Genocidium - “Anti Human Nuclear Hatred” Album 2016 [8/10]
The first full length of this Salvadoran band comes with the support of a renowned label in underground metal, the fact of being published by Warhemic Productions generates high expectations. Visually it has a well known style: From the image on back cover: the statue of "El Divino Salvador del Mundo" riddled without remorse, to the anti-gas mask, the AKs and the RPGs with a nuclear explosion in the front, all sends a message confirmed by the intro of combat sounds and an army on the march: This is war black metal.
The production is good and the sound is clear, it is not that black metal with sound corroded by poor production on purpose. The instruments have their own space in the "wall of sound" that is formed mainly by Nebiros, who is better as a guitarist than programming the digital drummer that sounds - at times - too synthetic, however, I could not say it is bad . Aborym's bass completely disappears in some sections but reappears when most needed.
Through eight original songs we get a collection of good riffs in general, with several lines more interesting than the rest. "Goat's Blood" is an improved and extended version of the version we have in the demos. A downside is that almost all the tracks are short, the longest one is "Unleash the Hate" and gives us four and a half minutes of simple but intense black metal that make it one of the best on the disc with pace changes in a well connected structure. Another one worth mentioning is "Funeral Winds", a slower tempo track nicely placed between the dizzying speed of the album and perhaps the one that shows drum programming closer to human played drums. To close the nearly thirty-seven minutes of shrapnel to the ears we have a cover of Mysticum: "Black Magic Mushrooms", I would say that along with "Post-Nuclear Extermination", these tracks display the best vocal performance by Profanum.
The band and this album in particular, do not offer a new trend or an original style of black metal, it is a formula that was previously used but has been well exploited by Salvadoran musicians in a convincing way.