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Avg: 4.0 (43 ratings)
- Date Released: October 29, 2007
- Genre: Rock/Pop
- Style: Metal
- Label: Feto Records / IODA
Another bleak, beautiful assault from the masters of necro-core relenetlessness.
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We Say...
Saying that the U.K.’s Anaal Nathrakh’s latest album, Hell Is Empty, And All the Devils Are Here is a more polished and refined effort than previous releases is a little like saying that hell isn’t as hot as it used to be. It’s still plenty hot. And Anaal Nathrakh are still laying down a serious hurting via digi-blast beats, nasty grinding guitars and inferno-strength vocal performances. The band has not compromised or diluted their sound in any way whatsoever. If anything, the duo’s mix of industrial noise, black metal fury, and grindcore speed has been sharpened to a finer point. A song like “Castigation and Betrayal” will easily silence anyone who wonders if the band can continue to brutalize listeners with choice necro-core relentlessness and a song like “Virus Bomb” with its speed, occasional clean vocals and inventive guitar-lines, will stupefy fans with its sheer creativity. Anaal Nathrakh have perfected an unholy and decidedly unhealthy din that attacks with pinpoint precision, and they pull it off with more aplomb and energy than most in the extreme metal underground could ever hope to muster.
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They Say...
The fourth full-length from British industrial black/death metal group Anaal Nathrakh is an improvement over the slightly disappointing Eschaton, despite not changing the sound much. With a band so committed to head-down sonic destruction, evolution is incremental at best. Napalm Death's Shane Embury, an ally of the core duo for several years at this point, plays bass on a few tracks, but the primary instrumental contributions are by Mick Kenny, while Dave Hunt performs the vocals, assisted here and there by guests (on this album, Circle of Dead Children's Joe Horvath and Exploder's Dirty Von Donovan). This is a more precise, death metal and grindcore-inspired version of Anaal Nathrakh, moving ever further away from black metal. The high-pitched belt-sander guitar riffs of black metal show up from time to time, but there's a lot of downtuned riffing and thunderous double bass drumming as well, plus the usual electronic noise, aptly chosen samples and howling storms overtaking the mix and turning everything into a ferocious blast of raw hostility. The riffs on songs like "Until the World Stops Turning" and "Virus Bomb," even as they roar past at 1,000 bpm, are almost catchy, in an extreme metal sort of way. One could even imagine singing along with the chorus of the latter track, as it approaches a Dimmu Borgir-like accessibility. Anaal Nathrakh's single-mindedness must always be respected, without failing to acknowledge that some albums are better than others. This is their best effort since The Codex Necro.
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| 01. |  |
Solifugae (Intro) |
1:06 |
|
| 02. | |
Der Hölle Rache Kocht In Meinem Herzen |
3:41 |
|
| 03. | |
Screaming Of The Unborn |
2:48 |
|
| 04. | |
Virus Bomb |
3:37 |
|
| 05. | |
The Final Absolution |
3:57 |
|
| 06. | |
Shatter The Empyrean |
3:07 |
|
| 07. | |
Lama Sabachthani |
3:50 |
|
| 08. | |
Until The World Stops Turning |
2:55 |
|
| 09. | |
Genetic Noose |
3:36 |
|
| 10. | |
Sanction Extremis (Kill Them All) |
3:34 |
|
| 11. | |
Castigation And Betrayal |
4:01 |
|
11 Total Tracks, 36:12 Total Length
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