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


..::OPIS::..

'Towards Rebirth' to jazda na pełnej piździe!
Nie oferuje niczego nowego, poza okropnym bólem ostro skopanej dupy...
Świetna zabawa!!!


When I heard Ripper would release their first studio album in a decade I was ecstatic; Ripper are amongst my favourite thrash/death bands of the new guard and whilst they’ve had a slew of smaller releases in the intermediary years it’s great to finally see a new record on the horizon. Formed in 2007 out of Santiago, Chile, Ripper exemplify a coarse and shredding metal attack that’s left audiences breathless in their wake where an ensemble of Demos, a Split, an EP, culminating in their debut record, 2014’s Raising The Corpse, demonstrated with consistent galore. But their 2016 follow up record, Experiment Of Existence, blew the lid clean off as Ripper put their foot firmly amongst the big leagues. Signed onto Darkness Descent Records, Ripper’s third album, the curiously titled Towards Rebirth, sheds light on a band not merely releasing a new record but viewing it as a true rebirth for the band as a whole where, aside from vocalist Patricio Spalinger, Ripper now sees an entirely revamped lineup for a new era. Lined up for a July 24th release date, Towards Rebirth is likely to be on many people’s radars.

It’s been ten years since their last album? Then someone should have reminded Ripper because given the ferocity they perform with out of the gate, their last record might as well have been five minutes ago. Not only do Ripper play fast but their guitar work feels utterly serrated, where welding their instruments with unblemished hands is course for grevious wounding. As they play you’ll feel riffs move through and over you; their performance isn’t merely halting at your person but shall pierce right through your torso and out again. Just because they’ve thrown you to your back doesn’t mean their onslaught will cease as you feel the rush of adrenaline occurring on all sides. This is the kind of thrash/death metal fans love, the kind where mercy is utterly shunned. It simply doesn’t stop for anything for whilst a solo might demonstrate more intricate playing the secondary guitar is shredding ahead with an unbroken slew of notes, maintaining the band’s momentum. Ripper therefore keep your attention engaged even as they lacerate the world around you.

It could be argued, upon hindsight, that Ripper is a band now comprised of lead instrumentalists as each component actively fights, bites and slashes the others not for spotlight but for the glory of killing you. Take the bass for instance, not only is it wonderfully audible and its basslines jumping with the frantic dreams of an MDMA-fuelled gymnast but it manages to defend its position and sound from guitars that are going balls to the wall at every second. The vocals can let loose cries reminiscent of slaughterhouses, there are double bass pieces akin to Dave Lombardo or Charlie Betante’s most fervent thrashings, and yet the bass stands. Credit must be applied to the mix also for enabling every element of the band to come forth through the chaos and still find its audience.

I’ve heard many a quality album this year thus far but few have replicated the intensity Ripper possess, and the vocals are one factor as to why. As sole reminding original member, Spalinger’s vocals are lightning fast and sharp as knives. It truly is a dangerous record to experience as you behold that stabbing, murderous miasma with eyes bloodshot and honed for death. It’s one of the few records you’ll hear this year where the vocals are fast rabid and rapidfire as any riff thrown your way; it’s that Chilean-accented English, much in the same vein as the Germans, that lends Ripper’s lyrical quality the bladed edge they’ve so championed.

It needs emphasising just how total of a whirlwind this record is. Ripper’s songwriting has always been far from safe or casual but Towards Rebirth has taken that unbridled fury to eleven. There is not a moment in record where you’ll feel outright safe and secure in knowing you’ve processed everything it offers; there are going to things you’ll miss yet that brings a peculiar joy, knowing you have a strong reason for returning. You can forget about holding on tight, you’ll be swallowed into the vortex from the first track onwards and from there the winds only increase in speed, they’re constantly picking up debris, you’re assailed in every way imaginable, bruised and lacerated and bludgeoned and whilst mercy is pleaded for the band have the glee to say you’re not done withstanding it yet.

In conclusion, Ripper’s first studio album in a decade is a triumph. It’s one of the best records this year and certainly the fastest I’ve yet experienced. There isn’t a moment of reprieve in sight and yet, though their songwriting never abates or wanes, it’s heavily structured and that structure is noticeable in riffs and how the band direct themselves. Just because they’re playing breakneck speed doesn’t mean it’s without control; it’s just happens to be exquisitely controlled chaos in Ripper’s case. The band race by with a tempo that’s to be feared and whilst you’ll miss some parts owing to that speed, it becomes a second and third or fourth blessing come back to this sonic inferno. I think Towards Rebirth truly justifies its namesake, heralding a new chapter for the band. If this is the standard fans can expect from Ripper we have some spectacular years ahead of us.

Sam Jones


With its roots in Merciless or Massacra, but growing branches out to death metal with a more developed melodic palette comes the latest album from Chile’s Ripper. A stylistically far reaching effort that’s nevertheless delivered in a tight package of neatly arranged riff pockets. Dense but traditionally anthemic thrash vocals are complicated by darkly moralistic death metal accents, the choppy chromaticism of death/thrash acting as antagonist to the main thread. Verse refrains mirror traditional hardcore punk by shifting pitch without changing tempo or phrasing, thus allowing Ripper to accelerate the intensity whilst keeping their powder dry for developmental material. In this sense, drums offer a relatively minimalist package that proves to be the right fit for this music. Patterns are kept simple, allowing the percussive qualities of the guitars to guide the rhythmic flow. Equally, fills are kept to brief disorientating shuffles to mark the accrual of surplus activity.

The production is chunkier than is typical for this style. The guitar tone more fitting of stripped back death metal than the highspeed runs delivered across this album. But the mix is accommodating enough to allow for the biproduct of surplus inertia this creates. Despite the density and choppy flow, clarity is retained. For the drums, as it is with their performance, so it is with the levels, which are kept relatively low, playing the role of hype man to the guitars as opposed to an independent lever working its influence on the music. Given the sheer freneticism with which ideas breeze by this is the correct choice. Mid-range death vocals with moderate reverb slide neatly into this picture, when not delivering frantic passages rich in lyrical information they adopt a call and response stance with the lead guitars.

With this album, Ripper prove themselves adept at taking an older style and updating it into a modern context. The raw primitivism of early death metal which took the majority of its language from speed metal forms the backbone, but this is intercut by nods to later developments, to the point where ‘Towards Rebirth’ could function as the story of the borders between death and thrash told through a history of riffs. But atop this sits an additional module of refined melodicism, an account told most explicitly through the expressive guitar leads, but also in many of the riffs, and indeed intriguing moments like the brief bass interlude that emerges on ‘The Source Exterminator’. The result is an onion of an album, one that allows the listener to peel back its multiple layers as they see fit, discovering new angles and corners as the music gradually unfurls in multiple deviations, all guided by a singular meta direction working atop the rich yet subtly woven stylistic alchemy.

we hope you die



..::TRACK-LIST::..

1. The Secular Awakening 01:08
2. World of Darkness 04:13
3. Towards Rebirth 04:33
4. Final Hologram 03:55
5. Into the Coldness of Land of Dead 04:57
6. The Source Exterminator 04:29
7. Messages from the Other Side 04:50
8. The Secret Dawn 06:03
9. The End of Universe 04:42
10. Procession to the Eternal Rest 02:49



..::OBSADA::..

Patricio Spalinger - Vocals, Lead and Rhythm Guitars
Javier Buzeta - Drums
Tomas Barriga - Bass
Nicolas Young - Lead and Rhythm Guitars



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


SEED 15:00-22:00.
POLECAM!!!