...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI..


..::OPIS::..

Maruta powraca z drugim albumem, przenosząc grindcore na wyższy poziom. 'Forward into Regression' zawiera 16 utworów głęboko zakorzenionej mizantropii, uzbrojonych po zęby w nadmiar chirurgicznie precyzyjnych riffów, nieustępliwą prędkość i gwałtowny dysonans. Równie emocjonalny, co szorstki, to pozycja obowiązkowa dla KAŻDEGO miłośnika muzyki ekstremalnej.



The saying goes
"the good ones always leave too soon".

When it comes to the world of music usually the reverse is applicable. Most times bands hang on way too long after their supposed peak and tend to try doing everything they can to sound modern or artistic and thereby leavi9ng whatever made them special in the wake. For either better or worse Maruta has managed to fit the quote provided earlier to a T. As they had announced last year after releasing 2 relentless full lengths and a mere demo.

Well to put it simply the band has managed to evolve. Their first LP In Narcosis played their death grind cards close to the chest. The band showed signs of being well above their peers but only a few rare glimpses really stood head and shoulders above the rest. The record we are covering here puts nearly all of their death grind peers into another lane and speeds off leaving anyone close well in the dust. While most bands of the style are willing to play fast and have the most brutal vocals and or topics Maruta doesn't solely insist on playing fast but rather, playing smart.

By the time you're half way through the record you as the listener have invested just over 16 minutes, which by grind standards is almost enough to call a full length in itself. Throughout this record the band build strong structures that don't insist of solely grinding your head in. The band remains insistently brutal without ever getting bogged into the speed game. There are topshelf straight out grinders of course such as "Plague Domain' and "Drowned In Black Matter" these songs last less than a minute and almost act as palate cleansers for the more detailed tracks that follow.

Overall Maruta has managed to go out on a very high note. The band, while gone, has most certainly left their stamp on the genre. As a result of this, I would find it hard to find any reason not to recommend this album to anyone searching for something brutal and smart.

Jon E.


Miami, Florida houses these Grindcore labelled practitioners, and it’s straight into business with their ‘March Forward’ intro. Immediately you are hit with the usual power and energy associated with this music. Managing to incorporate some tech-death influences along the way with disjointed, out of place chord structures thrown in for good measure. Maruta happily scream and anger themselves through the short burst of musical expressions that remain. I must admit, the first track did nothing much in the way of gaining love for this band; ‘Strain’ marginally improves things and you will find more of the usual pinch harmonics associated in modern extreme music. This is the problem; I don’t find that much to get excited about, they are hardly touching on the classic grind sound of old, I would go as far as to say that the modern extreme technical death fan will find more favour with this release, there is just too much technical groove for a grind release.

The “longer” tracks tend to get things progressing on this album, but I am still not convinced, although, ‘Swine Swallower’ has better moments, there are essentially a lot of everyone’s extreme musical influences congealing into one draw out musical car crash. Therein lies my issue, there is something out of the ordinary with this album, it features ripping guitar shreds, but I feel it is let down with the modern tech-death and screaming vocal approach. ‘Solace through Self Annihilation’ restores the grind and improves one’s receptors, the vocals are a little bit more subtle, still the dynamic chaos remains as with much of the guitar work so you won’t get away from that little bug-bear for long! Maruta have flashes of madness on this second release, but I conclude that maybe it is a little too far out of the box for this writer and not as cohesive as it could have been.

twansibon


This embodies everything that is wrong with the "grindcore" scene today. The term grindcore must be used loosely here because this is the multitude of noisy bits strewn together without reason that Relapse Records has been trying to force down on everybody since the 2000s that span a multitude of genres but don't come together as one to say anything worthwhile. Maruta claims to be "too grind for the death metal kids, and too death metal for the grind kids", but that couldn't be further from the truth. This whole ordeal sounds like Napalm Death's mid 90s experimental garbage raped deliverance style by metalcore styled fake aggression.

Typical of the "genre", the lyrics are of the P.C. slacktivist variety. They aren't "down" with metal's "inability to deal with reality" so mask a bunch mundane topics about "conformity" and "society" in crappy pseudo poetry. This is a complaint that could be levied at any one of these 2000s faux-grind bands, though, but enough is enough. All the lyrics on this album are interchangeable with Nasum, Rotten Sound, Gadget or any other Y2K grind album: "clever" wordplay that tries to turn mundane topics into a complex "your life depends on this" thing. They want to fit in with being the outlaws of metal by adopting a hardcore/punk image to cater to the Aus Rotten fan demographic, so they write these stupid "social concerns" lyrics yet adopt a "nu" hip-hop derived fashion sense (fitted hats aren't metal) which suggests they are more concerned with how they're perceived by society than changing it, and this filters down into the afterthought that is their music.

If someone told me this album was the byproduct of a focus group effort by Relapse Records, I would believe them. You get the "weird" Sounds of the Animal Kingdom era Brutal Truth wonky guitar parts and strange chords, but then you get the chugga chugga nonsense of the modern 7 string metalcore garbage. They make attempts at "legitimacy" by incorporating d-beat parts or obviously hardcore/punk derived parts and then make them "strange" by randomly dropping divebombs, harmonics or any other ornamentation they can to let you know how they're "different". All the song structures are completely illogical, going from part to part and saying nothing in the process, sounding like a project put together from stringing together their favorite parts from jam tapes into what sound like songs, but are really just a collection of incongruous parts. This is what happens when someone has nothing to offer musically, so dresses up generic mediocre Y2K "grind" in unorthodox sounds like divebombs for the sake of being "different" or "unique". The vocals alternate between grating screams and a parody of Inhale/Exhale era Nasum growls. It really boils down to being fake "grind", sounding more and more like a Converge album played at double speed with unnecessary ornamentation and lots of blast beats than anything that's death or grind derived, using annoying math rock noodling in the middle of stock standard riff forms played under blasting and annoying metalcore styled grooves at every other part.

It's no surprise bands like this always pop up. As scenes get codified, there is going to be the easy formula that average people without creativity can use as a template to make something for the sake of "passing the time". It's no surprise these guys chose the "keeping it real" hardcore/punk ethic over any metal one, since this is the worst kind of music made for social acceptance (scene points): underground music styles thrown around without any other purpose than to be "loud" and "in your face", but having a "deep" message in there for giving the impression that there is a purpose to all this. Really, like ska, this is unnecessary "social" music dressed up as something "loud" and wrapped up in a package to suggest they have something important to say for the people who are "into those socially relevant lyrics man", but as the hip-hop derived wigger image and product nature of this music suggests, it's nothing more than crappy noise by drunk people with nothing better to do. This will be forgotten in the sea of swede-grind ripoffs and Dis-band permutations that have arose in the 2000s who did nothing but play a bunch of meaningless drivel that thinks it's doing something new by adding mathrock derived ornaments to From Enslavement to Obliteration riffs thrown in random metalcore songs with blast beats. Annoying. Avoid this band.

bitterman



..::TRACK-LIST::..

1. March Forward (Into Regression) 01:48
2. Strain 02:03
3. Plague Domain 00:57
4. Stagnation Routine 01:45
5. Devoid of Allegiance 01:13
6. Drown in Black Matter 00:39
7. Body Weapon 00:49
8. Swine Swallower 02:27
9. Conform to Deform 02:33
10. Etched in Granite 01:50
11. Salient 02:04
12. Solace Through Self Annihilation 01:37
13. Hand of the Overseer 02:13
14. Failure King 03:15
15. Gaiares 00:49
16. Blood of the Luddite 03:03



..::OBSADA::..

Vocals - Mitchell Luna
Bass - Mauro Cordoba
Drums - Daniel Morris
Guitar - Eduardo Borja




https://www.youtube.com/watch?v=FAOV8xd6MEs



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