Deceased
Fearless Undead Machines
[Relapse]
This is by far Deceased's most brilliant work, even usurping their previous
record, The Blueprints for Madness. Fearless Undead Machines
is a concept album, a tale of the dead returning to life and destroying the
living and is specifically inspired by such classic films as the Living Dead
trilogy, Fulci's ZOMBIE, CITY OF THE LIVING DEAD, LET
SLEEPING CORPSES LIE and DELLAMORTE DELLAMORE.
The tale begins with an excerpt from NIGHT OF THE LIVING DEAD, explaining that the dead have risen from their graves, followed by "Contamination", a short piece in which we see the story, through a living human's eyes, similar to a monologue in a play. "Fearless Undead Machines" shows the "meat 'n' potatoes" side of the music, with tasty heavy thrashing death riffs that go through myriad smooth time transitions, from fast thrashy death to a slower grooving pummeling. In some respects, Deceased is kind of like Bolt Thrower, in that the band has two guitarists that can both be thought of as lead guitarists. "From the Ground They Came" could be seen as the music used in a scene showing the dead leaving their graves. 'Death be not proud.' During "Night of the Deceased", guitarists Mark Adams and Mike Smith sometimes play the same riffs so exactly that it becomes hypnotic. "Graphic Repulsion" would be one of the gorier scenes in a horror film, dismembering and mutilating close-up, seen through the eyes of a man who just can't hack the insanity of it all. Les Snyder's bass can be heard more clearly in this track as well, showing that bass definitely is important to a good record.
"Mysterious Research" harks back to the heyday of those old good thrash bands and the NWOBHM scene, mixing twisting melodies with brutal head-banging riffs. "Beyond Science" displays the band's dedication to their early metal roots of Luck of the Corpse and The Thirteen Frightened Souls, while fusing newer influences, such as the keyboard, into their sound. "Unhuman Drama" shows the story unfolding from the view of a victim spiraling through insanity and into undeath. "The Psychic" is one of the most interesting songs and contains some of the most memorable riffs on the entire album, which seems to show a slight influence from old-school gods, Death. The lyrics explain that the dead have an obscurely-thought up reason for being on Earth. The concept closes with "Destiny", clocking in just under ten minutes. This final track is the thoughts of zombie who realizes that he is in hell, told alongside a pleasing dose of solid old-school death metal. By the time the final despondent riffs fade out, you will be chilled to the bone and itching to listen to the album again.
King Fowley and co. have really turned out a hell of on album and Jim Barnes and Mike Bossier captured a superb production. King's layout and choice of graphics awesomely complement the concept of the story; as soon as you look at the cover art, you will be helplessly drawn into the story. Fuckin' HAILS to the brutal motherfuckers in Deceased for staying true to themselves and the underground. We wait in anticipation for your next masterpiece.
© 1999 goden
The tale begins with an excerpt from NIGHT OF THE LIVING DEAD, explaining that the dead have risen from their graves, followed by "Contamination", a short piece in which we see the story, through a living human's eyes, similar to a monologue in a play. "Fearless Undead Machines" shows the "meat 'n' potatoes" side of the music, with tasty heavy thrashing death riffs that go through myriad smooth time transitions, from fast thrashy death to a slower grooving pummeling. In some respects, Deceased is kind of like Bolt Thrower, in that the band has two guitarists that can both be thought of as lead guitarists. "From the Ground They Came" could be seen as the music used in a scene showing the dead leaving their graves. 'Death be not proud.' During "Night of the Deceased", guitarists Mark Adams and Mike Smith sometimes play the same riffs so exactly that it becomes hypnotic. "Graphic Repulsion" would be one of the gorier scenes in a horror film, dismembering and mutilating close-up, seen through the eyes of a man who just can't hack the insanity of it all. Les Snyder's bass can be heard more clearly in this track as well, showing that bass definitely is important to a good record.
"Mysterious Research" harks back to the heyday of those old good thrash bands and the NWOBHM scene, mixing twisting melodies with brutal head-banging riffs. "Beyond Science" displays the band's dedication to their early metal roots of Luck of the Corpse and The Thirteen Frightened Souls, while fusing newer influences, such as the keyboard, into their sound. "Unhuman Drama" shows the story unfolding from the view of a victim spiraling through insanity and into undeath. "The Psychic" is one of the most interesting songs and contains some of the most memorable riffs on the entire album, which seems to show a slight influence from old-school gods, Death. The lyrics explain that the dead have an obscurely-thought up reason for being on Earth. The concept closes with "Destiny", clocking in just under ten minutes. This final track is the thoughts of zombie who realizes that he is in hell, told alongside a pleasing dose of solid old-school death metal. By the time the final despondent riffs fade out, you will be chilled to the bone and itching to listen to the album again.
King Fowley and co. have really turned out a hell of on album and Jim Barnes and Mike Bossier captured a superb production. King's layout and choice of graphics awesomely complement the concept of the story; as soon as you look at the cover art, you will be helplessly drawn into the story. Fuckin' HAILS to the brutal motherfuckers in Deceased for staying true to themselves and the underground. We wait in anticipation for your next masterpiece.
© 1999 goden