, so to speak. You'd think the band would have translated that raunchy mind-set a little more to their production as well.

This release keeps their outlook in a very similar obscene vein, like the title track, for instance, has some sound-bites of a woman moaning while the lubricating music aids by roughly pumping and moving forward with friction (too obvious?). The band also didn't attempt to turn into technical virtuosos or are conforming to whatever the current style was in 2006 when this came out, like they did on "Funeral Serenade." And I can respect them for all of the above. Yet this release is at times cautionary to extreme metal, producing certain moments and pieces in their song writing that are too rigid to sink your rapid teeth into. Not to say they didn't come out with somewhat entertaining music to headbang to and that other portions aren't deserving with a few hooks here and there and more direct areas that work, too. And this does experiment in a few portions as well, such as a keyboard during a mid-pace moment on a particular track, another song has a guitar effect that warps the sound in and out, and then some other has clean guitar interludes during certain parts of the song, yet still with drums and vocals playing. But having the entirety of it stick with you or remembering all of what just ran by your ears can be neither here nor there; in other words, I wouldn't mind seeing the style in a live setting, as I'm sure it would entice some satisfying, takin'-it-in-stride, nighttime depravity, because otherwise being completely focused and exercising this recording for repeat replay value has its limitations, of course, till something else comes up to take its place.