Abominable Putridity - The Anomalies Of Artificial Origin review
| Band: | Abominable Putridity |
| Album: | The Anomalies Of Artificial Origin |
| Style: | Brutal death metal |
| Release date: | February 28, 2012 |
| A review by: | Troy Killjoy |
01. Remnants Of The Tortured
02. A Massacre In The North
03. Letting Them Fall
04. A Burial For The Abandoned
05. Lack Of Oxygen
06. Wormhole Inversion
07. The Anomalies Of Artificial Origin
08. The Last Communion
Assuming the majority of users here were unaware of In the End of Human Existence being released back in 2007, I'm going to tell you right now that this album is hands-down the top slam death album of the year. I'll be mighty surprised if this opinion changes come January 2013.
For those who aren't unfamiliar with Abominable Putridity, all you need to know is that their sophomore release is quite literally stronger in every aspect: groove, technicality, brutality, flow, clarity, and songwriting prowess. Far be it from me to say these guys are the Tool of brutal death metal, but their overall abilities have improved immensely, surpassing their peers with a vulgar display of power.
The Anomalies of Artificial Origin takes off with an eerie intro, paving the way for a conceptually charged mindless assault of every orifice of the human body. Crushing bass lines lend their support to the ultimately over-the-top chugging riffs, giving the album a very immense feel, as if the music itself is a weapon of mass destruction. This is all topped off with some more technical riffs that appear in shorter spurts, injecting a quick dose of creativity into the songs.
Of course, Abominable Putridity aren't Abominable Putridity without the thick crushing slam riffs. This is where they really stand out from the rest of the pack - not so much in that they don't simply rely on slams as opposed to chugging riffs, but that their slams add a serious weight to their music. You can feel each chug build up to a slam breakdown, with every minute passing by increasing your anticipation. In spite of being able to sense the oncoming slams, they're still rather unexpected - a very welcome change in songwriting according to this reviewer. Previously these guys got into a habit of incorporating too many breakdowns, and the only surprise factor was in regards to how lacking each song was in the riff department.
Naturally, the inhuman guttural vocals are what will separate the fans from the haters. Their former vocalist had a much deeper, more beastly growl, whereas Matti Way (of Disgorge and Pathology fame) brings a somewhat higher pitch to the table in addition to his already immense gutturals. His rhythmic style suits the music perfectly, mixed appropriately lower while enhancing the catchy grooves. The drumming is fairly standard for the music style, maintaining the album's overall flow with a steadily faster pace without breaking into any unnecessarily overly technical or hypersonic moments.
If you appreciate slam death and want to listen to the genre's best release of the year, look no further than The Anomalies of Artificial Origin.
Rating breakdown
| Performance: | 8 |
| Songwriting: | 8 |
| Originality: | 5 |
| Production: | 9 |
 | Written on 10.06.2012 by I'm total pro; that's what I'm here for. |
Comments page 2 / 2
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| PocketMetal Posts: 750 |
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| JD Account deleted |
JD
Account deleted Written by [user id=4365] on 10.06.2012 at 04:12 This pic kick-ass. I shared it on my page, it got three likes  Back on topic, I think it's a good album, 7.5\10 from me.
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| sladetroityer Posts: 17 |
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| X-Ray Rod Skandino Staff Posts: 18374  |
I also barely know what's the difference between slam riffs and breakdowns. 
---- Written by BloodTears on 19.08.2011 at 18:29 Written by Milena on 20.06.2012 at 10:49
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| !J.O.O.E.! Account deleted |
!J.O.O.E.!
Account deleted Written by X-Ray Rod on 14.06.2012 at 11:53 I'm even pretty shaky on breakdowns some of the time (outside of the blatant metalcore ones of course).
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| Troy Killjoy perfunctionist Staff Posts: 21306  |
The breakdowns themselves aren't entirely different - for the most part I'd say slam breakdowns are more... "chunky", whereas deathcore breakdowns tend to be sound a little lighter. For instance, bands like Cephalotripsy focus on making their breakdowns envelop the listener, like an all-encompassing sort of slow-paced slamming riff that feels noticeable heavier than their chugging riffs, whereas bands like Suicide Silence employ breakdowns that don't really separate themselves from the rest of the riffs in terms of brutality. I'm not a guitarist so I can't get into the technical terms, but I'm fairly certain something about palm-muting is relevant here...
---- "Wise men talk because they have something to say; fools because they have to say something."
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| Uldreth Posts: 1150 |
Written by Troy Killjoy on 14.06.2012 at 16:09 Well the article Void Eater linked in the other thread said both DC and Slam breakdowns are palm-muted but slams follow a chromatic scale while hardcore breakdowns (the same shit used in hardcore, thrash, metalcore and deathcore) are generally one-note chugging. I am not a guitarist myself though so I need to trust the article on that. The article also says that slams are not real breakdowns but it is unclear to me why. If it is because they use a scale then it is frankly BS as breakdowns are pretty much anything that reduce music to a simpler form, like I said in that thread, as far as I am aware even the acoustic parts used in Opeth songs can be considered breakdowns as they reduce the music into a simpler acoustic meandering as a relief from the harsh parts' harshness. But I think the article said that they can't be considered breakdowns because in most slam bands they aren't "breaking anything down" as most of the songs are comprised of slams. In that case I wonder why do you think that "deathcore bands use riffing between their breakdowns while slam bands use breakdowns between their riffs" when according to the article, SDM is pretty much only slams .
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| Troy Killjoy perfunctionist Staff Posts: 21306 |
Written by Uldreth on 14.06.2012 at 17:02 I would disagree with the article in that regard, being that most of the brutal/slam death I listen to focuses on riffs - even if they're of the straightforward, chugging nature. When I listen to some of the most direct form of slamming like Pathology, even they manage to incorporate breakdowns for support rather than employ them as the foundation. I don't spend a lot of time listening to deathcore to be honest, but the dozen or so bands I've heard seem to write music with the majority of their songs featuring breakdowns.
---- "Wise men talk because they have something to say; fools because they have to say something."
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| psykometal A staff guy... Elite Posts: 6101  |
Written by sladetroityer on 14.06.2012 at 05:13 Written by X-Ray Rod on 14.06.2012 at 11:53 Written by [user id=4365] on 14.06.2012 at 14:58 I actually initiated a topic about this the other day due to my own curiosity and inability to really discern much of a difference between the slams and breakdowns, especially on a technical level. Check it out if you'd like a more comprehensive explanation of the differences between breakdowns and slams; another user even posted a link to Metal Sucks where a writer for that site went into some rather funny detail about the differences between deathcore, slam and brutal death metal... 
---- ~Zep, Database and Forum Moderation~ 
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| psykometal A staff guy... Elite Posts: 6101 |
Written by Troy Killjoy on 14.06.2012 at 17:07 With all the recent discussions about deathcore, slam and bdm I decided to listen to some deathcore in more detail and did notice that they're songs do seem to definitely be geared towards building up to breakdowns instead of bdm and slam using them as support rather than a focal point...
---- ~Zep, Database and Forum Moderation~
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| Uldreth Posts: 1150 |
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| psykometal A staff guy... Elite Posts: 6101 |
Written by Uldreth on 14.06.2012 at 17:32  Edit: I take that back, I think he did mean quantity. Look at his response to Mr. Doctor in the Slams vs Breakdowns thread...
---- ~Zep, Database and Forum Moderation~
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| Tristus Scriptor Rancid Reviewer Posts: 293  |
It is what it is, and if this kind of death metal is called "slam" now...then I (reluctantly) can say that I do dig a bit of slam-death metal; this album being a top choice for me as well.
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| Maxx666 Meshuggahian Posts: 376  |
Written by Troy Killjoy on 10.06.2012 at 04:13 Arguably one of the most hilarious that ever happened to slam.. now besides the cover art i'd have to say this album has the full potential to be this years best and hopefully it will, as there are not many good slam album around these days. nice review btw
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| Alex F Posts: 3519  |
Fantastic album, couldn't agree more with your review. Also, i got a poster of the cover art, because why the fuck not.
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| vezzy Stallmanite Posts: 3493  |
Damn, you ain't kidding. This is such well orchestrated brutality. An aggressive onslaught, yet very listenable and varied as well.
---- Licensed under the GPLv3. Relinquish proprietary software for a greater GNU/America.
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| Opethian Posts: 1757  |
A solid follow up to their debut. Although, its a different approach but for a lot it got the job done. I much prefer their debut. Insanely heavy and they did it without making it sound 1 dimensional and generic
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