The Brutal Truth: A Critical Review of Sermon to the Lambs' Self-Titled Debut
In the world of extreme metal, where brutality and technical prowess reign supreme, a new contender has emerged, but does it live up to the hype? Sermon to the Lambs, a Chilean outfit, promises an aural onslaught, but let's dissect whether they deliver a divine experience or a lackluster sermon.
A Slamming Start
The band's debut album, aptly titled Sermon to the Lambs, is a bold statement in the slam genre, a subgenre often criticized for its simplistic and repetitive nature. However, what makes this album intriguing is its attempt to showcase the evolution of slam, moving beyond the stereotypical 'caveman' sound.
Personally, I appreciate when a band tries to push the boundaries of a genre, especially one as niche as slam. It's easy to fall into the trap of formulaic songwriting, but Sermon to the Lambs seem to have higher ambitions.
Riffing on the Extreme
The album opens with a display of impressive riff craftsmanship. Tracks like 'Crowned King of the Worms' and 'God Spat and the Man was Done' showcase the band's ability to create headbanging moments, blending the chunky chromatic riffs of Maggot Colony with the moodier tones of Condemned. This is where the album truly shines, offering a high-octane assault that will satisfy fans of extreme metal.
One thing that immediately stands out is the band's commitment to their chosen style. They don't shy away from the slamming brutality, but they also infuse it with a sense of melody and structure, which is a rare find in this genre.
A Vocal Conundrum
However, the album's biggest downfall lies in its vocal delivery. Vocalist Richard Aguayo possesses impressive guttural skills, but his performance is marred by a frustrating tendency to double-track his gutturals with shrill screams. This decision, in my opinion, detracts from the overall impact of the music. A good vocalist knows when to support the music and when to take center stage, and Aguayo's approach feels like an overkill of vocal extremes.
What many people don't realize is that vocals are not just about extremity. They should enhance the music, not drown it out. In this case, the mix exacerbates the issue, pushing the vocals to the forefront, leaving the intricate musicality struggling to be heard.
A Lack of Compositional Adventure
As the album progresses, it becomes clear that Sermon to the Lambs struggle to maintain momentum. Songs lack a cohesive structure, often starting and stopping abruptly, making it challenging for listeners to immerse themselves in the experience.
If you take a step back and analyze the album as a whole, it becomes evident that the band has fallen into the trap of prioritizing brutality over composition. While slam is known for its aggressive nature, it doesn't mean that songwriting should be sacrificed.
The Missing Ingredient
The album's biggest culprit is its lack of compositional adventure. The mix, with all knobs turned up to maximum, creates a chaotic listening experience, making it difficult to appreciate the individual elements. The bass, for instance, is virtually non-existent, and the drumming, while technically proficient, lacks the flair to capture attention.
In my opinion, a great extreme metal album should strike a balance between aggression and musicality. Sermon to the Lambs, unfortunately, leans too heavily on the former, resulting in an album that feels like a relentless assault without any memorable moments.
A Missed Opportunity
What this album really suggests is a missed opportunity. Slam, as a genre, has the potential for artistic growth and compositional innovation. However, Sermon to the Lambs seem content with delivering a straightforward, one-dimensional experience.
The band's attempt to incorporate Gregorian chants in 'Maximum Apostasy' is a prime example of this. While it's an interesting idea, it quickly devolves into monotony, leaving listeners yearning for more depth and creativity.
Final Verdict
Ultimately, Sermon to the Lambs falls short of its ambitious promises. While it showcases moments of technical proficiency and a desire to break free from slam stereotypes, it fails to provide a cohesive and engaging listening experience.
In the vast landscape of extreme metal, where innovation and brutality coexist, Sermon to the Lambs' debut feels like a step back. With a rating of 2.0/5.0, it's an album that might appeal to die-hard slam enthusiasts, but it's unlikely to convert those seeking a more nuanced and artistic approach to extreme music.
