Whether this review is positive or negative, the impact on Void‘s day, the man behind the one-man project, will be limited. Because whatever I say, the Italian musician based in London will keep having a clear vision of how to run things in FEED THEM DEATH. And, at the end of the day, the perspective and goals that he sets for the project will have much more value than the external visions.
This is the utmost positive aspect and the one that weighs the most when making music by yourself. No one needs to tell you where the limits are or what should or shouldn’t do. For this reason FEED THEM DEATH, which is releasing its third album in five years, is a peculiar approach to brutal death metal and grind. Not so much as in a revolutionary way, innovative or excessively weird, but quite striking.
What’s interesting is the addition of industrial and noise to what could have been a pretty average brutal death/grind work. The counterpoint is that this peculiar feature does not appear until, literally, the second half of the album. Up until then, the music created by Void is what we can easily expect: high speed programmed drums, which inevitably tends to repeat rhythms, North American death metal riffs combined with hardcore-flavored moments based and inspired on SUFFOCATION/DYING FETUS, and voices that alternate between deep gutturals and shrieks. However, as soon as the second track starts, we can already hear certain individual chords that are disconcerting, mainly because they are fully unexpected. Something that, I suspect, has been consciously executed. But, in any case, it’s nothing quite out of the ordinary.
Suddenly everything changes on «Our cruelty to reality (Evokism IV)«, which plunges without warning into noise and industrial, making it more appropiate for the soundtrack of a game like The evil within or a feature film like Session 9. A kind of slow horror that recreates itself through white noise, spoken samples, or piano notes with no apparent relation. From here on, although we cannot speak of a 180º turn, it is quite evident that this second part really tends to experiment with this kind of sounds. «An objective tragedy» opens with an unpleasant buzz, a continuation of what we just heard (although afterwards everything goes back to its usual ways), «The undeground unveiled» suffers a temporary lapse in dark ambient, and «The idiotic yearning for more (Barbarism of perfection)» dares with clean choruses, dissonant notes and a slow, mechanical rhythmic based on the GODFLESH school of disturbing sounds. Despite this, though, we must not forget that these experimental rides will always be tied to death/grind rules.
But the key question is: why haven’t you risked more? The results in the second part of Negative prove that the experiments could have been extended to the first part with no issue. A first part which isn’t deficient by any means, but pales in comparison with its late brother who dares and wins. On the contrary, if the experiments were a disaster any time he goes off the marked parth, then I would certainly recommend Void that he should stick to the mian plan. But since it’s not the case, that attitude of annoying and bothering the public, which I strongly applaud, falls short.
Despite everything, the sum of the parts is still satisfactory, resulting in an exact half hour that passes quite agilely. And as much as I say that it could have been better, I also believe that he can be quite proud of what he have achieved, both by orthodox and unorthodox ways.