LIVING CORPSE
Metaphysical Collapse
CoronerTrack listing:
01. Ars Regia
02. Metaphysical Collapse
03. Twin Divine
04. Zero Is the Zenith Of The Sun
05. The Great Silver Bullet
06. Mindflow
07. Conspiracy
08. 6th Race Of Aquarius Age
09. Supplying My Lust
10. Daybreak
On "Metaphysical Collapse", Italy's LIVING CORPSE play what has been dubbed thrashcore and in the process whip up frenzy and tear down walls with a vengeance, the mix/mastering/production of Ettore Rigotti (DISHARMONIA MUNDI, SLOWMOTION APOCALYPSE, STIGMA) ensuring that the riffs burn at high temperatures and the rhythms kick hard. The songwriting is solid most of the way too. But damn, the vocals of Rafael kill momentum, distract from the inferno, and annoy to no end, ultimately rendering "Metaphysical Collapse" a difficult album to endure from start to finish.
Even a mediocre vocalist would have made a big difference. Unfortunately, Rafael doesn't even reach mediocrity. It is not that "Metaphysical Collapse" will make one forget classic releases from the band's obvious influences, such as THE HAUNTED, HEAVEN SHALL BURN, and basically the better crop of acts imitating AT THE GATES, nor is that essential to one's enjoyment of the album. The band brings the viciousness without overindulging in 'core clichés, such as resorting to breakdowns to emphasize heaviness. The occasional so-so melody aside (e.g. "Ars Regia"),LIVING CORPSE comes up with several tuneful arrangements (e.g. "Zero is the Zenith of the Sun", "Twin Divine", and the title track) that complement the balls-out attack.
The problem is that the assessments of songwriting and musicianship noted above are possible only if one ignores Rafael's screaming Muppet vocals. Yes, it's that bad. Perhaps comparing his style to a throat-infected Brian Fair (SHADOWS FALL) if he were running for his life from a wild pack of dogs would be a more flattering description. Or perhaps not. One hates to point the finger at a guy that is undoubtedly giving it all he's got, but when this kind of vocal treatment (inclusive of patterns that are battered and bruised) by and large ruins an otherwise decent release, there is nowhere left to turn. Recognition of the album's sturdy compositional and instrumental aspects would seem to dictate retention of some semblance of respectability in the rating, and even that is probably a case of pushing sympathy ahead of objectivity.