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Mahjong

Mahjong
4 lat 139 dni temu

Horrorhammer

2016-01-08

580

Release date: March 26th, 2007 Label: Tyrant Syndicate Type: Full-length Format: CD Catalog ID: CDVILEF165

In 2007 Abscess signed with Darkthrone's label Tyrant Syndicate Productions. Recorded and Mixed June 27th-July 1st 2006 at Prairie Sun Studios Cotati CA USA.

Band members

Clint Bower Guitars, Vocals

Danny Coralles Guitars

Chris Reifert Drums, Vocals

Joe Trevisano Bass

Miscellaneous staff

Dennis Dread Cover art

Adam Munoz Recording, Mixing

fot. Trine Paulsen Layout. Collaborates with Kim Sølve to create artwork.

Nancy Reifert Photography

fot. Kim Sølve Madsen Layout. Born 1978 in Oslo. Collaborates with Trine Paulsen to create artwork.

I'm a little surprised that the reviews for this record are mostly negative and the previous reviewers seem to want a different direction from Abscess. Taken on it's own merits, "Horrorhammer" is a completely solid, no bullshit death/punk record that simply gets the job done. Expecting more because of the pedigrees of Abscess's members (who have contributed to at least three classics: Death's "Scream Bloody Gore", Autopsy's "Severed Survival", and VON's "Satanic Blood Angel") is to miss the point. What you got here is a group of self-assured, nothing-to-prove death metal lifers playing a spread of genres that clearly inspired their earlier, more respected work. No new ground is being broken here but "Horrorhammer" is as comfortable as an old jean jacket. As far as the tracks go, "Poison Messiah" could have been an outtake from Chris Reifert's old band; it has the same mid-paced, roiling groove and swagger that was Autopsy's take on death metal. "When Witches Burn" is a doom/death beast, not too far off from the '70s tripping on Autopsy's "Retribution for the Dead" ep. It's not all self-cannibalism, though. "Hellhole" is a thrasher/proto-death number in the Sodom/Kreator-vein, but sludgified, with completely unhinged vocals from Mr. Reifert. The punk numbers tend to alienate the death metal die-hards but they fit seamlessly into the sickness. "Another Private Hell" is a mean and violent hardcore song that seems to heft some of the "fuck you" 'tude from hatemongers like Negative Approach while keeping it fuzzy and downtuned. Speaking of bands that embody the "if it ain't broke don't fix it" philosophy, it might be odd to cite the Ramones as an influence on a record as ugly and loose as this, but "Four Grey Walls" is four buzzsaw chords and a catchy refrain that (cleaned up a bit and given the right vocals) could almost pass for one of the tough late-80s Ramones tracks. You can probably play "spot the influence" on the rest of the tracks too but as you may see that, while certainly derivative, this is not simply a one-dimensional record. It's really an acknowledgement of all that was going on around the early death metal scene, a little nostalgic without any sappiness or attempts at recreating the past, a tribute of sorts to the influences on the old school from the people who know. Taken on those terms (and listened to blasting from a car stereo on the highway), "Horrorhammer" is a success.