Cruel Fear

Welcome to the new dimension of cruelty within the contemporary music confines, one that is measured in an over hour-long retro progressive thrash entry stitched by these Brazilian youngsters who have the temerity to open this gigantic opus (the melodic 1-min intro not counting) with a 9.5-min composition, the title-track that is, which gives more freedom to the bass initially, the man seamlessly blending later with the stylish staccato rhythms the band sticking to unflinching mid-pace most of the time out of which they extract a couple of interesting vortex-like riff-swirls. Still, it’s the truly memorable, both from the riff and the lead department, melodies that would capture the listener’s imagination. “Powerful Mind” is a smaller giant (8.5-min) which also thrashes harder by also finding time for a few absolutely smattering Coroner-esque spirals, the bass reliant as ever assisting the highly-stylized melee which is very close to reaching Deathrow and Sieges Even-like heights, the not very rehearsed, strained shouty vocals the only spoiler on this unparalleled shredfest.

“Resist, Insist” inserts a number of thick grooves at the start, and although the approach remains on the modern side here the guys acquit themselves with some admirable more linear speed/thrashing, audacious rhythmic leaps and bounds, and the staple gorgeous melodic excursions. “Concerto in F Minor Op.1” suggests more classical variations with the title, but apart from the featured violin accompaniment there’s not much to break the monolithic steam-rolling march here on this all-instrumental composition which becomes livelier and more intense later, the two sides alternating for 10.5-min. Another nearly as long odyssey, “Bloody Revolution”, follows suit, a more diverse roller-coaster with power/speed metal additives the vocals very sparsely participating, with fiery crescendos provided all around, carving the dominant monolithic, heavy façade. “Metal Procreation” preserves the power/speedy metal ornaments for another all-instrumental 9-min ride which is not as exciting the guys obviously depleting their tricks for keeping such lengthy numbers entertaining the whole time since not much occurs throughout save for the already overtly familiar fast/slow tempo alternation. The closing “Second Death” comes with a not very desirable abrasive sound, probably a leftover from older recording endeavours as the delivery is much more straight-forward without any more elaborate embellishments.

A very ambitious recording which works better as separate, sometimes plain isolated, displays of genius than as one whole; despite the high level of musicianship all over the listener will find him/herself losing the plot more than just now and then as there aren’t too many repetitive motifs to bind all the nuances together, a good example of such one being the chorus on the mentioned title-track. Yes, the vocal assistance appears to be useful, don’t you know, after all, whereas the purely instrumental pieces have no such life belts.

Well, with the average track length being just above 8-min, one shouldn’t expect an immediate, easy to swallow listen ala “Zombie Attack” or “Persecution Mania”… this is music for the connoisseur who also has the time to sit down and listen with care, with his attention undivided. The enthusiasm takes the upper hand, more often than the elitists would be able to tolerate, but this is by no means the most overbearing, most overdone showing in the annals of metal, and despite its glaring flaws it's a recommended listen for those who are curious to see how the more serious, less digestible side of Brazilian metal has been shaping up in the new millennium.