Cattle Decapitation - The Harvest Floor - текст песни, слова, перевод, видео

Having released in 2006 a lot of surprising listeners with his experimentation “Karma. Bloody. Karma ”and having plenty of diverse cities and weights with concerts (by the way, their typical Gig at that time was a performance in some bar for 10-30), California vegetarians and animal rights thought. The drummer did not want to think, so they found a replacement for him - a certain David McGrow took a place for installation. What is interesting, he is not a vegetarian. There is nothing surprising in this - the reputation of the group as embittered and militant vegan is unjustified. The frontman of the group Travis Ryan has repeatedly said in an interview that in real life he was not going to impose his views to anyone aggressively.

Well, okay. So, the result of long -term thoughts, the compositions of the material and rental of the studio were the next album, which was given the name “The Killing Floor”. This phrase means a certain part of the cattle -beam, in which, with an unlucky belly, manipulations are produced, the result of which its (stomachs) is deadly. However, a cursory look at the cover makes it clear that this time everything is not so simple.

The album is really difficult. The music of the Cattle Decapitation sample of 2009 is not amenable to a simple and understandable classification. On the one hand, the constant blast-bit runs with a worthy technodate with guitar work, which, however, is not rolling into chaotic sawing. From the side of the other, the manifestations of a melancholy lobed melodic, accompanied by non -banal shock, rich impressive shootings and a point game on plates. In general, drums need to be allocated separately - the appearance of McGrow is an unequivocal success of the team: technicalism goes off scale, the parties are built correctly and neatly; When listening more than once and not two, the thought appears that it would be nice to carefully listen to the path of the shock unit separately, so many interesting little things there. Although in the final mix everything is heard very well.

In addition to the elements of Dat and Black mentioned above, the guitarist (Josh Elmore, a vegetarian) periodically gives out perky hardcore riffs and solo, which, oh miracle, are not stupid half random sets of notes, but quite logically looking in the canvas of the composition of the composition of this very The composition is structure and serving for a better understanding of the emotional message. The album is really emotional, which, it would seem, is for such a genre nonsense: in addition to the elements mentioned above, the role of vocals plays in the creation of such a background. Ryan is able to make an impressive palette of sounds: from grows of varying degrees of uterine and a fairly individual aggressive-echidic screaming to his know-how-an interestingly sounding slightly split vocal, reminiscent of, say, a mixture of a dirkshneider and a cycle cyclist. The move is very elegant: Trevis is able to derive full -fledged melodies with a similar resobbal voice, which adds variability in the party and makes them well memorable, while not reducing the soreness and abnormality, which are always saturated with its vocal. The combination of all these votes and approaches allows you to create a bewitching effect, as, say, in the second half opening “The Gardeners of Eden”.

If you go through the highlights of the album, then in addition to the aforementioned track that sets the mood, I would single out “A Body Farm” with its charismatic scoring tyrants, “The Product Alive” with abrupt riffs and a memorable chorus, and, of course, the final connection of “The Harvet Floor ”and“ Regret & The Grave ”. The track of the same name is the most atypical on the album (calm instrumental and vocalize from the invited lady) and the latter is the most emotional and frenzied. A clip was removed on him, which was most noteworthy by Trevis grimaces.