Vomitory - Rawhead (1996)

I was able to cover Hour of Truth and Baschlasophobic a few years ago as I was doing my massive examination of the Teutonic thrash scene through the decades, but the German Vomitory's third full length outing Rawhead was unavailable to me at that time for listening purposes. As it turns out, leaving this one in the dust would not have made for much of a difference, because while the album does have a share of appreciably brutal moments as far as thrash goes, the whole affair reeks of another of those countless attempts to 'adjust' thrash into the nu-mosh, groove mentality so dominant throughout the 90s that it rendered the careers of so many hopefuls inert. Vomitory's 1991 debut had been an acceptable if far too late to the game example of thrash will little to no distinctive characteristic with which I could separate it from hordes of other hopeless bands attempting to fill in the gaps left behind by infinitely more unique and inspired predecessors. The sophomore dropped off considerably in quality from even that, and Rawhead doesn't do a lot to improve matters...

Once again, a real shitty cover artwork which doesn't gel well with the forgettable script they used for a logo, which coincidentally never fit at all with the music on their releases. Once you get past that, you are presented with an acceptable, ambient intro which might have proven the spark for a more interesting, progressive sort of album, only it doesn't, because you're in for 50 minutes of banal, meaty thrashing which honestly sounds like a more bouncy late 80s Sepultura; not only in the structuring of how they put together riffs, or the more grueling, growling, grimier and bulkier spin on Cavalera-like vocal barks, but also the brash rawness in the guitars which gave me a distinctly Beneath the Remains impression. The real down side to Rawhead is not that the group isn't occasionally capable of throwing down a genuinely mean rhythm for putting on camouflage pants, bouncing around the steakhead moshpit, but but that so many of them can be seen coming, redundant patterns rooted in nu-metal jump da fuc up and that strain of NYHC brand throwdown redolent of Biohazard. The riffs do seem to subsist often on an uninteresting chugging base which functions strictly off the grooves of the drummer, but then will shift off into some more hardcore-inflected chord choices.

That's not to say they don't have a few songs on this which manifest into a more traditional thrash anthem, with some frivolous but not unengaged leads for good measure. They even pattern some of their selections with a hint of more interesting post-industrial dissonance, but in general the stuff is just so predictable that the only excitement ever comes when they shift tempos, but then that is soon joined by the disappointment that what happened next was equally as boring. To top it off, you've got vocal patterns as in "Downfall" where wiggy repetition is used to low yields, almost as if they had gotten a guest spot with some poor man's Jonathan Davis impersonator and thought it was a good idea to enhance the brand with a little Korn, since that was all the rage at the time. So you are definitely hearing some Life is Peachy, some Roots here, and it kind of dilutes what traces remain of true, clinical German thrash...they exist on this album, but not enough to turn back the 'cult of the new' vibes that Vomitory was obviously surfing on. The album is also way too long...52 minutes, even if three of the cuts are under a minute; with nothing reward awaiting in its depths. Is it worse than Baschlasophobic? That I can't say, since it at least feels meaner and they very rarely latch onto a better riff than was found on the 1993 album. It's just the very definition of mediocrity, and had absolutely no prayer of making an impact even by '96 standards.

Verdict: Indifference [5/10]

Vomitory - Opus Mortis VIII (2011)

It must be great to be Vomitory, doing pretty much the same thing year in and year out and managing somehow never to date yourself or sink into irrelevance. Of course, this is pure Swedish death metal of the old 90s variety, a sub-genre which is currently experiencing an indisputable overload of new talents and stinkers, yet these specific gentlemen are one of the originals, even if their debut arrived later than their more infamous peers (Raped in Their Own Blood, 1996). Opus Mortis VIII is yet another puerile pummeling in the vein of Dismember, Entombed, and so forth, with that added fresh paint of blood and velocity that they have become synonymous with, and while I can't cite it as one of their strongest, it delivers at least the neck wrenching you expect.

That said, it took a few tracks here before I jumped on board the entrails express. "Regorge in the Morgue" is a standard, fist pumping d-beat with acceleration into blasted territory, and the ensuing "Bloodstained" a mid-paced, effective blunt instrument, but not until "They Will Burn" did I find myself back in the saddle. A hooky thrasher with lower pitched growls than usual, almost like a mixture of mid to late 80s Slayer and old Unleashed. "The Dead Awaken" follows suit with another great thrash riff bisected with old school, writhing death. Beyond this chunk of carnage, the material becomes a bit less balanced in quality. "Hate in a Time of War" seems to offer something different through its tranquil, clean guitar into, but the thick grooves are not so exciting. "Torturous Ingenious" and "Forever Damned" tear shit up as if they were outtakes from the band's unsung classics like Revelation Nausea or Carnage Euphoria; "Shrouded in Darkness" has a classic Morbid Angel lurch to it which is sweet; yet others like "Requiem for the Fallen" and "Combat Psychosis" offer about one decent riff and not much else.

Opus Mortis VIII does suffer a little from the been there, done that syndrome, especially since its artisans have delivered far more punishing, diabolic efforts in the past, but its by no means a bad album for those dead set on the genre's purist virtues. Like any satisfactory horror film, you will not experience any skimping of the gore elements, nor any reduction in the band's violent propulsion. However, there are precious few riffs here that make you want to strap a lawnmower to your chest and tunnel through the dead OR the living, and it's unlikely that this will offer an increased appeal beyond the core audience with cannibalistic, unswerving loyalty. If you are seeking out Vomitory for the first time, then I'd much more recommend you experience the beautiful atrocities that are Revelation Nausea and Primal Massacre. If not, then this is another day at the butcher block. Meat in steady supply for all carnivores, but you must supply your own seasoning.

Verdict: Win [7/10]

http://www.vomitory.net/

Vomitory - Carnage Euphoria (2009)

The powerful distortion and punk/d-beat infused energy which has always permeated most Swedish death metal has seen quite the revival in recent years, with countless new bands forming as tributes to the original tone and style. Others have been at it for some time now, and at the forefront of these stands Vomitory, a band responsible for such devastating outbursts as Revelation Nausea and Primal Massacre. If you've heard one Vomitory album, then you've probably heard them all. But when a band is this consistent, I'm not complaining.

Carnage Euphoria is their 7th full length effort, and while it may not have the same shock factor that I felt first listening to a few of their past works, the quality is undeniable. "The Carnage Rages On" is a fast opening track which hardens the arteries but didn't throw me over the edge. It took the second track, "Serpents" to do that, grinding with menace across several Left Hand Path-worthy grooves dippsed in Slayer sauce. "A Lesson in Virulence" starts with a barbaric old school death/thrashing, Rundqvist bass plodding along with the perfect distortion as the band alternates between further Swede melodi-grind and some slower grooves perfect to sate any violent impulse. "Ripe Cadavers" lets the war drumming roll right into another of those d-beat/Hellhammer deathstyle rhythms which are so rarely pulled off with an air of menace. Not the case here. "Rage of Honour" is a little more pure grind, I heard a little Rotten Sound, or rather Napalm Death. "The Ravenous Dead" is one of the best tracks on the album, totally rocking out with some great death/doom rhythms and a bridge of pure evil. Other fist fucks include "Deadlock" and "Possessed", performed with exhilirating speed and callous brutality. "Great Deceiver" ends the album with an epic and evil flair to its opening melodies, with some sick verse rhythms.

The tone here is simply a beast, with just the proper crust of punishing fuzz to fuel these thrashing, grinding axeworks. It's probably the best sounding of all their albums to date. The band has actually been around for 20 years now, and have yet to waver from the path of true Swedish destruction. Their passion and energy for the form is relevant and practically unrivaled, and though it may not have impressed me as much few of their early butcheries, it belongs in any DEATH METAL fan's arsenal.

Verdict: Win [8.5/10]

http://www.vomitory.net/www2/index.html

Vomitory - Revelation Nausea (2001)

Though their sophomore effort Redemption was a great album, it is Revelation Nausea where Sweden's paint-peeling fist of death dialed the aggression up a notch and sprayed their demon seed upon the womb of blasphemy. Vomitory is adept at one thing: taking the brutality of roots Swedish death metal and cranking it to oblivion. Revelation Nausea is a near flawless eruption of energetic diabolism to send poseurs packing.

The title track begins with a fitting sample before laying down an intense pileup of aggressive melody and blasting violence. Bonesaw rhythms and excellent but simple selection of notes are refined through the holocaust of the album's mix. Though they lean towards the faster pace, the band is fully capable of incorporation breakdowns, as in "The Corpsegrinder Experience" with its insane old school break at about 1:27. There is nigh a weak song to be had on this album, each exemplifies the pure thrust of old school death smothered in crushing brutality and 21st century production standards. "Beneath the Soil" pulverizes with its d-beat verses and grinding destruction. "The Art of War" incorporates a Hellhammer-like groove into some sinister pure death metal guitar lines. "When Silence Conquers" is an amazing slower track which picks up to mid-pace for some killer riffing. "Exhaling Life" is another of my favorites with some moody and intense guitars.

Looking back over a career which has brought us many excellent albums, I have to admit that Revelation Nausea may be my top choice, with Primal Massacre close behind. It's a top notch Swedish death metal record which belongs in the company of its influences like Entombed and Dismember. If you're fond of the crushing, beautiful tone bands of this ilk and national alignment tend to create, this is essential.

Verdict: Epic Win [9.5/10] (blindly obey every command)

http://www.vomitory.net/www2/index.html