Born To Murder The World – “The Infinite Mirror Of Millennial Narcissism” (Extrinsic Records)
With over 34 years in metal, it’s reasonable to say that Shane Embury (Napalm Death, Brujeria, Lock Up, Unseen Terror etc) knows what the meaning of ‘extreme’ is. One of grindcore’s originators, he’s been blast beating, bass distorting and generally causing merry mayhem pretty much all over the world as one of extreme metal’s most sought after musicians. Still, it’s pretty evident here that he’s not lost the love of his roots both musically nor his hometown of Birmingham. Born To Murder The World is his next fearsome grind beast, collaborating with Mick Kenny (Anaal Nathrakh) to both handle guitar duties and programme a savage drum machine capable to matching this musical onslaught. Completing the line up is one sick puppy in Drunk (Fukpig, Mistress) who in his off duty life goes by the more homely name of Duncan Wilkins, but has one of these shredding air raid larynx’s that could out screech a cat, out roar a lion and out scream a banshee. Sensibly keeping this well wrapped for fear of being drone striked as a potential WMD, recording at Kenny’s studio The Barracks and released on Embury’s own Extrinsic Records, “The Infinite Mirror Of Millennial Narcissism” is the brutal amalgamation between these two gentlemen who’ve known each other for the best part of twenty years across the 12 hyper speed tracks – with none reaching 3 minutes! Interestingly, the shortest songs are a mix of slower epic elements, ambient pieces and also industrial noises which makes me wonder if they’re actually introductions to the follow up tracks but under the masterful helm of Embury and Kenny, it all works to utterly destroy, so strap on your seat belts and blast off to ‘Negativity Plague’ where even a church organ gets chunked into the grinder as Drunk goes totally insane, momentarily being pulled in the ambient eye of the storm before unleashing mayhem once more as the drum machine (wot, no name?) starts to smoulder. On ‘Corruption Meets Deception’ it’s spiralling black guitars that spew forth their evil melodies and crashing riff waves sliding along fretboards as Drunk belches out bile in between his torment towards utter damnation. Thankfully on ‘Genesis Misconception’ despite all the screaming and blasting, there is a heavy keyboard overlay that kinda tempers the furore, although the massive scything riffs reeking of decadence and stampeding drums do little to make this any kind of token ballad offering. Well no, after all it’s Shane Embury you’re talking about.