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Remnants revived - 90%

triggerhappy, October 20th, 2014

Gorevent is one of the dumbest slam bands from Japan, which is rather refreshing since a good majority of them tend to be quite technical for some reason (I'm looking at you, Infernal Revulsion). In essence, Gorevent took the blueprints of slam that Vomit Remnants left behind and nailed the sound down to a tee.

Compared to the unusual aquatic murk of their 2010 disaster Worship Paganism, Abnormal Exaggeration has an exceptionally dingy sound. The guitars are gritty and visceral while still retaining a lot of that low end fuzz, and the drums are nice and clangy; that snare tone is especially brash. Hell, even the unvarying vocal delivery (a nondescript rumbling gurgle) just kind of directs your attention to the slams.

This immaculate sound they've achieved is half the reason why this album is so great; the other half being its utterly retarded slamtastic goodness. I mean I'm pretty sure the entirety of Extinction is made up of like 5 notes - its first riff is made up of two. I'm not sure why the band even has two guitarists. Maybe one of them is just in it to perform pinch harmonics, fuck if I know. Insanity begins with a slam that's literally just 1-2-1-0-1-2-3, despite being in 7/4. These guys make Jungle Rot sound like fucking Dream Theater in comparison.

Being stupid is useless if you're not catchy though - and thankfully Gorevent deliver catchiness in spades. Flesh of the Dead ends off with one of the most monstrous slams I've ever heard, with its consistent double bass assault (it also happens to be in 7/4), and I'm a big fan of those over-the-top 'chugs over gravity blasting' sections used on Endless Human Hunting. The band's Vomit Remnants influence shines most brightly on the track Bleeding, with its numerous pinch squeaks, but ironically it's the least 'slammy' tune here. The part in the middle where they try to be technical just sounds hilariously shitty... albeit in a rather adorable sort of way.

Aside from this rather minor complaint though (even the forty seconds of spooky noises on Gate of Hell serve as a humorous preface to "The Stupidest Slam Ever Made"), Abnormal Exaggeration is simply one of the purest slam albums one can hope to experience. So there you have it, Japan has finally made something that outdumbs Molesting the Decapitated (though obviously it's no Uterovaginal Insertion of Extirpated Anomalies). Just wish they'd kept this fantastic production for their next album though.

So, like, overemphasizing things unusually? IDGI - 84%

MutantClannfear, September 20th, 2013

The Japanese slam death metal scene is usually held in really high regard, and with good reason - a lot of the bands there know their shit extremely well for one reason or another, so the batting average for a Japanese slam band is usually extremely high. Gorevent are probably the most famous out of all of them, and for this reason they seem to get a fair bit more negative attention than the average BDM band, but you'd be foolish to let this slide by you for that reason alone - it's not a classic or anything, but very good at the least, and deserving of any and all positive attention it gets.

Gorevent are one of those rare slam death metal bands that actually manage to sound quite a bit like Cephalotripsy, and this fact in and of itself puts them several tiers ahead of most of their contemporaries by default. It's not a deliberate clone project, but there are definitely similarities to be found in their methods of writing slams - liberal use of the double kick pedals, occasional blast beats laid on top of slams, and a rather diverse selection of time signatures and rhythmic accents at play. Most slam bands end up sounding entirely different from how this does, not by conscious choice but because they just tend to be pretty bad at writing songs of this style. Most of the bands that actually get it right - Gorevent, Cerebral Incubation, Epicardiectomy - sound something like Cephalotripsy not because they're intentional Cephalotripsy clones, but because Cephalotripsy are essentially the archetypal example of how slam death metal should be written.

Anyways, I actually think it's Gorevent's differences from Cephalotripsy that really bring out their individual strengths. This was only released a year after Uterovaginal Insertion of Extirpated Anomalies, and it's already taking slam's songwriting style and making it even more grotesquely in-your-face in just about every way. This is some seriously caveman shit right here: tone-wise, the guitars are probably more bass than melody at this point, to the point where you can basically feel them just as much as you can actually hear them. There's less melodic variation in the slams as well, which isn't necessarily a bad thing; Gorevent don't ever feel repetitive or tedious, it's just that they (possibly intentionally?) use waaaay less melodic variation, which makes each track just feel like a mechanical, bludgeoning assault. Gorevent also use tremolo riffs on occasion, but unlike most slam bands' attempts at tremolo, they're actually quite consistently good (though I guess being drowned in a monster of a production job certainly helps). Oh, it's probably also worth mentioning at this point that Gorevent are much slower than Cephalotripsy are... or, no, it's more like they use speed on occasion, but it's all for naught. The guitars are huge, and the drummer's attempts to push them around are practically futile (despite the tone of his kit, which is pretty impressively thick and massive), so they just sort of perform this slow, barbiturate-induced trudge through their rhythmic patterns. Even the blast beats feel strangely slow, but in a really cool way - see around 0:35 of "Bleeding" for a pretty good example of what I'm talking about, the way it just sounds like grooves getting smeared across a page with a fast tempo backing them up.

The band's manner of connecting slams together is sufficiently logical and, as I've said, there's more than enough variation to keep this interesting on its own terms even if it's not exactly reinventing the wheel otherwise. I suppose the only outright downside would be the vocalist, whose poorly recorded, muffled and extremely weak croak/gurgles really don't do the music any favors. A more active and interesting vocalist would serve this music a lot better - the guitars are already cool and heavy enough to get the listener to consciously interact with the music, but without an astonishing vocal performance, the package feels distinctly incomplete. Then again, who listens to slam death metal bands for their vocals anyways? Abnormal Exaggeration is just another example of Japan being awesome and knowing exactly what they're doing when it comes to writing BDM; go buy a copy, or take out the one collecting dust on your shelves and give it a hug, at least.

More like Slamnormal Exaggeration (huehuehue) - 67%

GuardAwakening, September 4th, 2013

The northern hemisphere slam scene is pretty varied, while it does rather well in competition to put albums on the market for a bunch of Indonesian kids to eat up in their home country (or pretty much every band that's ripped off Devourment for the past decade and a half), we see noteworthy acts such as Gorevent popping up in places you wouldn't expect. Japan is a nation of where you normally think of chibi anime characters or dumb pop groups, but within Niigata City, we come to terms that this nation has their very own Devourment knock off group.

Gorevent takes things almost in the step of replacing technicality's sake for a mainly slam approach (think Cephalotripsy but with a little more dynamic). I mean sure, looking for something "technical" in a slam band is probably a really stupid thing to even suggest, but it serves a breath of fresh air while hearing nothing but slam riffs after a while that musical units such as Abomninable Putridity and Ingested offer in-between their slams. This band, however, nearly overlays its listener with repetitive slams, blast beats and gurgled guttural growls. I mostly favor the drums out of all the instruments on this release. I think the drums have a really awesome tone to them. I love how they sound. The drummer is pretty vivid in his dynamic approach and ability. He perfect double-bass patterns while gravity blasting off his snare, all set in a tone I wouldn't change one bit. His kit has a sound I would want every slam band to sound. However, as for the vocals, this is where it gets a little bit downhill...

I will admit the vocals are thick and fresh (at first...), but grow old after about the third track. Their vocalist has absolutely no variety and kind of makes the record a bore that bears past his potential to have made it a bit more exciting. The vocals get the job done, but let's look at Cephalotripsy for a second. Vocalist Angel Ochoa (the most boring brutal death growler I've probably ever heard) at least mixes things up, offering pig squeals every now and then rather than the same croaky growl he would blow out verse by verse. Here in Gorevent, we have a singer surpassing Ochoa by my standards by his guttural growl factor, but the potential fun of his vocals is spoiled by little to no variety in his voice. I await the day for a legit slam band to put out an album with some screams, some gutturals and some midrange growls. Why don't slam bands get that you can deliver more fun in your vocals than just gutturals every second? Especially if they grow old sooner or later by the tone of your voice....

The band midway through the album attempt to keep the listener from falling asleep while packing in an ambient track entitled "Gate of Hell", but doesn't serve long until the rest of the album feels like it's a blunder of the same thing you just heard. However, sooner or later, a worthwhile track appears. What's this? A bit of a different sound to everything else displayed for the past 20 minutes? Why yes, the song "Gallows" shows a little more expertise to this musical group's semi-variety. But one song isn't going to save you now, Gorevent.

I almost gave this album a higher score because it's fun and fresh at first, but gets rather boring quickly. Gorevent have tons of potential, but it feels like this was rushed and wasn't really looked over that much as a final product before its release. Otherwise, maybe the band intentionally wanted to sound as boring as Cephalotripsy's Uterovaginal Insertion of Extirpated Anomalies? Beats me, but all I can say is that this is a long way away from competing to the likes of Molesting the Decapitated. The album is thankfully short, standing at 8 tracks.
If you need slams, this is for you. Otherwise, maybe just download 2 or 3 songs for your iPod and trash the rest.

Slamtastic - 82%

Iheartmetal, March 11th, 2011

There's a lot of slam bands which are, in all honesty, terrible. It's a genre which is infamous for a lack of innovation and originality but sometimes this really doesn't matter if you just get a band which does the standard job in a way that makes is very fun and enjoyable. Gorevent are one of these such bands, offering little new in terms of musical innovation but offering a lot in terms of pure, unadulterated brutal fun that'll have you wanting to headbang with your entire torso and punch some children.

In terms of musical skill the members of Gorevent are passable and handle their individual instruments reasonable well. For example the guitars occasionally play something mildly technical but generally do the usual slam thing, and they do it very well with some really powerful chugging and riffs that give the music a lot of groove and energy! The guitar sound is very deep and bassy, something which I really like (a tinny guitar sound has little power and is often very annoying). The bass is... actually with these ridiculously downtuned guitars it's almost impossible to tell if the bass does anything at all (although I think I heard it a few times rumbling in the background), but this is the case for most brutal death albums so whatever. The drumming is actually pretty good, with a snare sound that avoids being too ringy but still pretty slammy, and some pretty bludgeoning double bass work! The cymbals are also used to good effect, rather than just being there so help create a wall of sound effect.

The vocals are, in my opinion, some of the best in the entire scene. I often tire of vocalists who just seem to gurgle on (like Vladmir from Abominable Putridity, who is boring as fuck) but this guy Takashi has a pretty damn cool sound! He's very deep and gurgles to a tasteful extent whilst actually varying his sound and tone, instead of just using one droning gurgle for the entire album. It sounds very natural and powerful instead of weak and forced or pitch-shifted, which means it fits very well with the meaty and thunderous guitars and drumming.

Overall, this is nothing groundbreaking but is a damn good slam album full of meaty, thunderous chugging and some bludgeoning drumming and it's catchy as fuck! These are some of the best slams I've heard in a while, really catchy and powerful. The production job is deep and bassy but reasonably clear and I think it's brilliant, as it gives the music that much more power. It's pretty much my ideal slam production and mixing, although it'd be nice to hear more from the bassist (although like I said before, for all I know it could be him playing some of the background chugging but I wouldn't be able to distinguish him from the guitars).

Anyway, I heartily recommend this album to anyone else who likes a nice bit of slamming brutality with good production.

Great brutal death metal - 70%

SekoIdiootti, February 23rd, 2011

I stumbled upon this when I was searching for japanese death metal bands, and have to say that at first I was repulsed by it; the sheer brutality it unleashed was just way too much for me at the time. But now, I see this in a whole different light.

Starting with the vocals, which a few years ago I couldn't stand at all and laughed at how it was retarded. Listening to this today? Seriously one of the best vocals you'll find in the subgenre brutal death, or even in death metal in general. Of course this depends on if the vocalist uses any effects, which I don't know. Assuming he doesn't, his vocals get really low at times, and the regular guttural he makes is the usual that you hear every day. For example in the song "Insanity", the vocals go so low that I could swear it's pitchshifted, but then again, it sounds so much more natural than most and what my own experience with pitchshifting has proven.

The guitars don't have much variety and from what I know of guitar playing, are quite simple for most of the album. However there seem to be some parts where they are quite technical, but nothing Viraemia-like, which is to be expected. I'm assuming there are two guitars on every track, but I can't be sure.

There's a lot low end on every second of the album, which could be caused by two guitars in different tuning or something, or a hearable bass. I'll just leave that to it, since I'm not really sure.

Drums are generally quite well mixed since they're not the only thing heard constantly or blend into the other music. I personally just love the cymbals, because they sound sloppy, in the lack of a better word, but still manage to keep it from sounding demo-like; in fact they make it all more 'brutal'.

Now more about the reason I didn't like this at first: I had thought these guys are some kind of "ahead of their time band" because of how everything is so much lower and, like the subgenre says, brutal; I only thought they were death metal, I didn't even know about the whole subgenre like this until a few months after listening this album. So, not long but still enough to have me baffled for a few months.

In the middle of the album, there's an ambient interlude. Many bands have these, and usually they're just annoying; this band along with Flesh Consumed and a few others can do them so it doesn't get annoying, but instead 'loads' the atmosphere. Although it's also the ultimate downpoint of this album at the same time; the next track starts slow. If they'd have had at least a short burst of high-speed blasting after the interlude, it would've been a lot better.

So all in all, this album is great. It's brutal and darker than a lot of bands in the same genre, in my opinion at least. Best tracks that are memorable are "Insanity" and "Extinction".

Brutal but dull stomp and slam - 50%

autothrall, October 23rd, 2009

The debut full-length from this Japanese band is the very definition of the guttural stomp death that has clogged the arteries of the USDM scene for the past decade.

But they have no problem with this, as they churn out tune after tune of simplistic, slow chug often accented by tinny blast beats. To be fair, I like the production on the record, it's got a nice crunch to the guitars, the drums are very organic sounding and clear, and the vocals of Takashi just smother the entire affair in a brutal ooze.

It's difficult to analyze separate tracks on this entity since they all sound so much alike, but a few such as "Gallows" did make me want to jump up and do the ROFLSTOMP all over my room. None of these riffs are original, or even close. If you've ever chugged on the bottom four chords of your down-tuned guitar, you know exactly what this sounds like. The bass is present and distorted but never stands out in the songwriting.

I dunno, the album is pretty concise and tightly executed, it's just so simple and dull that there isn't much to get from it when there are so many better death metal bands out there writing more distinct songs. But if you have a fix for very simple, slam pit death metal and you have low standards, you may actually want to give this a shot.