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Isaiah 53:3 - 82%

Rowan_Mc, May 1st, 2021

Broken Hope's first LP is one that shows the clear blue print for this type of grimy death metal. The riffs are very synonymous with the genre and an easy listen. It's a far cry in my opinion from the type of brain dead riffs that have come into existence over the past 20 years or so, but the charmingly simple yet nasty riff is still very recognizable in this album.

I found this to be one of the easier to listen to death metal albums, and honestly would be rather inoffensive for a first time listener, besides maybe the vocals. Personally I wasn't wowed by Ptacek's guttural performance, though I think it's one of the last things that came into account when reviewing this album. He wasn't very impressive, and I feel that his very low range can be found easily from Mortician's Will Rahmer, among other death metal vocalists. That being said, his performance did grow on me as I continued and isn't really bad, just doesn't stand out as opposed to some other vocalists.

The tonality on this album is stunningly similar to what you would expect if you were going to listen to the "most death metal" death metal album. The guitars really grind their way through the riffs, like some perverse bone saw. The drums were also magnificent to listen to, with this really clear and crisp tone that hits the ear just right. The toms hit like rattling chopsticks or something similar, and overall Ryan Stanek did an excellent job on this project.

The players on this musical team were all so modest in their performance, it was a really relieving break from the type of death metal that tries to impress you with 1000 different guitar techniques in a single riff. They kept it simple, and it really let those unique techniques stand out when they were used. For example, the pinch harmonics toward the end of "Bag Full of Parts" really struck me as a listener pleasantly, when in most cases I find pinch harmonics to be annoyingly overused.

One of my biggest quarrels with death metal is the overuse of the blast beat, which is something that Stanek stayed away from on this album. Sure enough though, there were blast beats on this album, what death metal album would be complete without them? The difference is, Stanek threw them in at appropriate times, such as their prevalence in "Devourer of Souls", rather than filling each song with just blast beats. I find that it's a novelty that can fade fast, but Stanek was much too occupied trying to be creative to settle for anything less than greatness.

Broken Hope is really at their best here when they keep things slow, though to be fair some songs like" Awakened By Stench" can get somewhat boring because of this. Still, I think that their slower, more chug and slide intensive riffs like the middle section of "Incinerated", the majority of "Swamped In Gore", and about half way through "Gorehog" is their peak.

The bass can feel a little lost at times, especially early in the album when it seems to play a rather small role. Still, there were some minor interesting parts that made me think of cryptopsy and cannibal corpse, especially toward the middle section of the album. In particular, there's two snazzy little bass lines in the middle of "Devourer of Souls" and the beginning of "Awakened by Stench" which are pretty simple but also very fun to listen to. Additionally, it seemed almost like the mixing for the bass got louder and generally more prominent toward the middle of the album. Weird that it feels so absent in the start, but I'm glad that the bass does get some redemption as the record progresses.

One might be disappointed in the lack of solos on this album, but I think that it fits the feeling of the album rather well. It's a project that stays relatively simple and commits to nasty riffs and drum work over technically proficient guitar solos. Additionally, as I said earlier regarding the pinch harmonics, I think the scarcity of guitar solos on the album makes them more treasured when they do show their head from time to time.

So are these the true fathers of brutal death metal? Uh... I'd prefer to leave that question to someone else. What is clear though is that this album is a fine example of the early roots of that scene and what it was meant to be.

The True Pioneers of Brutal Death Metal - 100%

thrashmaniac99, October 28th, 2018
Written based on this version: 1991, CD, Grind Core International

It has been long debated as to who were the true pioneers of the subgenre of brutal death metal. Many people would more likely say Cannibal Corpse or Suffocation. However, I would make the argument that Chicago's Broken Hope was the true pioneer of brutal death metal. After all, Broken Hope encompass everything about brutal death metal (blast beats, breakdowns, grooves, low gutteral vocals, and brutal lyrics). Swamped in Gore was the first true example of brutal death metal and it came out a month prior to Suffocation's debut album in 1991.

Noted that this album was the first death metal album to be recorded in digital format. With this being an early example of digital format, every instrument sounds on par with each other, but still retaining the raw energy the band had to offer in their early years. Joe Ptacek's vocals were among some of the best in death metal history and were groundbreaking for the time. Musically speaking, the guitars are super distorted and very heavy, the bass is quite pounding, and the drums are quite groovy. The blast beats are more reminiscent of grindcore bands such as Napalm Death and Terrorizer than say bands like Morbid Angel or Deicide.

Some of my favorite tracks on Swamped in Gore have a different vibe to them. "Bag of Parts" is a much more groovy and mid-tempo tune. "Awakened By Stench" was in my opinion, the best track of the album for its constant style shifts when it goes from grooves to blasting and even to one of the greatest breakdowns in death metal history in the final 90 seconds of the tracks. "Devourer of Souls" was a more straightforward brutal death metal track. "Dismembered Carcass" is quite memorable not only being the fastest song of the album, but its insane lyrics.

No true weak tracks on the album. It's a forgotten classic in the history of death metal (particularly brutal death metal and the second wave of death metal that began in 1991). Broken Hope showed that they were willing to lead the pack for both brutal death metal and the second wave of death metal with gruesome lyrics and catchy songs. So if you like death metal bands that groove or write catchy riffs such as Obituary, Bolt Thrower, Autopsy, or Death, then this album is right up your alley. Highly recommend more people give this album a chance and give it the credit its due. All hail Broken Hope!

If you want to headbang listen to this !!! - 88%

Thy Shrine, January 8th, 2017

Broken Hope is a name that you shouldn't be too unfamiliar with if you've delved somewhat into the death metal genre. They are known for having one of the lower death growlers of all time in Joe Ptacek, and I've seen them mentioned among the pioneers of the brutal death metal subgenre, mainly because of the extremity of the vocals as well as the general heaviness and eschewing of thrash elements that defined the forbearers of the death metal genre.

Most of the music on display here is relatively midpaced. Songs like Bag Full of Parts, Awakened by Stench, and the title track are driven by heavy grooves that definitely get the blood flowing as well as the head bobbing. That's the best thing about this record: it makes you bang your god damn head to the awesome grooves of this album. Some songs such as Incinerated, Dismembered Carcass, and Gorehog do contain blast beats, but these are mainly just for additional extremity and are not the main crux of the music. So, if you prefer your death metal to have little to no blast beats, you should hear this album immediately.

As with most death metal, the vocals on this album are unintelligible, but instead of the typical growls that were common at the time, exemplified by vocalists such as Chuck Schuldiner, Martin Van Drunen, and John Tardy, which were more high pitched and weren't too low, Joe Ptacek, on the other hand, is one guttural bastard. His vocals on this album are very low, and very cool. His vocals literally sound like he is vomiting, which dealing with the subject matter of most of the songs, is what kind of vocalist you want in this band.

Anybody even remotely familiar with this album has heard that evidently, this was the first death metal album recorded digitally. That means nothing to me, because the production on this album is actually very decent, albeit a little quiet. The guitars sound heavy, and when they lock into a groove (which this album has in spades) it sounds glorious. The vocals, as previously mentioned sound great, and the bass does the normal thing bass guitars do in death metal, they provide a heavy backbone for the entire sound. Really the only complaint that could be leveled against the production on this album would be the fact that when the drums go to do blasts, it sounds slightly out of sync. It could be bad technique, but it's a very trivial complaint in the end considering this album isn't constant blasting. And the drums sound great everywhere else.

So, overall, this is one of those albums that you just rock the fuck out to, and forget all your cares. I'd probably recommend this to fans of Obituary, and Bolt Thrower, because of the emphasis on heavy grooves as opposed to extreme speed and technicality. Check it out.

Gets too much hate - 80%

mikey22, August 23rd, 2016

I'm going to say this honestly; this album is pretty damn good. This is one of those albums that get way too much hate. Yes, the riffs aren't overly technical, yes the vocals are comically deep, and the lyrics are pure cheese. But take it for what it's supposed to be a cheesy Cannibal Corpse, Obituary style of gory death metal and these guys are pretty good at it. The riffs on this album are heavy, and I mean damn heavy. That's one of the great things about this record. The riffs on "Devourer of Souls," "Gobblin the Guts," "Dismembered Carcass," and "Incinerated" are headbang worthy and they shred. The production on this record isn't the best (everything is quite low so you're going to have to turn it up to hear it) the guitars are very quiet sounding, and the bass is practically inaudible unless it's a bass solo, but hey the early 90's had far worse produced death metal albums. The drums are really good sounding same with Joe's vocals very deep and guttural.

Joe's vocals are some of the deepest of the old school death metal era only matched by Craig Pillard, Frank Mullen, and Chris Barnes (who had depth but not much power). Joe has both depth and power so that's a plus. The bass playing is solid as well. Even though it's mostly inaudible the bass solos are tight and well executed (these guys have way more bass solos then a majority of death metal bands). The guitar riffs are like a full steam freight train coming at you at full speed; you will be crushed with the force and power these guys bring to the table. Brian Griffin plays the more complex guitar riffs while Jeremy Wagner plays the more straightforward brutal death metal riffs, it's a pretty good mix-up of the two. This is easily one of the heaviest old school death metal albums only matched by Suffocation, Cannibal Corpse, and Incantation. This is also one of the earliest examples of brutal death metal with the thrash elements taken out and replaced by grind blast beats and slower sections.

The drums are definitely the highlight of the record though. Ryan Stanek has very tight, fast blast beats, and he can play a very mean slow groove. Also his fills were great as well. Ryan unfortunately passed away last year so we will never be able to hear him play again, may he R.I.P. Now we will talk about the negatives; the bass is mostly inaudible unless it's a solo. The vocals also reach a level of monotony, while they’re deep and powerful but they never really change vocal pitch and they're rather repetitive. The lyrics are extremely cheesy so don't go in expecting Carcass or Immolation style sophistication, expect B grade movie horror movie lyrics. Another con which really brings down the record for me is the very low sound. If only they made the guitars crunchier and in your face instead of being so low in the decibel range then I would rate it above 90, but it will be a low B grade as of now. Another con is the fact that the original album cover just sucks, the Metal Blade reissue is far better though. Other than that the music is pretty good.

Overall it gets way too much hate, it's not bad at all really it's just the metal elitists cannot stand anything simple but good and straightforward, they want some extremely sophisticated poetic lyricism, with crazy free-form jazz instrumentation. Look at Cannibal Corpse's output; none of it is rated above a 90 percent . Also look at Deicide's "Legion" compared to "Once Upon the Cross" when they simplified the sound the rating became much lower on "Once Upon the Cross." This record is filled with good riffs, excellent drumming, and wicked bass solos, as well as some deep guttural vocals. Funny lyrics included what more can you ask for? That is why this record gets a B rating from me. Final verdict: go listen to it as the songs are really catchy and fun.

Body parts on the checker board. - 81%

hells_unicorn, May 7th, 2015
Written based on this version: 1991, CD, Grind Core International

Sometimes it is difficult to separate novelty from quality, and at others it is difficult to recognize quality given the sometimes overbearing character of novelty. In the case of Broken Hope, a fairly early but not quite pioneering band of the early day of death metal, became noteworthy for a couple of specific accomplishments that can be categorized as ancillary to the entire scene, especially in respect to what other bands had done a couple years prior. One of these being the first band to record entirely in a digital format on their debut LP Swamped In Gore, and album that otherwise did more to reaffirm existing practices rather than break new stylistic ground. Similarly, while musically they never got too far beyond things that were put forth by Obituary, Autopsy, Cannibal Corpse and Morbid Angel a year or two before, the vocal work of Joe Ptacek did ratchet up the extreme depths that the characteristic guttural barks of the style more so than John Tardy and David Vincent had, and also arguably even next to the equally brutal and deep character of Chris Barnes work.

At first glance, Broken Hope's debut album comes off as a quirky, almost comical take on the gore obsessed character of death metal. The album art almost looks like a chess game parody of said theme, and the lyrical content tends to reflect and arguably expand upon the graphic imagery characteristic of Cannibal Corpse's Eaten Back To Life. However, musically things take on a decidedly safe and by the numbers character, reflecting the sludgy yet still largely coherent and character of the style's thrash and doom metal roots, with a bit more of a focus on the slower doom elements than CC's early albums in favor of something closer to Obituary's Slowly We Rot and Autopsy's Severed Survival, though the combination of Ptacek's extremely deep vocals and the generally husky sound of the atmosphere accomplished in the production bears a bit of resemblance to Immolation's Dawn Of Possession, which hit circulation only a few months before this. It could rightly be considered a product of its time, though it does maintain a level of distinctiveness.

While this is an album that is heavily simplistic compared to where the Florida scene was moving by 1991, the combination of its simplicity and the atmospheric character it shares with certain early New York entries into the genre (Incantation, Immolation) give it a certain charm that makes up for much of what it may lack in intricacies and flash. It makes fairly regular use of bass alone segments, arguably about 4 times as frequently as Cannibal Corpse ever has, though the segments are generally a reflection of the simplistic doom character of the riffs and whatever technical flash is found it generally reserved to the guitars. Guitar solos are used a bit more sparingly than the obligatory Slayer inspired fair heard out of Florida bands, and sometimes omitted entirely during some of the shorter songs such as "Gorehog", though when they occur they tend to exemplify the wild character of the Kerry King method, particularly on "Gobblin' The Guts", the tail end of "Awakened By Stench", in fairly short bursts. But overall, this is an album that is driven by atmosphere and a dichotomy of fast and slow that ranges from gradual transition to jarring shifts.

Generally this album does not get as much respect as it probably should, mostly because it tends to embrace a number of stereotypes that would be later abandoned as the 1990s progressed and bands such as Suffocation began to influence the tone and tenor of what constituted brutality, whereas other bands took a more melodic or progressive road as typified in later works of Carcass and Death. Words like passe and obsolete might be a bit harsh, but they do reflect a general attitude towards this older mode of death metal by much of the current scene, with exceptions given to certain obligatory classics that are otherwise identical in style to this. It is by no means a bad album, quite the contrary, but it is definitely a product of its time to the point where it may not do much for someone who considers the likes of Defeated Sanity to not be brutal enough. It's definitely fodder for old school fanatics that can develop a level of affection for the early works of less consequential bands such as Benediction and Massacre.

Swamped in Bore - 38%

lord_ghengis, January 26th, 2014

After my Wombbath review and some discussions about death metal with a friend I've been thinking about bad classic period death metal. Said friend's argument is that practically anything from the correct era playing the basic tenets of the genre will be praised excessively despite being useless shite, which is an argument that I can agree with to a point, said point being the useless shite part of things. While I can think of many, many hugely overrated, mediocre death metal classics that are worshiped as being infallible, actually finding any that are out and out bad is surprisingly difficult. Even the bigger names which particularly anger me with inescapable popularity aren't really painful releases when I really look at the music offered it; Altars of Madness or Slowly we Rot aren't horribly awful when I really look at what's on offer, maybe they're a bit too thrashy for me, maybe I think they've been done better elsewhere, but they're not really bad. I guess bad old school death metal is a lot like horrible toothy oral sex or half chewed pizza; I may deride it heavily in public, but if a retard with a heavy lung infection shows up on my doorstep offering theirs I'm probably going to accept it and feel somewhat satisfied about myself later.

My basic line of thought is that the genre's absolute core goals are exceptionally low, and exceptionally easy to achieve. Despite the hyper atmospheric minimalism of many retro OSDM bands, the original stuff was usually pretty numbskulled and just wanted to pound you over the head with riffs and weight. You very rarely had to deal with riffless, meandering slogs of overwrought drivel, instead you'd almost always get a high riff count with plenty of tempo changes, plenty of headbangable parts, a nice thick and suitably raw production and some angry grunting; it was an inherently tolerable sound. This was pretty damned easy to pull off really, bands didn't need to be hugely inventive, skilled or rich to execute this uniquely simple idea at least somewhat competently, and even then bands which fucked it up kinda made them sound a little different and exciting compared to the massive armies of competent OSDM cannon fodder. Hell, even the previously derided Wombbath still get a technically passing grade from me and they've got like four above mediocre riffs on their whole album and maybe one cool melody, purely because the basic idea of OSDM is so intrinsically palatable. An utterly mediocre pre-'95 death metal album tends to be more pleasant to sit through than an utterly mediocre release in any other genre to me.

...Which leads me to Broken Hope, one of the first acts which come into my mind when thinking about bad early 90's death. Like Wombbath, their biggest crime is being boring rather than outright obnoxious, but Swamped in Gore certainly makes the crossover from the “easily distracted and not overly enthralled” side of bored which most of the lacking entries into the genre exist, and into the "Ok, I'm getting annoyed by this shit now" side. These guys don't have those four good riffs and a melody. There isn't one riff on here which stands out, there isn't one tempo change which elicits any kind of visceral response, there is no variation in the song writing structure on any of the 11 tracks, and the general sound of the album fails to pack in all that much weight or magnitude. Are many of the riffs really terrible in their own right? Not really when I really look at them I guess, but the album is simply as mediocre as humanly possible through its massively bloated 45 minute run rime, impressively so really.

Broken Hope definitely live up to the expectations of being from Chicago, a place where even tech death bands like Oppressor chug along at a midpaced crawl most of the time, and certainly stick to abusing the bottom string and clunking out grooving, moshable riffs in alarming numbers. I guess it could be compared to the sort of beatdown hardcore inspired stuff from New York, but Chicago death never seems quite so pissed off, instead aiming to be just heavy, catchy and groovy. It's a little bit of a hit and miss style as is, since it demands quite a lot in the way of pure riff composition skill and a nice production job to help carry such simple, reasonably non-atmospheric music. Cianide for instance were (and still are) very good at this general idea, successfully giving their simplistic grooves a lot of thick, morbid groove, while efficiently delivering bursts of power whenever things sped up. Broken Hope are very bad at it.

Swamped in Gore is a lifeless bore with no redeeming features. Most of the music is midpaced and based around chugging on low notes with little no variation, and none of the grooves or riffs really have anything intriguing or fun about them. They're heavy enough I suppose, but hardly devastating enough to really cover for the lack of genuine musical appeal. In short the riffs here simply don't have enough excitement or energy to be entertaining on a surface level, and the band is about as passionate and refined as an Indonesian slaughterhouse so there are no atmospheric qualities to make up for it. The band speeds up on a semi-frequent basis, but really the riffing styles never change too drastically from bottom string plonking which neuters any sort of visceral momentum created by the blasts. I'd be surprised if the band used more than two strings for the whole damn album, and since they have absolutely no talent when it comes to writing meaty, imposing or catchy riffs that's a hell of a problem. This drags like hell even on the shorter and faster songs, but when you consider songs like "Gobblin' the Guts" and the title track are 6 and a half goddamned minutes long this really does stand out as likely favourite for the single most boring OSDM album created in the golden era.

But as stated earlier, mediocre and done to death riffing over an overly extended period isn't really a nail in the coffin for most early 90's death metal, I'd give many albums which I'd make similar complaints about a relatively favourable score in a lot of cases, there has to be something extra that Broken Hope fuck up here. That fuck up seems to be the production. Somewhat famously Swamped in Gore is the first wholly digital death metal ever recorded, so I guess it's not hugely surprising they got it so very wrong. This doesn't have the usual hallmarks of an overly digital production, the guitars aren't too clear and refined, the drums aren't mechanical and sterile and the whole thing isn't laughably loud so that the rises and falls are lost. This isn't a processed or robotic sounding record, it's just a remarkably flat sounding one. This is ridiculously timid sounding, the guitars are thick and distorted yet carry no weight, the drums are quiet enough so that they don't overpower the rest of the sound but it leaves them packing no punch whatsoever, and the admittedly pretty guttural vocals are pathetically faint in the mix. The whole album seems to be trying to execute the idea of not having anything be the main focus, but it does it by making everything equally meek; it lacks dynamics so badly that you could be forgiven for thinking they only used one string on the album instead of two.

I think what makes this my easy number one pick for the most boring straight up death metal album around is really how it fails to really pull off any of those really easy elements of DM with any sort of flair or life despite having a pretty decent riff count in every song. There are no interesting riffs, there is no energy, the production makes everything even more tedious, there are no good hooks, there is no atmosphere, there are no variations in approach or sound. There is nothing. This isn't like one of those occasions where I use some hyperbole and just ignore a few examples on the contrary since they're sparse exceptions, there is literally not a single one of any of those things at any moment, and as such it's the most boring pre-95 death metal album made. I can't of any audience this could appeal to, people who want the dumbed down simplicity of Cianide but without the malice and moodiness? People who want Gutted but without any of the extremity or violence? I dunno, all I know is this is an album that leaves me pretty bitter with boredom after about eight to nine minutes and it needs to go die. My search for bad DM will continue as I struggle to find something that actively frustrates me from the awfulness of its actual components so I can hate it outright rather than just get annoyed after prolonged exposure, but this was a pretty solid first place to look.

Digital Gore - 85%

grain_silo, November 7th, 2011

With one of the coolest album names ever, “Swamped in Gore”, an awesome album cover, and the first digital death metal album ever, this album displays simple but heavy as hell death metal.

Now, being the first of anything, there are bound to be flaws galore. And the production does have a few pretty significant flaws. Nothing that makes it unlistenable but flaws nonetheless. I’ll go over the positive aspects of the production: The guitars are really heavy, they are a little quiet and not quite as “in your face” as they could be but they still sound really good. Another positive are the drums. They sound amazing. No matter how fast they go, they are always at the front and are very loud and aggressive sounding. The vocals also sound really good on here. Now for the negatives: The bass is pretty much non-existent. It has a few standouts (Devourer of Souls) and if you listen REAL closely you can here a few clicks but pretty much not there. Everything could sound a bit louder and heavier but that pretty much sums up the negatives.

Now the songs are straight forward, simplified death metal. The riffs aren’t too complicated but they are insanely heavy and kind of catchy riffs. “Incinerated” is a good example of this, it starts with an insanely awesome blasting part and the catchy guitar riffs with the awesome vocals. It switches between the two and is easily one of the better songs on here. “Swamped in Gore” is a slower song with some very heavy riffs and an awesome chorus. “Devourer of Souls” has some of the best riffs on here and displays the bass with a few awesome stand outs.

One problem I see with this album is that there isn’t much variation as far as speed goes. It seems like it’s mostly mid-paced or blast beats. I kind of wish they would have incorporated some thrash in there but there isn’t much of it. The songs can be kind of long and because of the lack of variation, they can get tiring after a while. Although they lack variation, the songs can still be catchy so the songs don’t overstay their welcome for too long.

The lyrics on here are just flat out gross. Similar to what Cannibal Corpse writes about, just disgusting gore lyrics. Interesting to read because of how gross they are.

Overall, this is a good death metal album. It is a pretty much forgotten gem among the underground of the early death metal scene.

Best tracks – “Swamped in Gore”, “Incinerated”, and “Devourer of Souls”

Swamped in Gore - 65%

dyingseraph84, June 11th, 2010

Broken Hope, from my understanding are a pretty well praised brutal death metal band. Swamped in Gore is considered by many to be a masterpiece of brutality. I was very excited when I got this album, I couldn't wait to be pummeled by heavy, gory old school death metal. Damn I hate setting myself up.

Lets get one thing straight here, this is by no means a horrible album its just mediocre. This is partially my fault, the bar was set so high I was expecting another Cause of Death, but what I got wasn't anything outstanding. It took a good 3 or 4 listens to really let this album sink in.

For being one of the first death metal albums recorded digitally, this sure sounds bad. The sound is weak, everything is flat and muffled. Your going to have to turn this album up really loud in order to hear everything clearly. I'm not a fan of over produced, polished sounding albums but this is just unacceptable.

The band draws influences from Suffocation, Cannibal Corpse, and Autopsy. The music doesn't stay fast all the time, like Suffocation there are breakdowns mixed in with tight blasting. There is actually a good dose of groove on this album when used effectively, these parts will get you headbanging in no time!

The guitar work is nothing mind blowing, these riffs are not too technical. The drumming is solid, good double bass work and choppy, grinding blasting can be found in these songs. The vocals are excellent in my opinion. Joe Ptacek possesses a deep, throaty growl with some nice gurgling effects (Swamped in Gore, Cannibal Crave) thrown in.

The songwriting is a bit lackluster though. There is not much going on and after awhile everything starts to sound the same. All of these songs follow the same basic pattern, which makes them sound interchangeable. I don't really read into lyrics that much, but these are decent they get their point across.

This album is not all its cracked up to be. I actually think their follow up album The Bowels of Repugnance is a lot better. One thing is for sure this is brutal, make no mistake about it. I would recommend this for fans of the aforementioned bands or anyone looking for something heavy and brutal.

Short legs with a massive upper body - 40%

Byrgan, May 24th, 2009

This is boxy death metal; the kind that has narrow slopes and when opened up contains empty contents. This is essentially a standard, run-of-the-mill translation of what could be viewed as what was happening musically in death metal in 1991. While some bands were going beyond that boundary with varying or intricate structure, or just plain engaging song writing that's going to last in people's mind till the next year's time. This isn't going to catch the same memorability as albums that have held up to the test such as Immolation's 'Dawn of Possession' or Autopsy's 'Mental Funeral' of the same year, that's assured.

This is simple music, simply put. It expands only on bass, thickness, and its gory lyrics. Yes, the bars have been pushed in extremities since and after. There's been bulk-talk about how the human body can be disassembled and rearranged. There's been guitars that have found new boundaries to sink to; vocals that seem to expunge any highness. Though one could easily come to an accurate conclusion and say this album didn't have its sights in mind.

Broken Hope do switch to different speeds on 'Swamped in Gore,' breaking the album up with slower, mid-paced and faster blast beated sections. The major problem here though isn't were they split up their speeds to try and create versatility, it is the simplicity that they do it in. This isn't the old gag of it's-so-simple-that's-why-it-works philosophy. This is essentially a failed attempt at grabbing your attention that might start to wonder. Having song writing that doesn't escape itself to be worthwhile; guitars that stick with upper, deeper and uncharacteristic notes. To get a little off-kilter, this isn't early Celtic Frost, using the same primitive areas on the neck of the guitar, yet still applying it with memorable riffs and using guitar lines that change at opportune times causing the song to rise, getting a certain dose of something without overdosing on it. I think Broken Hope's main agenda wasn't to try and go for surprising change-ups, and there's hardly a hook in sight. I think they were trying to go for an atmosphere that would be heavy enough to hamper you immobile. Like listening to the basic heaviness of Obituary's 'Slowly We Rot' of two years prior. Instead they cause you to lumber around in a sleepish stupor from a basicness that doesn't thoroughly excite, and an album that combined with all of its brutish nature doesn't bring anything to the table that's hardly worth a trade, or is barely noticed when it is gone.

This has a lot of mid-paced sections, crunching the guitars along as the drums pulverize the double bass pedals; vocals belch into the microphone as a monotone, unnatural force of nature. With their characteristic display in mind, I don't find that the music lacks ability: meaning that they were attempting to play death metal and didn't conform, and the production is quite loud and evenly distributed too. Just things here aren't far-seeing and lacks that "something" else. Essentially the musicians match each other, but don't challenge themselves to overcome and add something that will be remembered; like a technique, for instance, that might stand out among the crowd.

'Swamped in Gore' went for an atmosphere that reads like a standard ghost story: hearing the same basic tale loses its enigma over time. Broken Hope's song writing at that point is simple in direction and not long-stretching in its overall final outcome. It can be looked at as stuck in the year that it came out, unescapable because of its mismatched short legs and heavy, upper body development.