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██▌ Artist...: Unbounded Terror ░▐██▌
░▐██ Album....: Nest of Affliction ░██▌░
▓▐██ Year.....: 1992 ▓▐██▓
▓▐██ Rel.Date.: 2020-12-08 ░▐██▓
▐██ Genre....: Death Metal ██▌░
░ ██▌ Label....: Drowned Productions ██▌
▐██ Source...: CD ▐██
░▐██▌ Type.....: Album ▐██▌░
▓▄████ Quality..: VBR, 44.1kHz, Joint Stereo ████▌░
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1. Intro - Rising Evil 0:45
2. Dreamlord 3:45
3. Fear 4:06
4. Dead (by Deceit) 3:03
5. Immortal Violence 3:40
6. Intro - The Malediction II 0:53
7. Slaves of Sufferage 4:01
8. Mankind Mind 4:09
9. E.N.D. (Enjoyment Near Your Death) 3:50
10. Sarcastic Souls 5:26
------
33:38
Death metal was not really a new concept in 1990 if one was located in
Florida, New York, or Brazil. The same could not be said for Spain,
which saw a respectable but largely modest contribution to the earlier
metal scenes the spawned in the previous decade. Thus any band seeking
to recreate a sound that was largely unheard of in their respective
locale could be viewed as quite brave, even if the necessary foundation
had already been laid several years prior. Thus came to be one of said
nation's first bona fide death metal bands in Unbounded Terror, one that
comes off as highly traditional and safe when compared to what was
typical in their day. Their 1992 debut LP Nest Of Affliction checks off
all the necessary boxes for being a beast to be reckoned with despite
its relatively late arrival, showcasing as much of a penchant for
unfettered aggression and ugliness that any adherent to the style could
muster, and even taking a few noteworthy liberties to further define
their own sound against the backdrop of the other, more prominent
scenes.
While this quartet draws from just about every potential influence from
under six feet of the earth, there is a fairly obvious affinity on
display for the Swedish sound. It's difficult to listen to any of the
morosely down-tuned guitar work on these songs and not hear echoes of
early Grave, along with the swifter thrashing elements of Dismember and
Entombed. There are a few unconventional additives like a hint of creepy
keyboard elements that are maybe a tad less prominent than what
Nocturnus and Darkthrone were dabbling with at the time, but enough to
be highly noticeable at a few key points, to speak nothing for vocalist
Toni Pereida's deep, groaning barks which have a sort of exaggerated New
York-tinged character to them. But that aside, this album largely places
its mark upon the broader death metal paradigm by sticking to what works
and smashing skulls with a solid balance of killer riff work,
bludgeoning blast and thrash segments that seamlessly veer off into
slow-trudging doom passages, all the while establishing a morbid
atmosphere vivid enough to induce nightmares in even the most seasoned
of horror fans.
It becomes pretty clear from the opening moments that culminate in this
album's introductory track "Rising Evil" that this is a band that has
not been touched by the "all brutality, all the time" formula
popularized by Cannibal Corpse and not averse to using ambient keyboards
to throw in a layer of creepiness to go with the auditory violence. The
album unfolds in something of a storybook fashion that also includes a
second part with its own looming keyboard intro dubbed "The Malediction
II" that gives this album a sort of double EP format, with each of the
four following songs being moderate length epics that cycle through a
cavernous maze of twists and turns that's fairly similar to The Left
Hand Path. Occasional fits of chaotic guitar soloing that's along
somewhat similar lines to what one might hear out of the Hoffmann
brothers at around this time occur at a semi-regular frequency, though
usually in shorter bursts that are a bit less showy than their typical
handiwork. Though each offering is all but equally powerful, the
thrashing madness of "E.N.D. (Enjoyment Near Your Death)" and the
blasting chaos of "Fear" are definitely standout moments.
Often times the line that separates an iconic band from the early days
of death metal from the more obscure ones isn't necessarily a matter of
location or of who got there early enough to be considered one of the
prime movers, but more so how long of a career would ensue following the
initial breakthrough. Sadly for this outfit, their initial run didn't
last too long beyond the culmination of this album, thus they would find
themselves among the ranks of a veritable ocean of single-album bands
that came and went between 1992 and 1995, each having the potential to
trade blows with some of the more prominent Swedish and German acts, but
ultimately being unable to stay afloat in waters where all the available
vessels had a highly limited capacity. Nevertheless, the recent
resurgence in interest of the style has seen this band resurrected quite
recently, albeit with only their lead guitarist Vicente Payß as the lone
original member of the fold, a fitting eventuality given his continual
participation via death/doom outfit Golgotha. The story isn't over for
this old school death metal brand, though those who want to have the
authentic experience will want to hear this forgotten classic first
before checking out the current incarnation.
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