Crimson Falls
The True Face Of Human Nature
7
Synopsis:
Whatever genre you decide to call this, it is certainly one thing. HEAVY.
Review:
Recently I’ve been getting some real gray area albums that I just can’t classify into one easy to define genre. They have shared traits with hardcore, death metal and thrash but are all metal. Bands like Built Upon Frustration, Bloodshot, Hostility, Lupara and now Belgium’s Crimson Falls have kicked my balls in, regardless of what tag you throw on them.
Too heavy and growly for hardcore or melodic death metal, too breakdowny for death metal, not trendy enough or chaotic enough for deathcore, too burly for thrash, not melodic or graceful enough to even be metalcore. Crimson Falls just play heavy, heavy metal and play it convincingly.
With Svencho from Aborted doing the cover art as well as guest vocals on “Control-Alt-Delete”, death metal fans might be curious enough to peek their head in, but the production should also appeal to the gnarlier end of the fan spectrum. A production that renders the burly mid paced chug and occasional gallop with impressive girth as tracks like the massive, “Poetry For the Scum” and “Four Slaves, Four Struggles”, “Erase All Fear”, “Architecture Disavowed” rumble and lurch with menace, various octaves of seething vocal work (scream, growl, deep growl) and the occasional thrashy melody line (“We Are the Dead”, “Book of Memories”, which has a clever little harmony).
Apart from now the required brief chugging intro (“Abort Every Weakness”), the somber but piecemeal “In Flanders Fields” (which history buffs will recognize as a World War I poem by Colonel John McCrae about the first battle at Ypres that cost 238,000 lives), and piano instrumental “Prelude to the Cataclysm”, the album pretty much snarls and growls with little respite, and does tend to blend, but for sheer blunt force trauma, Crimson Falls delivers.
