Kingdom

CataractMay 22, 2006
Metalcore© 2006 Metal Blade Records, Inc.
2
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Songs
1
Kingdom's Rise1:43
2
War Of Cultures4:17
3
On This Graveyard3:41
4
Denial Of Life4:54
5
Tongues Spitting Hate3:15
6
March With Your Battleforce4:51
7
Sacrificed For The Wealth3:11
8
Definition Of Sacred4:30
9
Legions At The Gates3:17
10
Unforgotten4:41
11
For Their Sins3:02
5.0
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Additional Information

Total length
41:21
Tracks
11
Released
April 12, 2011
Label
© 2006 Metal Blade Records, Inc.
File type
MP3
Access type
Streaming and by permanent download to your computer and/or device
Internet connection
Required for streaming and downloading
Playback information
Via Google Play Music app on Android v4+, iOS v7+, or by exporting MP3 files to your computer and playing on any MP3 compatible music player
After enduring more than a decade of anonymous labor in Europe's extreme metal trenches and releasing a couple of well-received albums to start the 2000s, Denmark's Hatesphere gained a slightly surer footing astride their rather daunting neo-thrash competition (the Haunted, Arch Enemy, anyone?) with their third long-player, 2004's Ballet of the Brute. Really two halves of a conceptual sonic whole, the opening pairing of instrumental "The Beginning and the End" and the aptly titled "Deathtrip" (both clocking in at under two minutes in length) is positively lethal in its intensity, introducing listeners to the band's tightly spliced guitar-riffing and drum-pounding acrobatics, as well as the gargled death croak (bordering on hardcore) of vocalist Jacob Bredahi. Ensuing highlight "Vermin" shows that he's also quite capable of semi-melodic singing, too, and this sort of frequent vocal hopscotch from track to track soon becomes a distinguishing factor for Ballet of the Brute. Otherwise, Hatesphere's alternating fits of blinding velocity ("Downward to Nothing," "Blankeyed") and mid-paced death marching ("Only the Strongest...," "500 Dead People") is more often good than really great ("Warhead," for example, gets off on a mighty riff before fading from memory), with notable exceptions arriving with the truly face-planting moshing of "What I See I Despise" and the quite brilliant "Last Cut, Last Head," with its army of warring riffs. All in all, Ballet of the Brute delivers an efficient bludgeoning for the buck, without any all-time records for creativity or originality being broken. [The American release of Ballet of the Brute featured a terrifically warped cover of Ozzy Osbourne's "Bark at the Moon" and a slightly more recognizable version of Anthrax's "Caught in a Mosh" as bonus tracks.] [This version of the album includes bonus material.]
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