Fancy being thrust into a caustic creative storm…an agitated squall of rapacious and voracious imagination? Then checking out Welcome to My Hell, the debut album from Russian band Fade Out is a must. Combining a core of alternative and nu-metal with varied abrasive extras, band and release create an encounter with is richly invigorating and enthralling whilst simultaneously being intrusive and corrosive. Whether chewing the senses or bewitching them with acid borne melodic enterprise the album conjures a stirring web of invention proving that certainly nu-metal is not quite an empty well yet.
Formed in 2007 in Voronezh, Fade Out initially started out with a gothic metal intent but soon the band decided to explore a heavier nu-metal sound. The following year saw their first single released, the song proving to be the last to be sung in Russian by the band and the final appearance on vocals of guitarist Roman “Dagen” Davidov. From this point Fade Out decided all future songs would be sung in English only, the direction easily accepted as the band added incoming vocalist Katerina Davidova to the line-up. With the autumn of 2008 came second single Don’t Shoot followed in 2009 by festival appearances and gigs, all strengthening the rising reputation and fanbase of the band. Late the same year though also saw Fade Out go on a lengthy hiatus though a maxi-single kept their sound and name in the thoughts and passions of fans. The line-up of Davidova, Davidov, guitarist Ilia Sysoev, bassist Roman Kurlykin, and drummer Evgeniy Yakunin returned in 2012 and immediately began gracing festivals and working on releasing their full-length debut, Welcome to My Hell.
From the exploratory kinetic maelstrom of the intro Fade-In, the album sets to work on the senses with the exhilarating title track. Immediately riffs are rigorously rubbing the ear whilst drums unleash a mesh of bone splintering rhythms and the bass stomps with equal hunger within it all. It is an instantly contagious invitation set ablaze by the emerged carnivorous charge of the track and the rapacious vocals of Davidova, her delivery impressive guttural squalls stemmed from malevolence and bestial invention. The track gnaws with insidious passion but throughout the onslaught is constantly evolving and twisting its back and imagination for an irresistibly captivating forage of the senses. There is diversity and skilled provocation to every aspect of the song, musically and vocally which preys on the ear with craft and devilment like a mix in many ways of Iwrestledabearonce and Spineshank.
The following I Realize continues the stunning start, warning sounds heralding its malicious invention. Heavy riffs and intimidating rhythms wrap viciously around its recipient whilst again vocally there is a tempest of aggressive passion. Into its stride the track shifts and swerves into further intriguing and rewarding adventures, sonic enticements and ingenious avenues that only light stronger rapture for what is offered. In its nastier aspects there is a feel of Otep to the ravenous provocation whilst where melodies bring their easier warmth it is hard to imagine rock any more satisfying.
The open diversity continues through the menacing and oppressively chaotic Jump!, the industrial spiced Don’t Shoot, and Five Seconds with extensive cleaner vocals being merged with again wonderfully coarse scowls, all the songs exceptional and impacting confrontations. Amongst them is another major highlight in the scintillating shape of Ultima Ratio. Once more the vocals crawl the range from melodic to vicious with skill and temptation whilst musically the song is an insatiable fire of classic rock, groove metal, and melodic endeavour which, like the album as a whole, gives expectations short thrift with its unpredictable and fully imaginative course.
The opening of Twitch For Threads is a delicious mix of a pit spawned throaty bass lure and the kind of sound which harkens the presence of a devil in Asian horror movies like The Ring, the subsequent passage of the song intimidating as it crawls through its and your darkest shadows with evocative vocals and addictively harmful essences. It is an excellent lingering ‘evil’ soon pushed aside by the outstanding Annihilation Tool, another Otep like toxin of predatory fervour and esurient addict forming excellence leaving the senses and heart a furnace of lust.
Completed by Пять секунд, the Russian sung version of Five Seconds, and the closing Три цвета (Three Colours)which features Davidov on vocals, Welcome to My Hell is a thoroughly exhilarating storm and hopefully the start of a constant and successful presence for Fade Out, metal and definitely nu/alternative metal needs this band.
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