Ruin>spiritual genocide>2013, CD, Scarecrow Records (Digipak)> comments
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Destruction - Spiritual Genocide - 80%
was an orbital, 14. October 2013
Unlike the previous "Day of Reckoning" an ascending mix of above-average riff composition. The electric flame will take your breath away in music and thoughtful musicality with this one. Alongside Schmier, they really emphasized the choruses, plus the aggression was there for an amazing Thrash Metal outing. It was solid throughout, not just on a few tracks, but overall good sound quality for the recording. There were a few collaborators in the core department, namely Harry, their former lead guitarist. Mike is completely incompetent in the leadership department. Destruction must already know the importance of involving competent guitarists or it takes away the magic that is put into the guitar work.
The lyrics were more thoughtful than on previous albums and there wasn't an emphasis on overt anti-Christianity here, they prided themselves on that department so the words fitted perfectly with their efforts to achieve total musical annihilation. Talk. In my opinion they substantiated their words too well to fit into the harsh lyrical conceptual visions. They seemed to focus mostly on songs that aren't borrowed from the past, but just unintentionally spouting aggression in their songs on "Spiritual Genocide". Absolutely no compromise release like virtually every Destruction release ever released. The overall intensity is super high, the emphasis on the choruses makes “Spiritual Genocide” more entertaining and uncompromising.
I can't see anyone criticizing this album, I didn't find it boring, I found it totally different. The production was definitely positive and well mixed, bringing every guitar, vocals and drums together in sync. Schmier leads the vocal department and sounds very inspirational while Mike dish out fast riffing and pitch thick crunchy distortions that just rock. The music he has created here is unlike any other Destruction release. He wasn't far behind in his role as a songwriter, the music was just great and absolutely uncompromising. His aggression matched the vocals and the drums were on time and solid. Maybe one of the best drummers here. Although in the early days I thought a lot about almost every drummer except Tommy.
I think the band underlined a lot of things musically here and they really needed to come back, with "Day of Reckoning" falling into the mediocrity department. That's what we found on “Spiritual Genocide”: a pure new tonality of sound based on Hardcore Thrash and really quite a conglomeration of insanity when they put it all together on this release. They had to combine it with their 21st century songwriting to take on other bands like Sodom who have certainly surpassed Sodom's latest "Epitome of Torture". This one just blows you away. However, Testament more than lived up to that on “Dark Roots of the Earth”, but “Spiritual Genocide” emphasizes more of the rhythm guitar that will leave you in awe. Sort of a build made to boost the Thrash Metal production here.
I've always preferred Schmier over all thrash metal singers, his voice hasn't had much of an impact on the changes over the years but I think he's helped the band since their return to the thrash metal community, early 2000's I think, fair What's generally best here are these points I've tried to convey: originality, aggressiveness, strong lyrical threads, great production, adequate choruses along with Schmier's lead vocals, thrash metal guitar sound well constructed by Mike and a mix that definitely made an impact on the overall effort during the demolition effort here. They really needed to ramp up the aggressiveness they were doing and those lead guitars from Harry were well put together and don't destroy the integrity of the album.
I didn't find any song here boring or lacking in any way, every single track here was fantastic and don't listen to the naysayers who paint this album in a negative light. It's totally unnecessary because there were balls in this one hoping its next release will surpass it! But for now it will remain in their discography as one of the best new releases that hasn't received enough review to betray the album's integrity. If you are a long time follower of Destruction make sure to check out the song “Carnivore” and you will hear the aggression, the aura of the album and the song they made a YouTube video for. So judge for yourself if everything makes sense with these lyrics I said about the album. Check it out for sure!
Painfully flat - 40%
ElJizzHammer, March 4, 2013
Despite their (allegedly) best efforts to release a 30th anniversary thrasher, and after several impressive offers following Schmier's return to the gang, Destruction have so far only managed to present a collection of some of their most boring and elaborate material.
Destruction had already managed to release some of today's best thrash albums, despite a seemingly dwindling fan base and the fact that their pre-release output didn't get as much attention from the press and fans, especially compared to other artists of the genre. They beefed up the production and guitar tones (something tragically lacking on their '80s classics) while still managing to retain some of the memorable compositions of those early days. Great riffs, great hooks, great singing choruses (Anyone nailed to a cross?). They managed to keep the attack going despite howling naysayers and the aforementioned dwindling fan base.
Those days seem to be over, at least for the time being. After several promises from the Destruction camp of a true thrasher in honor of their 30th anniversary, Destruction disappoints. The riffs are reworked. The original riffs are neither catchy nor energetic, although they have retained the energetic tone of later albums. The drummer, while quite competent, simply rides the wave without any innovation whatsoever. Bang like a robot. Schmier seems to be the only life on this barren disc. I absolutely appreciate his ability to keep his grunts simmering in his career so far. Damn the haters, I will always love Schmier as a singer. Unfortunately, it doesn't include any memorable screaming vocal snippets. Your voice is not fully utilized.
The band seems to have looked to their own catalog to find a blueprint for the new album rather than finding their own hearts and minds, or even going back to what influenced them to make music in the first place. The total lack of anything worth discussing or remembering is where this album fails. Spinning this album is like listening to white noise.
Spiritual Destruction Genocide - 80%
Emperor of the Dark Angels, December 20, 2012
After the misstep, that was the awkwardly titled "D.E.V.O.L.U.T.I.O.N." In 2008, Destruction got back on track with their latest release, "Day Of Reckoning," simply sticking to what the band has done so well over the years: catchy, hateful to create music. Agile and sharp Thrash Metal.
The general rule of thumb is the simpler a band's attack, the better the end result on record, and fueled by drummer drummer Wawryzyniec "Vaaver" Dramowicz, guitarist Mike Sifringer and bassist Schmier sounded sharper, more focused and younger. registered as in years.
Now that they've pulled off something really cool with this 30-year incarnation of the band, the "if it ain't broke don't fix it" rule is in full force. For any Destruction fan, that's a very, very good thing. 'Cyanide', 'Carnivore' and the album's title track boast the sheer energy the trio are so good at projecting these days, Mike's snappy riffing pushing further into slick territory thanks to Vaaver's competent percussion. Schmier, meanwhile, is in as good vocal shape as ever, delivering that high-pitched growl in a timeless manner.
Featuring guest collaborators like Sodom's Tom Angelripper, Tankard's Gerre and Evile's Ol Drake, not to mention former members Harry Wilkens and Olly Kaiser, but the three members of Destruction make this album so great. Few bands are able to sound this good in a career spanning three decades: I hope they don't stop any time soon.
Do the title and artwork say anything? - 39%
bastard head, 27. November 2012
Why are you doing this, destruction? I used to worship the ground you walked on. You used to be my favorite German Thrash band (although that was before I'd heard more than a handful of Sodom songs to be honest) and what are you now? walking giant shells of what you used to be. And that's weird because I feel like you're slipping over the still-warm layers of fan scum after posting your testimony on why thrash can still be relevant and insanely good in the new millenniumthe antichristEleven Years Ago They've been surfing this catchy hit and beyond the tongue-in-cheek title for over a decadeTO RETURN.it has done nothing to distance itself from the formula laid out in that thunderous 2001 megalith.
I'll stop addressing the band now and start addressing you, the fans. i am one of yourelief from tormentit was the first german thrash record i ever heard and the cover artwork alone was enough to stick with me for the rest of my life. Indeath penaltyep too legendarylive without meaning, Destruction released six consecutive releases of nothing but pure thrash metal through a filter of unique riffs and distinctive vocals that made them instantly recognizable as Destruction records. Once a year they gifted us with another slice of their unique style of Teutonic tenacity, the only weak link being that up until 1989 their guitar tone was as heavy as a toothpick (one of the reasons I thinklive without meaningone of the few substantial live albums in heavy metal history). From then on they had the well-known departure of vocalist Schmier, which was decentbroken brain, and then the infamous bug known as Neo-Destruction. Finally, Schmier returned, and thenNAILED TO THE KING CRAWSS. In orderall hell broke loosecame first, but that seems to have been completely forgotten since thenthe antichristit was so ridiculously good and helped kickstart the whole "retro thrash" thing in a way (I mean, it doesn't sound like what we know as retro thrash (then neo-thrash)) but along withM-16this showed the style was still relevant and not a career suicide play). Since then we have only receivedthe antichristfive more times, except with no stellar highlight.
Except for maybe "Devolution", "The Price" or... um, I don't know maybe "Metal Discharge", there weren't standout classics like "Thrash til Death", "The Heretic" or "Nailed to". a Cruz" in over a decade. The band's 77th release,spiritual genocideis no exception. The only track that stands out in any way is “Riot Squad” and even then I can't tell you why. I think the riff is a bit stronger than the rest of the album, just a bit more direct and stripped down than the frenetic fingering the band is usually known for. "To Dust You Will Decay" has a great chorus and "Under Violent Sledge" is good too but then again I'm not sure why as it sounds exactly like every other song and yet it doesn't have any of the monsters I mentioned . fromthe antichrist. Impossibly complex for their style, Destruction's manic, technical riffs have pretty much all been out since the turn of the century, but there's nothing you haven't heard 67 times since then. It's frustrating because the members are still talented and technically proficient, but their songwriting has slipped less into the grind and more into something Mariana Trench-esque.
Honestly, that's the same career I envision for goatwhore. Songwriting is so one-dimensional these days that when it comes time to release a new album, there's no reason to get upset about it.spiritual genocide, like its predecessors (exceptTO RETURN., I should note that the album was notable at least for the successful addition of groovier elements (which they promptly dropped on the next album to simply do what they've been doing for a decade), almost as creative as pasta art and random assemble. There's no beat on the album because it contains an idea so spread out over ten tracks that you can hardly tell it's on its breadth. Let's say a jar of crushed peanut butter symbolizes all the ideas the band has had throughout their career. For the last five albums they've taken a chunky walnut and tried to spread this and that on toast themselves. The songs are all interchangeable and ultimately useless in the grand scheme of things. The energetic production is identical to that of the last handful of albums and the songs are exactly the same technical riffing vehicles as always, but it's less convincing than ever because nothing sticks. If you throw your cream cheese bagel at the wall and see it stick, you can't keep throwing it because eventually you'll run out of cream cheese and it will fall helplessly off the wall.
What I'm saying is that Destruction needs more cream cheese, which makes the next album even less important to me. If you're a die-hard fan who loved the last five albums as much as their early material, then this album is for you. If you're like me and get bored of a dead horse being beaten by another dead horse, feel free to skip this one, you won't miss a thing.
Also, "Legacy of the Past" is pretty bad. They literally tried to rewrite "Thrash til Death" using the exact same trick of using classic album titles as lyrics. Go home destruction, you're drunk.
Originally written for http://lairofthebastard.blogspot.com/
Moderate Genocide - 65%
TheLegacyReseñas, 27. November 2012
"The Mad Butcher Is Back" Well, considering dressing up, yes. That being said, the butcher hasn't been out in two years... So I wouldn't say it was a great opportunity. Schmier and Destruction are on hiatus from recording if you ask me. They haven't released anything memorable in a while, and when I heard the band were about to release Spiritual Genocide I wasn't overly thrilled. And since the album can't even be compared to its predecessor "Day of Reckoning", not much comes after that. It seems like the album itself is a cliche, and the band sat down and said, "Okay, let's make a crappy album. Thrash, thrash, thrash.” Repeat, repeat, repeat. Maybe they should have waited until late 2013 or even 2014 to release this album as it has some really good riffs from time to time. So it's really a shame they just repeat a few things and make most of the songs repeatable and what about the lyrics... Well:"What is the most precious thing in your life?"
In general, I really don't know what to recommend from the album. If you have the limited edition which is the Saxon cover that would be a great place to start as you can't go wrong with any Saxon and the cover is very good. You can also listen to 'Cyanide', 'Spiritual Genocide' and 'Legacy of the Past' and while these tracks are nothing special, it's the best I have to offer. To be honest I think they should have released Princess of the Night as a single and written better material for the album because that's not enough. As announced, Sodom's Tom Angelripper and Tankard's Gerre feature on the track "Legacy of the Past", which is a good track in itself. But Tom and Gerre aren't as present as I would have liked, which is a shame.
Gyula Havancsák of black metal band Bornholm is the man behind the cover artwork for Spiritual Genocide and has painted the band since Inventor of Evil 2005. Gyula is also the man behind the artwork for artists like Annihilator, Grave Digger and Tankard. Schmier also recruited him for the cover of the Headhunter album Parasite of Society. And to be honest, this album cover isn't bad at all.
This album is probably only for die-hard Destruction fans, as a big Thrash fan I think there have been much better albums released this year so far. Together with Kreator they form two of the three Teutonic thrash bands that disappointed in 2012 with a bad release. I hope Sodom's next album doesn't leave me feeling like I wasted my time. When purchasing this album, make sure to get the version with the Saxon cover as it definitely gives the album a better touch. But with Destruction having released even better albums the year before, there's really no reason to pay much attention to this album unless, like I said, you're a Destruction fan and in the mood for an overdose of screaming.
A butcher in the bake sale - 80%
autothrall, 26. November 2012
It's hard to believe that it's been over a decade since Destruction, a band I wasn't expecting after the early '90s, fully won me over with The Antichrist and re-established themselves as one of the leading forces in European thrash. Not only that, but the band has been so prolific since then, with five more studio excursions underway, that this wasn't just a "phase" to serve as an antidote to constitutive midlife crises. The caveat is that the 2001 record (the second at the meeting) raised the bar so high that all of its supporters have proven too vertically challenged to reach. Sure, they were all moderately entertaining, with little production fuss, but the elephant in the room has yet to be knocked for its ivory, and virtually every release since (with the exception of Thrash Anthems) has felt like a belch by The Antichrist with inferior composition: better than most retro crap, but hardly exemplary.
Enter Spiritual Genocide and while I still can't shake the feeling that we've walked this path before on many journeys, I feel this album better reconnects the listener with the intricate riffing and unique nuances of Schmier connects and Mike introduced us in the 80's. There are subtleties here, particularly over the bridge and main sequences on several tracks, that feel like an extra dimension of effort went into the songwriting. Also, many of the standard verse riffs are very well executed here, with the exception of a few inferior style advances ("forsaken"), which can be forgiven given the consistency of the rest. Mike makes sure his playing varies throughout the setlist so that, unlike some of his 21st-century predecessors, the material has less of a tendency to "pull itself together". On "City of Doom" you get the fun, clinical speed metal lick reminiscent of Megadeth in its heyday, the meaty, down-to-earth "Riot Squad" where Mike anchors von Vaaven's intense double-bass barrage, the "Carnivore". becomes. “more accessible. , which still churns out a string of surgical thrash riffs, or "To Dust You Will Decay" with its dizzying, airy chord progressions. There's just a better sense of rhythm than some other recent albums like Metal Discharge or Inventor of Evil.
Of course, it's still Destruction through and through, and one constantly gets the odd impression that the band has powerfully redefined the structure and inspiration behind classics like "Mad Butcher" and "Curse the Gods" and given them a new look. Schmier's vocals are as squished and slippery as ever, with a series of sustained grimaces and growls to put them in a contemporary context, and plenty of background shouting that makes you feel like you're surrounded by bullet-belted berserkers having fun . With your body I didn't find much of the bass work to stand out, but the tone is fat enough and Schmier's playing definitely suits the very percussive chassis of Mike's riffing. Vaaven is quite possibly the strongest drummer the band has ever had in their career and Spiritual Genocide is no exception to his understated reign, which suits perfectly with all the summer festivals and major tours he joins. This is a dense, masterful mix of modern day destruction not too dissimilar to Day of Reckoning, no problem here as it's not like I was expecting the mayhem buzz of Sentence of Death 2.0.
I found the lyrics to "Legacy of the Past" a bit cheesy, just a collection of popular thrash/heavy album tracks the Germans "approved" mixed up in verses, just like they did with the bridge on "Thrash 'Til Death " have made. . ", but taken to extremes. A verbal crossword of metal masterpieces. Otherwise, it's a very cool socio-political stance that takes on government, media corruption, and other issues that are true today. I found the relatively useless "Exordium" intro, an instrumental with some brighter, cleaner guitars and a drum cadence that "Cyanide" doesn't set up effectively and meaningfully. On the other hand, the bonus tracks are quite interesting. There is a second version of "Carnivore" with guest Tom Angelripper (Sodom) and Gerre (Krug ), plus Teutonic nobles, but I have to say that the keys of the three voices can flow together too well to be really distinguishable, and unfortunately I preferred the version with just smears, on the other hand Saxon's version of "Princess of the Night" is perfect, an even more furious evolution driven by all Germans through guitar muscles and Cr Schmier's age. All in all, Spi ritual Genocide is a kick in the chin that surpasses Day of Reckoning and every other full-length album (featuring new material) by the band since The Antichrist. Barring a few minor glitches, the trio teams up with compatriots Kreator, Holy Moses, and Tankard to keep things real for the Mayan apocalypse.