My experiences with Brutality prior to Sea of Ignorance‘s release lead me to believe that all of their works take a disproportionate acclimatization in order to properly comprehend, only surpassed in my experience by the wall of voodoo that is Incantation’s debut. This album has little to do with Incantation’s style, like most of their others, but it has only reinforced my hypothesis. Brutality’s take on “melodic” death metal consistently contains enough harmonic hooks in the riffs to draw a listener in, but odds are you’ll only find their music truly rewarding if you give it some time to sink in. That’s not exactly suited to the fast paced world of online music criticism (advertising thinly veiled as criticism), but odds are you’ll get more out of Brutality’s latest than your average death metal album even if you don’t give it a proper chance.
In general, Sea of Ignorance varies only subtly from its predecessors, and most of these changes play out on the surface. Brutality settled on their current approach early in their career, occupying the liminal space between their often sparser Florida contemporaries and the emphasis on structural and harmonic complexity of a band like At the Gates. The comparison to the latter has come up on occasion when DMU covers this band’s exploits, but Brutality synthesizes enough disparate influences that pulling any one out is difficult, although in my more comparative moments I might bring up Autopsy, since the band plays around with speed and atmosphere enough to significant enhance their formula. Sea of Ignorance follows from previous works in a fairly predictable way – more emphasis upon melody and simpler, more streamlined song structures than the past, but when they aren’t flat out covering Bathory (“Shores in Flames”), the lineage is obvious.
My opinion on this album is ultimately very similar to how I felt about Skull Grinder, although like most of the comparisons I’ve made in this review it’s a comparison of convenience as opposed to significant musical similarity. Sea of Ignorance is a stylistically appropriate if not particularly ambitious continuation of Brutality’s previous work; while it’s not particularly essential if you own any of those albums, it’s still a valuable purchase for those who want to study the strong points of this sort of death metal, and a good enough release to be worth financially supporting.
Tampa melodic death metal band Brutality plans to release its full-length album, Sea of Ignorance, the followup to its 2013 EP Ruins of Humans. Pre-order begins on December 1, 2015 and the official release date is set for January 22, 2016. Copies may be ordered from the band website.
The relatively obscure Floridan death metal band Brutality is releasing a new studio album (Sea of Ignorance) on January 22nd, 2016, following up on 2013’s Ruins of HumansEP, and several albums in the 1990s. Back then, they mixed influences from various contemporary acts into their own unique style; generally more melodic and phrasal than not and sometimes even reminiscent of Scandinavian acts like At the Gates and Sentenced. Since Ruins of Humans built off that and the band apparently retains some of its lineup from that time (according to their Facebook), it’s likely that Sea of Ignorance will continue that style; it would certainly be a worthy addition to your collection if that turns out to be the case.
Classic Tampa, Florida death metal band Brutality released a new two-song EP entitled Ruins of Humans which continues the style in which a melodic Morbid Angel meets Monstrosity that defined their debut album Screams of Anguish.
The vocals are still the crushing yet discernible Glen Benton meets Karl Willetts style as always, belting out apocalyptic views of human error. They didn’t recreate the wheel, and this won’t start a revolution, but it is still high quality material very much in the vein of their early Nuclear Blast releases, and is a step up from their forgettable swan song In Mourning and the confused 2003 demo.
There is a lot of potential in this as they have still retained their characteristic long flowing melodies that are akin to early At the Gates and blistering blast beat passages, and isn’t misdirected like the recent Convulse and Purtenance reunions. Hopefully a new album from these veterans as well as the upcoming return to form Demigod material will deliver the goods.
Kings and Demons: Francisco Goya [Scroll over each picture for information]
In this series I will be examining art and artists whose works have been used in metal band artwork or whose themes have been source for inspiration for metal musicians. The first artist is Francisco Goya of Spain, whose later works have been found on album covers for Anaal Nathrakh, Belsebub, Amon, Mortem, Torgeist and others.
I feel strongly that to truly appreciate art – visual or otherwise – that it is important to understand its context. Goya’s life and and the time period in which he lived made him one of the world’s most influential and important artists. It is said that he was the primary artist that ushered in the Romanticism era and it was his attention to detail, even in the most graphic of subject matter, that shocked his contemporaries.
Francisco Goya was born in the late 1700s in Spain, during a very tumultuous period of time artistically and politically. His talent for art was recognized at a young age and he traveled to Rome to learn his craft from the masters there. Upon returning to his hometown in Spain as a young man, he created quite a reputation for himself by drinking, whoring, and brawling. His reputation preceded him when he fled to Madrid after killing a man in a bar fight and being sought by the Inquisition for his crime.
Arriving in Madrid, Goya was greeted by a city full of newly-minted aristocrats being placated by lazy “masters” selling them poorly painted Baroque style cherubs and nature scenes to decorate their palaces. Goya’s more realistic and new Romanticist style was a breath of fresh air to the stagnant art scene of the time and he quickly earned himself a top position as the official painter for the Spanish Royal Family.
In 1792 Goya was afflicted with an unknown illness that left him completely deaf. There has been wide speculation that it was lead poisoning from his paints that caused his illness, but there has been no evidence to support this theory and it is genuinely not considered to be valid by historians. Following the recovery from his illness, Goya returned to work for the Spanish Royal Court, becoming named the director of the Royal Academy in 1795.
In the late 1790s in Spain and elsewhere in western Europe, political dissent and social unrest began to build. The French Revolution had reached its peak in 1789, and there the people revolted against the established monarchies and deposed of those in power. This dissent spread to Spain as well, and Goya, despite having been in the employ of the Monarchy, was well in tune with the plights of the common people.
In 1799 he released a series of 80 etchings known collectively as “Los Caprichos” (The Caprices), which is one of the first examples of Goya’s work turning darker. They were designed as social commentary against the rampant corruption, greed, and inequality he saw to draw attention to the struggles of the average Spaniard. These were published and then almost immediately withdrawn due to political pressure. The original printing plates and unsold prints were offered to the King to avoid the wrath of the Inquisition.
Goya’s political dissent began to creep into his “professional” works, as well. In 1800, he painted an official portrait of the Spanish royal family of King Charles IV.
It was well-known, but not publicly discussed, that the Queen was the true head of the household, and to nod to this, she is positioned in the center and larger than the rest of the family. Goya himself is in this portrait, off to the left in the shadows behind the canvas. The queen and her mother (pictured fourth from the left) are depicted as quite ugly, and the whole family has been described as looking like common people who just won the lottery: bewildered and uncomfortable.
In 1808, Napoleon Bonaparte invaded Spain and installed his brother, Joseph, as ruler. Goya, surprisingly, was not cast out with the rest of the royal family and their staff, and continued to paint under Joseph Bonaparte during his seven year rule, until Spanish nobility, under King Ferdinand VII, regained power. King Ferdinand famously quipped to Goya, “you deserve to be garroted, but you are a great artist so we forgive you” and let him keep his position as court painter. Goya was tortured by what he had seen during the fighting and the conditions that the Spanish people were subjected to during the Napoleonic invasion and subsequent retaking of Spain by King Ferdinand during the Peninsular War. Similar to his Los Caprichos series, he released another series of sketches called Los Desastres de la Guerra (The Disasters of War) to depict these horrors with his characteristic sarcasm and cryptic descriptions. Others in this series depicted his dissatisfaction with Ferdinand’s rule, despite the great personal risk in doing so.
With the political climate only getting worse and his health in decline, Goya went into self-imposed exile in Bordeaux, France, in 1824 at the age of 72. He took with him only one servant and became a near recluse in the house that was known as Quinta del Sordo, or the Deaf Man’s Villa. Here he would paint his most famous paintings on the walls of his own house. Without titles and likely never intended for anyone to see, the works that are now known as The Black Paintings (for their technique as well as their subject matter) were never even titled by Goya; their names have all been given by historians. Exploring the subjects of the wars and the inquisitions, many of the Black Paintings had anti-clerical themes and were inspired by the fears brought out during the Inquisition.
One of the most famous of the Black Paintings is The Witches Sabbath, which depicts a goat-headed man wearing priest robes being feared and adored by a group of grotesque witches. At center is a woman wearing what appears to be a white nun’s habit. Mouths in particular are quite prominent in Goya’s works during this time; gaping, drooling, oversized and ugly, they are the center of expression on many of the faces in his scenes. To the right in this painting we see a woman seated in a chair, wearing black, seemingly uninterested and defiant. This painting represents what Goya felt was the cult of superstition whipped up during the Inquisition, the dangerous descent into medieval thinking and the suppression of scientific thought. The “he-goat” represents evil and the fawning witches represent the clerics and nuns in a frenzy over it. The lone dissenting woman represents the last bastion of reason, helplessly overlooking the fray.
Saturn Devouring One Of His Sons is a play on the Greek myth of the titan Saturn (Kronos) who, upon hearing a prophesy that he would be destroyed by one of his children, killed and devoured them as soon as they were born. Here, the eternal Titan represents royalty, and he – fearing his “children” (the common people) will ultimately turn on him, destroys them at their most vulnerable. Again in this piece we see Goya’s use of grotesque facial expressions in the oversized, gaping mouth rending the headless child to pieces.
Goya remained in Bordeaux until his death in 1828. His final works remained in his house for 50 years, until they were carefully removed and transferred to canvas. Works of his are still being discovered to this day, and can be viewed in museums and private collections around the world.
Florida death metal legends BRUTALITY returns with a beautiful collection of all their demos, unreleased material and bonus DVD! One of the pioneers of Tampa death metal scene, Brutality signed to Nuclear Blast and over the course of its career released three full length of pure and uncontaminated death metal that gained them worldwide fame.
Area Death Productions (ADP) has now released a collection box of 3 CDs including the monster-rare ABOMINATION demo (the first incarnation of the band, and one of those demos always mentioned by everybody but never heard by anyone), some DARKNESS demo recordings (the name under which the band called itself shortly, for the first time unearthed and delivered to the public), all of the official demos from BRUTALITY, their 2003 unreleased demo, and some rare outtakes, rehearsals and unreleased songs. All enriched by a DVD featuring footage from 1991 to 1996, musically the apex of the band’s career, and A2 size poster.
The present album is an example of undergorund death metal that, while humble and rather representative of the genre, does an excellent job of crafting good, concise music that delivers a strong experience effectively. Mental Turmoil shows us a band that has not liberated itself and is thus at the mercy of stronger influences, such as the more pensive side of U.S. death metal meeting the aggressive side of the more melodic European flavors —and one can hear echoes of an early Obituary somewhere in here, as well as other voices. Thrombus concots its own little mixture of influences, even if there is nothing quite original in it. (more…)
British historian John Keegan, following in the footsteps of German historian Hans Delbrueck, wrote his best book, “The Face of Battle,” as an investigation into the oft ignored tactile experience of battle. Most historians will look at battles in terms of the grand movements of armies, strategic and political outcomes, or even the minuscule tactical maneuvers of squads but rarely do they look at the reality on which their words are based. Keegan’s book smashed many closely held myths about battle, such as the galloping cavalry charge smashing through an infantry line, and unveiled the blood, grime, confusion, chaos, triumph, terror, and brutality of battle. Trenchant’s debut EP is the fitting musical equivalent of John Keegan’s book.
Very little introduction is needed as Dismember ruled upon the burgeoning Swedish death through this album that took the punkier style of ancestor Carnage and injected a greater does of the NWOBHM to make something much greater than the meager sum of its parts: