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Isn't Horror Swedish For Excellent? - 92%

GuntherTheUndying, March 22nd, 2010

Music is an infinite pit of magic. Sometimes it feels emotional. Other instances it can appear enraging. And on occasion, your face is sprayed with so much violence and chaos it seems incendiary gunk that melts your goddamn face into a mess of burned flesh while the sickening scent of phosphorus hovers about would equate the musical madness perfectly. Tribulation, a young and promising death metal band from Sweden, takes that idea to heart unlike others attempting such destruction. Their formula is like napalm that burns and churns, yet it’s a clear fact that something so violent has never been so fun. Do you and your kids enjoy good, hardy tales of horror and murder while enshrouded in gore and undead madness? If so, Tribulation is for you!

And you know what makes this record so great? It’s rather simple actually: it’s just fun, beefy death metal. No experimental shenanigans or anything like that; just a four-man guillotine machine. I quickly noticed right off the bat that the riffs are no laughing matter. Filled with old-school thrash touches and tremolo picking so devastating your ancestors will sway in their graves, I promise you’ll get everyone in seeable range to go nuts. It’s not only that though, because Tribulation’s guitar attack is wonderfully crafted within the radius of brutality and instrumental responsibility perfectly, so it’s a clear observation a few gentlemen passed Death Metal Riffing 101 with flying colors. The lead work is also absolute insanity captured on plastic, with such swelling chaos that if you don’t have your jaw on the floor after experiencing the technical insanity and the utter shredding corruption, then you should probably leave the hall.

As for everything else, “The Horror” continues to inherit the genetic abomination that could make a hemophiliac run dry in seconds. Johannes Andersson’s growls are dark, horrifying, and fantastic when discussing the pattern his voice takes throughout Tribulation’s damning voyage. The drums are likewise a riveting force behind Tribulation’s attack, releasing an unrelenting montage of turbo-charged footwork layered over perhaps the best sounding snare I’ve ever heard and symbol usage and audio features that shriek of Sweden in 1990. Overall though, the quartet forges a nifty sample of what death metal is supposed to be: something like “The Vampyre” marches through with burst-fire gallops, intense riffing, and so much audio velocity your neck will dislocate, and technically personifies Tribulation’s sonic artillery beyond words. To do such a thing takes a special band, and Tribulation is indeed fresh air compared to a lot of other death metal groups that couldn’t nail the sound if Alex Webster provided a tutorial.

Everything about this record is superb. The riffs are furious and well-crafted, Johannes Andersson’s growls appear fresh and lively, the percussion is devastating, the solos absolutely magnificent, and it obviously delivers an overall sound that can split your skull. So aside from the obvious fellatio venting from my clear love of “The Horror,” I can verify that Tribulation is a great band, and this is a fantastic record. If you find sanctuary within the quarters of such harnessing, blasphemous tribes from the immortal tongues of bands like Possessed, Grotesque, Kreator, or Death, then I can’t stress enough how essential “The Horror” will fit in your collection. In conclusion, Tribulation is a man among little boys when compared to today’s majority opinion, and they thankfully rekindle the burning reputation of golden death metal once again. They know what they’re doing, folks!

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