Despite their name, GOREFEST are not the grind, and well, gore type band the moniker may convey. On “La Muerte” they play a far slower, kick ass “Death ‘n’ Roll” style in the vein of recent GRAVE. For me that is a good trait, a very good one. After a six year absence, GOREFEST joined together for the Dynamo Fest in 2004 and receiving heaps of praise, the band reunited and their first effort since is the fantastic album “La Muerte”. “For The Masses” just simply proves Death Metal is GOREFEST’s forte and they are as good as any playing, by cranking out a vicious pummeling to make sure there’s no query regarding where they’re coming from. Out with Power Metal, I can jam through anything, but the weaving speed and down, dirty sludge DM on this album is what I really fucking dig most when it is executed properly. It is executed expertly on “La Muerte”.
The third cut, “You Could Make Me Kill” is such an epic track it is worth seeking out for anyone in my opinion. An absolute crusher, it also contains as fine a solo as I’ve come across in a Death Metal song in a long time. It’s not a searing solo as much as an old fashioned wailing break that could be on an IRON MAIDEN album yet is so well blended into this heavier structure that it enhances the song significantly. Much like NPALM DEATH’s Barney Greenway, Jan-Chris de Koeijer has a full, epic growl that demands attention and is still clear enough to make out most of the lyrics.
While they have been compared quite a bit lately to ENTOMBED, I find GOREFEST here to be far more potent and surging than the Swedish masters have been in many years. GOREFEST veered in their later albums before “La Muerte” into a more quasi rock style, almost crossing almost at times toward a Prog style of DM if you can say such a thing. This release though sticks to the tried and true face crushing Death that makes the genre my favorite, and yet they mix it up with enough solo and tempo changes not only to be interesting but to be damn well enthralling. Songs like “The Call” and “Of Death And Chaos” are classic examples of how a band can incorporate that seeming groove with devastating might. The final and title track, an instrumental, is not so much an epic as just a lament of crunchy chords that you can’t help banging the old noggin’ to. Fantastic song, great album. (Online May 10, 2006)