Review Summary: A kick in the face from several directions.
This is the kind of record that kicks you in the face from several directions and before you even know it’s happened you’re rubbing your cheek whilst getting kicked in the face again. The opening track No Gods But Our Flesh is a prelude for what is to come. A few choice guitar notes start from almost silent beginnings, as a fade in technique is utilised before typical death metal vocals start ripping lines out in harmony with the chugging distorted guitars and drums which start building towards blast beats. All of this creates a sort of organised chaos that you wouldn’t be familiar with unless you’ve heard bands like The Black Dahlia Murder or Arsis before. If you’re not familiar with these kinds of bands but you have listened to some death metal before Vile Genesis may be either exactly what you didn’t know you needed, or just too much. In comparison to similar albums this latest effort by the Tennessee 5 piece is much busier and more chaotic and sometimes this can get repetitive as with other death metal records, although there are short moments where the band gives the listeners some respite, a moment to recover from the chaotic onslaught that wreaks havoc with your ears. For example, Vile Genesis has a tech death solo that leads into a short interlude where the drums rhythmically accompany melodic clean guitar arpeggios. It doesn’t last long before the song finishes by kicking you in the face. Again.
On another note, the album artwork really must be mentioned here. The apparent dystopian alien invasion War of the Worlds meets The Matrix theme is matched lyrically and by the front cover album art which is superb. Anyone could look at that cover and basically know what they’re in for and everything from the lyrics to the atmosphere and feel of the album is in synch with this theme. The vocals throughout the album for instance feature a deeper somewhat heavier tone than some of the collegial death metal comprades, there also seems to be some sort of a backing track that features keys and/or vocals that give a somewhat subtle symphonic feel. These factors combined give the whole album an evil overlord feel which cranks up the dark ambience of the record and adds something a little different to distinguish it from straight death metal. The production is out of this world and despite a busy blend of technical death metal, melodic death riffs and a litany of rhythms, melodies and screeching vocals, the finished product is polished and clear. The length of the album is also pleasing as often death metal bands can get overexcited and draw out songs and records for far too long. This isn’t the case with Inferi as every track is around 4-5 minutes and the whole album is well under an hour.
Overall, this album doesn’t present anything revolutionary for the band, the sound is built upon earlier records with the main difference being that there’s a little more of a central theme and slight improvement to the song writing. Whether you prefer this darker, perhaps more symphonic concept sound or earlier records, you can’t fault them for continuing to seek to offer their fans a new experience, even if it never strays far from their origins.
