CD REVIEW Within Destruction

Band: Within Destruction
Title: From The Depths
Label: Noiseheadrecords
Distribution: Noiseheadrecords
Release date: 31/08/2012
Review: CD

Within Destruction are a pretty young band, hailing from the former Yugoslavian republic of Slovenia, in the North of that former country. Extreme Metal isn’t the ‘huge’ out there; there’s a vivid local scene for sure, but not many acts are known outside Slovenia’s borders. I would recommend Bleeding Fist, To Hate, Noctiferia, Magus Noctum or Vigrid / Dekadent, in case you’d like to ‘explore’ that country. Oh yeah, let’s not forget Laibach, evidently…

The band is, if I am correctly guessing, named after an As I Lay Dying-song, taken from the album An Ocean Between Us. Why do I think so? First of all because there are some (modest) comparisons (even though this band is much heavier), and second of all, well, just because it’s the same name (title and band’s moniker). Could be a coincidence, but I guess not.

What does this band bring with From The Depths? Well, actually it’s a very heavy and energetic mixture of different types of Extreme Metal: Death and Black Metal, Doom-Death, Metalcore and Deathcore, and Deathrash. The whole sounds both old schooled and modern and in this album’s case this equilibrium is a real surplus. The main focus is Death Metal-oriented, yet it goes little further than ‘just Death Metal’.From The Depths hits like a sledgehammer for sure. The main tempo is f*cking fast, including several blasting outbursts, but even the few slower parts are monolithic mammoth-crushing mauls. Other interesting facts are, for example, the universal approach (both the trans-European [more specific: Dutch, Polish, Italian and German, amongst others] and the North-American scene have been combined very decently), the addition of a few extra elements (like the piano-outro on opener “King Of Serpents” and the album’s outro “God Of The Soulless”, also with piano, or the sample at the end of “While She Was Dying” – another reference to As I Lay Dying?) and the variation (not only the musical genres, yet also the vocals: mainly deep-guttural grunts and some blackish screams), limited though well-thought and nicely balanced.

There are no fillers on the album, yet no exceptional shine-outs either, and another disadvantage might be the overload on exaggerated rapid-gunfire drum patterns. But despite these two remarks, I guess most amateurs of the most extreme regions of Music-k will appreciate this debut effort.


Ivan Tibos.