ABUSE
Nothing Is Safe
Comatose Records
4.5/5
If you are one of those people that heavily values the kinds of “safe spaces” that are becoming rapidly prevalent in universities throughout the US, then you will almost certainly hate the sophomore album from these brilliant Canadian brutal deathers. With a lyrical basis on rape, murder and misogyny, it is safe to say that this kind of music isn’t for everyone and that’s just fine with me. What’s more is that this band haven’t released an album in more than fifteen years, having first debuted back in ’01 with Like A Virgin. So for those who still have a copy of the previous record (which I would now imagine to be difficult to find item) and furthermore still remember the band, it is safe to say that the edges of their serrated knives and guillotine blades are just as sharp as they ever have been. On this record, the Gorgasm, Dying Fetus, Devourment and classic Cryptopsy influences still remain as prevalent as ever, along with some slightly technical and atmospheric tinges that do not last long and roll right into ferocious grooves. Let’s face it, you aren’t going to buy this album because of the calm atmospheres or the intricate guitar-play. You’re going to buy it because of the head slamming brutal breakdowns and the neck crunching riffs. You’re going to buy it because it is the equivalent of the pain that one might experience if they jumped into a cardboard bailer, closed the gate and had someone turn it on. (No, that isn’t a fantasy of mine, by the way – but you get to thinking rather morbid in all of the monotonous drudgery of a day job.)
Lord Marco actually proves to be one of the strongest elements here, most of the time drowning out Big Pimp’s guitars while The Worst Person Ever vomits out ten tons of bass riffs. Sometimes Big Pimp will actually get a solo or two, which isn’t exactly common for a brutal death album, but it is a nice touch. Considering the record is so short, there isn’t much to chew on, but it is a snack that you can ear-munch several times throughout the day when you need a good pick-me-up. I’ve already listened to the record three times today and don’t seem to be feeling bored by it, so that is definitely a plus. It’s unhigned insanity injected with a few clever touches that make it stand out quite a bit from the standard death metal disc. Folks, these gentlemen can really play – and I mean that in an instrumental standpoint. Take out Offal Consumer’s gut-wrenching “Old McDonald’s farm in the fiery center of the abyss” vocal approaches, and you’ve still got a pummeler here. This record comes off like a jackhammer sometimes, especially when it delivers my favorite cut, “She Never Knew What Hit Her.” Technically, if we take a look deep into Offal Consumer’s vocal approach here, it’s definitely speed-rap. But if Archspire have taught me anything, it’s that quick vocal rhymes go unexpectedly well with technically proficient death metal, especially when the speed of the drums well exceeds the speed limit on most major highways. Honestly, I think “She Never Knew What Hit Her” more or less shows the band doing what they do best, as it offers several different structures in addition to speed and powerful breakdowns. This fucking track is the reason I love this kind of music. But don’t fret, as the rest of the disc is just as menacing and delivers a genre-defining performance every time.
I think the reason why the disc might have been so short this time around is because the guys haven’t made one in well over fifteen years as I stated earlier and this is more or less a testing of the waters. There’s a good chance that they have a load of material waiting to be shoveled like piles of putrid stinking flesh onto the next one and possibly the one after it. So far, these guys can absolutely do no wrong except to offend the people who can’t handle their lyrical content and sickening artwork. But I’d simply have it no other way. Keep chopping up the guts to throw on these slabs boys, and I’ll keep listening. (The Grim Lord)