posted on 2/2003 By:
Yattering have succeeded in crafting one of the most complete brutal death metal albums of our time. I simply cannot stop listening to this. They have basically taken every element that constitutes quality metal and welded them together to create a modern millennium metal masterpiece of art that equates to 35 fucking tons of solid impenetrable steel.
Imagine the blackest of storm clouds lurching & hulking, spanning a width as far as the eye can see, slowly preparing to dump upon you it's primary product of doom & despair. This is Yattering. The intro on "Genocide" creeps in w/ a dense, chugging groove reminiscent of the old-school locomotives w/ a bursting furnace full of fresh coal. After they clearly state what you are about to witness, the absolute crushing opening blast of "Schism" binds you up w/the ball & chain so you are forced to witness the oncoming horror. This is some of the best production I have ever heard for bone-crushing metal. An absolute massive sound that emphasizes kick drum and bass but does not drown out everything else by any means. Perfect mixing helps make this a perfect album. Not to bring a pretty much all-out exhausted nu-metal band into the review, but imagine the gi-normous guitar sound and tuning of Korn and apply it to intelligent & technikill brutal death and you have an idea of the power that Yattering beholds. Another thing I'd like to point out is the mystery on this disc that is "Mario". Who the hell is this guy? Apparently Yattering have a dump-truck load of animosity towards this character, but I'd like to thank him for helping to inspire them to create Genocide. Track #4 titled "Non-Adapted Society" caught me off guard w/ some of the strangest utilization of guitar effects pedals I have heard to date. Then comes "Panic in a Sea of Blood". It's Meshuggah meets Malignancy. A super-eerie and weighty semi-polyrhythmic un-graspable slab confuses you from the get go. This stuff is so layered that it makes those dessert cups at Kentucky Fried Chicken look like cheap toilet paper. Complex timing & tempo change-ups in "Inflow" and not to mention a plump-as-fuck mid-tune breakdown make this song suitable for inspiring genocidal activities. "Non-typical Homo" chugs on w/ a monstrous thundering kick-drum blast harnessing a "Decapitated-ish" mid point beatdown, giving way to an escalating "Meshuggah-esque" squealing halt, only to open the door for "Rapist's Victim", which embodies a groove so fucking thick and powerful that it could carve out canyons in a land made of solid diamond. I even saw my girlfriend nodding her head to this song so that should give you an idea of the kind of power it presents. "Sentence (To Die)" is simply the most pulverizing display of down-tuned heaviness and complexity to ever rear it's head in the brutal death genre. Palm-muted chunkiness giving way to a slightly jazzy solo laid on top of another emerging polyrhythm. This song will pull every bone out of your body, break each one into an infinite number of crumbs, throw them all into a worthless pile of calcium and marrow, then drop a wrecking ball on them over and over. Percussionists will salivate at the tightness and just plain solidity of the dumbfounding drumwerk in "Temptation of a Crime". This is creativity at work. Stop & start mania with the double-kick and chimes in the spotlight is the special of the day at this diner. The grooves on this album are some of the thickest, freshest, non-rehashed material I have heard and I must take time to point out that if there are any bands wanting to learn something about breaking out of a monotonous shell and applying brainpower to their music then Yattering is the fucking professor of this class. "Murder (You Are)". Oh yeah. Brace yourself for one of the most brutifying, bowel-loosening breakdowns of all time, w/ a tornadic display of chimes and cymbalwerk that sounds like an ice storm in a junk yard full of empty barrels. Little things like the distant tremlo-pick in between blast measures followed by the huge power chord in between the next are the details that add to this brilliance. "Living Bomb" seemingly wraps things up w/ airtight beats and almost a thrasy-type riff that berths another jazzy-type bass-laden breakdown, which then concludes w/ another totally off-the-wall tapped solo. Enormous power chords tuned down to the earth's core close this one out w/ more stunning lead guitarwerk. But the disc keeps playing...At around the 9:30 mark the familiar locomotive fades back in but w/ added guttural groove and distorted demonic vox that build an undeniable grimace inducing chunk of quality brutality that is obvious even to the deafest of ears.
I haven't given perfect scores to very many releases since becoming a prophet at this site. But I am forced into a position of the utmost authority when I point my billy club of brutality at you and enunciate w/ crystal clarity that owning Genocide is something that is not optional. It goes above and beyond mandatory and carves itself into the stone of Metal Law. I would go to great lengths and perform thousands of unspeakable acts to own and listen to this on a daily basis up to my dying day. I say w/ 100% certainty that this will be my #1 album of the year for 2003 unless a metal miracle occurs and something tops this, which is about as likely as Tennessee trailer trash winning the Powerball jackpot so that gives you an idea of the conviction in my statement. Buy or Die. Yattering has arrived.
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