GENOCIDE HAMMER REVIEW
GENOCIDE HAMMER - BIOTERRORISTIC PANSPERMIA
We often view equilibrium of the soul as a zenith to aspire to, where our morals and immorality are balanced upon the scales, where the consciousness and heart beat in tandem. But I do believe that we are not as honest as we choose to believe, not as pious as we hope, and certainly not as gleaming in splendour as our tongues paint our image to be. Rather, there are moments, though hidden beyond the map of our soul, that we wish to engage, to entice, like a stench that we cannot ignore, and even in its rancour, we wish to inhale the carrion and become absorbed by its decayance.
“Bioterroristic Panspermia” by Genocide Hammer becomes the perversion that festers inside the core of man, the sickening fever that wracks the nerves as we try to keep it at bay, even though the mind wishes to let it invoke its vehemence into it. Transmitting in an energy of Black and Death Metal similar to such bands as Goatpenis, Primitive Warfare, and Mystifier, Genocide Hammer fashions these elements into a force that subjugates the soul to its will, flaying the essence that welcomes light, and into the wounds, its putridity infects it.
The vocals become the dominant element upon the EP, where reverb is used in excess, but not to sterilize or create a facade. Rather, the rancour they exhale becomes more potent, more palpable in its resonance. In the purest strain, hate is the emotion that erupts from the vocals, where the production removes the moisture, strips them down to the bare bones, where all that is left is a voice that feels crude and serrated, for its tongue becomes split into barbed wires, each one perforating the atmosphere.
“Necrobiological Murder Kaaba Destabilization” is a track which demonstrates this primitive tongue, for the vocals' texture inhabits a blunt yet static-like reverberation, as though this is the very body that produces this sound, forcing its whole presence through the PA system, its energy direct and militant, as though it herds the masses of flesh and numbers to be consumed in Zyklon B. Conversely, the unsettling nature of the vocals, rabid in its tone, becomes the zenith of its abilities, for it is able to use the production and, from it, create a cadence that feels physical in its delivery, as though every enunciation digs a trench for the instruments and samples to fill its space. In tandem, the motion of its shape feels constricting, as though every delivery warps the mind, encasing and lashing it. This, in turn, fuses with the negative currents of the soul.
While the EP is more vocal-centric, the drumming becomes more subdued, but not in a way which sacrifices the aura of the soundscape. Rather, it can be looked at as the physical reverberation of the vocals. This is the force which creates ground zero. Shifting between a mechanical tone and machine-gun-like resonance, the drumming here reinforces the militant feeling, working in tandem with the vocals, for one can liken it to where the vocals become the commands which are barked, while the drumming is the causality of the commands that are followed, a slew of bullets ripping flesh and bone.
The track “Al-Khalid Mecha-Beast Apocalyptic Bellicosity Worship” demonstrates the belligerent dissonance of the drumming through the barrage of piercing beats, as the production transforms the reverberation into a raw, wire-like energy, as though every beat is fueled through pure rage transmuted into a crude and jagged energy, coupled together in a phalanx. However, despite its rudimentary demeanor, the EP utilizes this ambience as the beats which are exploded in feverish behavior dissolve into the aura, hanging in a crooked manner, twisted as they dissipate with the vocals and guitars.
Manifesting as an audial attack, the guitars become the weapon whose discordance becomes bountiful in its assault, for through their caustic vehemence, they act in unison with the drums, furthermore providing that background drape of noise. But not just mindless noise, this is chaos left unchecked, chaos regurgitated and left to spread in its most natural form. Verily, in the same shape as the drums, the production offers unto the guitars the same resonance, where their playing is more confrontational rather than chasing intricacies or melodies, as well as their texture morphing into a dry and thin, abrasive sound, burrowing beneath the vocals. The strings instead shift their cadence into the embodiment of violence, merging into the harsh dissonance of the drumming, wherein these two energies become the breath of the vocals.
An element which fleshes out the EP as a whole, changing it from an EP that has 6 tracks to a cohesive listening experience, is the samples and noise used in between the tracks as well as amongst the actual instrumentation. For instance, the Oppenheimer speech where he quotes the Bhagavad-Gita, as well as the “Help Unsell the War” campaign advert, are used, but in a foreboding manner which beckons dread into the senses, accompanied by the buzzing of flies as though they surround a decaying carcass. These particular elements, draped in a static-like sound where they are stretched, echoed, and more pronounced, help the EP in creating an immersive atmosphere, dangerous in its existence, yet also so captivating that you wish to press the nostrils to that which decayed and inhale its stench. In addition to this, from start to finish, the tracks begin to bleed into each other where the punctuation of the noise is concerned, filling the gap between the guitars and drums. However, this comes not as a negative, but instead shifts the boundary from merely listening to music to now inheriting its resonance, where within the EP you feel the actual texture and its cannonade of truculence.
Genocide Hammer is the rancorous scent made viscous that we wish to smear upon the body, as if to let the tongue taste its revolting essence, for when our minds step into that rotting space, our arteries begin to burn, as though the white-hot liquid fills them with rage. And it is through rage that we remove the mask that suffocates to reveal the teeth bared that yearn to rip the flesh of those who crossed us, to revel in their pain, to place the knee, crushing their windpipe as if their gaping breath releases arousal within our soul.
8/10
