It is fair to say that only in the last decade have French death grinders Benighted really truly come to worldwide attention since the release of the iconic and brilliant “Asylum Cave” in 2011, but if you step back a couple more albums you unveil a band that was burgeoning with technical talent even though vocalist Julien is now the only remaining original member. That being said those early releases are well worth tracking down as they give an insight to the beast that Benighted has become as they continue their deranged sonic journey on their ninth full length, which offers a conceptual basis surrounding the mental and physical trauma of a young boy named Michael who becomes isolated due to a cleft palate and decides to develop his own reality, which all I will say on the matter as you can check out the lyrics for the in depth surrealistic and at times disturbing subject matter.
Spanning the concept through 13 relatively short songs plus one cover starts with the title track as what sounds like low volume clicking noises are abruptly annihilated by the death grinding frenzy that follows. As always the vocal elements are utterly barbaric, intense and driven by total hatred. Continuing the intensity is “Nails” a blurring blasted assault reinforced by the grinding riff mayhem and frenetic pace as the bands ability to shapeshift from the grind to deathly obliteration is cohesive and bludgeoningly effective. With an acoustic opening “Brutus” has an initial serenity before a spoken piece catalyses the subsequent onslaught as the vocal tones continually change to produce varying characters.
“The Starving Beast” has a guest appearance by vocalist Sebastian Grihm of Cytotoxin who adds his own demented tones to a song that is absolutely furious as another guest adorns “Implore The Negative” courtesy of Hatebreed’s Jamey Jasta. As the calm opening with stick taps produces a slight tribal feel the song diverts into a groove laden foundation with slow double kick as Jasta’s macho tone injects a formidable shot of muscle to the vocal arrangements.
Grinding the listener to pulp is “Muzzle” a ferocious battering tune that has little in the way of easing up on the speed except for the inundation of double bass that seeps in occasionally and the brief respite of acoustic like playing towards the end. Continuing the violence is “Casual Piece Of Meat” as a gradual guitar fade in hints at a slam feel before the song vents with its maniacal pace and scathing vocals. “Scarecrow” is a bombarding annihilation of blasted wrath, the song is possibly one of the fastest the band has ever written and whilst it suggests a grindcore basis the riffing is purely death metal and also supremely catchy in phases.
A final guest vocalist, Karsten Jäger (Disbelief), appears on “Mom, I Love You the Wrong Way” another blurring cauldron of swirling blasted havoc that underlies the disturbing lyrical content. I did like the start to “Bound To Facial Plague” with its bass thrusting riff and ensuing catchy drum work before the inevitable blast. As the song progresses it unfurls a more atmospheric touch but is still ridiculously intense that leaves the album to close with “The Rope” before the cover. Maintaining the rage the song capitalises on the hatred already laid down by ensuring the listener realises that Benighted continue to create deep gouges of sonic spite. Tagged on the end is a cover of Slipknot’s “Get This”, one of my favourites from that bands self-titled debut. As the initial pig like squeal starts, the song is a superb grinding tribute to one of Slipknot’s best song in my opinion.
(9/10 Martin Harris)
Leave a Reply