![]() At times the songs tend to run together a bit, largely differing based on how long they stay in an agitated, almost seizure-like state versus the down tempo grooving. Like any traditional death metal album, this one comes in a highly concentrated, one-dimensional package that points to where bands like Jungle Rot take their cues from. Mind you, this album is basically bereft of any fancy guitar gymnastics or anything tying it to the early Florida bands and the thrash bands that influenced them, but it still retains that sort of older, crunchier character that was definitely apparent in some of the slower works of several formative figures in each respective scene. It embodies all of the flesh chewing goodness and biting, steely guitar riffing that made Barnes' former band an archetype of death metal in the 90s, but presented in a more grooving, simplistic manner that has less to do with the orthodox Slayer-worship of the late 80s to early 90s and much more to do with what Obituary was bringing to the table. This album presents the sort of direction that Chris Barnes should have taken when he left Cannibal Corpse and founded Six Feet Under. In essence, I'm seeking after an equivalent to "The Dead Shall Inherit", and early 90s exercise in the most primitive and nasty sounding death metal courtesy of the short-lived New York band Baphomet. I don't want my ghouls to be diabolically effective or super-human rejects from a debacle in gene-splicing, I want the old mystique of the feeble and slow reanimated cadaver, one by itself not being threatening, but a legion of them can tear all their hapless limb from limb. I've grown a bit weary of the modern concept of the undead, namely the sprinting super-zombies of the butchered remake of "Dawn Of The Dead" and all the subsequent jokes passing for horror that have followed their lead (I make an exception for "Zombieland" as it does a splendid job of parodying this sub-art form). ![]() The best original song is Through Deviant Eyes, and the best re-record song is Infection of Death. It’s not that they’re bad, though more original songs would’ve expanded their discography as a whole, learning that there’s not a lot to listen from the band other than three records (unless you include the demos and the first two singers, which is still a total different sound and approach). I wished half of the record didn't contain re-recorded versions of songs from the debut. I wouldn’t claim it’s forgettable, but definitely not memorable. The guitars, however, sounded simple compared to the debut. Sure, the death growls, bass, and drums are awesome. You could say it sounds better than the debut and how it builds a better foundation for brutal-sounding music, yet it’s nothing you haven’t heard of before. Once again, much like in the debut, the opening song which is also the longest song (but that’s because of its long intro) clearly hints how the entire record would sound. In a vague sense, you can call this a Suffocation clone. It’s safe to assume this is how Suffocation would’ve sounded, if they weren’t brutal/technical, expanding on their first EP’s sound, which was traditional. So even musically, the band sounds like Suffocation. These songs differ greatly from their original versions, giving a different/better production, lower tuning, and a brutal sound.Īs I mentioned in their debut’s review, the similarities between them and Suffocation are clear as day, especially in the vocals department and how this record sounds more brutal than the debut. This record consists of five original songs and five re-recorded ones from their debut Inheritors of the Dead, which are Leave the Flesh, Torn Soul, Vile Reminiscence, Boiled in Blood, and Infection of Death. As the primary focus is to bring the dead back to life, which are common subjects in the genre, the band perfectly wrote them. The famous The Dead Shall Inherit sophomore of Baphomet has resurrected into our world an amazing traditional record that showcases all the requirements in death metal.
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