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Review: MDMA – Chemical Obliteration

Released on the 10th of April, MDMA’s Chemical Obliteration marks an exciting new year for Slamming Brutal Death Label Reality Fade Records.

To begin, every track on this album is an example as to just how instrumentally evolved Slam is becoming as a sub-genre. The fast and technical (as well as flawless) pace of these songs is something I did not think I would hear again since the Preemptive Space Warfare album by Mastication of Brutality Uncontrolled in 2015. Simply put, right from the opening track, it comes out blasting, pig-squealing, and does not concede. “MethylenedioxymethampheMURDER” was the first track on the Promo that was released in January, it is only fitting that it carry the flag on the album.

Continuing, “Distilled in Hydrochloric Hatred” has a pace that is best compared to the act of trying to start a stubborn lawn mower; it has that distinct start and sudden slow down of a propeller – the coordination required between the drums and strings to pull this off is nothing less than remarkable. In contrast to the album’s pace so far, this track does have a passage that slows down, no doubt for some chromatic slams to take place. If that’s not enough, the vocals themselves introduce us to a rather new or less used style, one that sounds like a horse snort. Well why not, I mean Slam vocals are often likened to pigs, crickets, frogs… might as well see what other animals fit.

As far as balancing out the flows and paces goes, “Thermodynamic Concentration” – the other song on the promo – is definitely one of the more diverse sounding songs riff-wise. Personally though, I’m liking “Boiling Point Dismatuse” a lot because it is very chug-happy for most of the song while still easily maintaining many fine passages of pig-squealing brutality.

My favourite track however is “Crystallized Through Divaricated Disembowlment”, which is also the longest track on the album. Of course long durations leave lots of room for transitions in song structures, but there is something about those long trigger chunks that feels so satisfying; maybe it’s the opportunity to do a really long windmill when banging your head at a show, or perhaps it’s an outlet to blow of some steam – either way, it’s brilliant. Enough said.

Now, while there is not really much more I can add that hasn’t already been said, I can assure you that the blasting brutality continues for the rest of the album and concludes on a Heinous Killings cover. Truly, from the first song till the last, it has been a fantastic listen. 8.5/10.

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