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Non-Religious Musical Zealotry - 93%

bayern, July 11th, 2018

The only known member from this mysterious entity is Grind Death, a vociferous boisterous alias although there’s neither grind nor death at display on the demo reviewed here. What the listener will come across is very expertly executed technical thrash, the first genuine technical recording on French soil, and one of the finest ones composed all these years over there.

The guys open with the stylish, also quite bashing, instrumental "Codex Popuhl-Vuh", a furious windmill of raging guitars and more interesting, more intricate developments the final result coming as a more exuberant, more frantic version of Destruction’s “Thrash Attack” from “Infernal Overkill”. A fitting inauguration to "The Gaudriole", a superb technical shredder with puzzling hyper-active rifforamas flying from all sides on which a sniff of proto-death can be detected on top of several bizarre quirky stopovers and advanced surgical atonality the latter more prominently covered on same year’s Mekong Delta’s “The Music of Erich Zann”.

A stunning eye-opener, it doesn’t exactly “kill” the remaining material with "Don't Kill Mandjaro" being a gorgeous surreal hallucinogenic thrash/crossover delight the cross experienced comprising angular walkabouts in the spirit of the Swiss Lunacy and furious proto-deathy accumulations, the latter occupying more space on the aggressive title-track the guy(s) moshing on full-throttle throughout, with great melodic tunes spicing the proceedings in a totally outlandish manner. The exemplary showdown reaches exhausting proportions on the maddening roller-coaster "No More Dreams", a riff-fest of the highest order with some of the fastest rhythms around played with the utmost precision and dexterity, providing a ready template for the exploits of future practitioners like Merciless, Invocator, Expulsion, etc.

The rough, not very rehearsed semi-declamatory vocals may as well pass unnoticed for most of the time, their humble assistant’s status slightly extended on the several louder, more shouty tirades those equal parts death and hardcore. The pretty decent sound quality could be deemed another undisputable plus, facilitating the band’s endeavours whose line-up was reportedly restricted to two guitar players and a drum machine the latter not easily detected, truth be told, due to its apt utilization. It’s quite sad that the other act with whom Grind Death was involved (vocals only) at around the same time, Terror Scum, didn’t display even half of the genius so generously provided here; a straight-forward, no-gimmicks retro thrash metal delivery that lasted through five whole demos, and yet failed to produce even a fraction of the creative flair this outfit here managed to cook within these nearly 22-min.

I’ve been trying to decipher the band’s esoteric name for quite some time… No success so far, with no chances in tracking down Grind Death, or this drum machine in order to get some more information. My piece of advice, make sure not to miss any formation whose efforts come disguised under seemingly non-sensical, non-linguistic amalgamations.