Label: Metal Blade Records - 3984-14243-2 • Format: CD Album • Country: Germany • Genre: Rock • Style: Death Metal
Best viewed without Internet Explorer, in x resolution or higher. Six Feet Under's first two albums had something cool going on, but it had more wasted potential rather than good musical moments. The band definitely could've come up with Nothing We Cant Say, Nothing We Cant Do - Nostalgia - Is Your Spirit Free? better stuff but they just filled the albums with contrived songs just to fill up space.
If they put more time into the songwriting those albums would've been so much better, but that's not what we got. Thankfully for the first time in their career, this isn't the case with Maximum Violence at all. Maximum Violence is a new and France A Fric - Rockin Squat & Cheick Tidiane Seck - Assassin Live Band version of SFU, and this is actually some pretty good stuff.
As I've said before; when Six Feet started out they had some good ideas, but they didn't execute them as greatly as they could've, but with Maximum Violence they actually started to give a damn and make their stuff sound more alive and powerful. With an opener like Feasting on the Blood of the Insane, you can instantly tell they put more effort into the songwriting. It starts with a spooky-sounding slow riff section with slight wails on both guitar and bass.
This part of the song also has a spoken word behind it. Then the song comes in hard and heavy, the main riff appears, a catchy and clever drum beat plays along with it, and the bass is also here, you can actually hear the bass being played too, its not buried and hidden like most usual death metal releases.
Chris' vocals aren't bad either surprisingly, the lyrics on this album are starting to get more creative and in-depth as well. The way Barnes sings in this song is cool, it flows along greatly with the beat of the song. Victim of the Paranoid is a good track as well; catchy as fuck riff, good, visible bass playing, powerful machine gun drums that play away with the riff and also provides some cool patterns and beats throughout the song, and cool vocals that flow good throughout the song.
Obviously Barnes' vocals aren't top notch, but on this album they sound decent. The main reason why this album is so good Traffic Jam - Family Jammin - In Skank We Trust because the songs aren't all that boring anymore.
With Maximum Violence you get nice riffs, more drum variety, and thicker bass. The songwriting skills here are great, every track is listenable and you'll rarely find yourself getting bored or uninterested while listening to this. All the tracks have something different about themselves. They all start out differently and nothing really is repetitive.
Fresh riffs, heavier sound, what could be better for Six Feet Under? This album is the beginning Six Feet Under - Maximum Violence their transition from some heavier-sounding death metal-influenced groove metal, to pure "death 'n' roll". The guitars are way more heavier, the riffs are better, pretty much everything is heavier compared to the albums prior to this one. Maximum Violence is less groovy than the other stuff, because they started focusing on a heavy sound and less on groovyness.
I can say with this record they did a pretty nice job. A revamped and more talented version of SFU. Way more backbone and originality. This album may be good but that doesn't mean its flawless, which it isn't. Come on, this is Six Feet Under, there's always a flaw in their music, always.
The main issue is the sound of the drums. Its not really bad at all, but the drums sound cheap as hell. When you're listening to the first few tracks of the album its easy to notice the drums sound cheap and kinda trashy, once you get more into the later tracks of the album it Six Feet Under - Maximum Violence bother you at all anymore.
Its not really that much of a bother in the first place, but it definitely needs to be noticed for the way it sounds. Then the vocals no shocker here. The vox aren't terrible, but they aren't that great either.
I'm just glad on this record they actually sound good. They could be better but it sounds good on this album. His vocals fit good with the type of music early Six Feet Under created, but Maximum Violence marks the spot for the beginning of the end of Barnes' Six Feet Under - Maximum Violence . In conclusion, this is Six Feet Under's first great effort.
This is more thought-out, creative, and original. It's not really boring or repetitive at all, this is some quality stuff. This album doesn't deserve as nearly much hate at it gets. This is some of the bands better works,and that's a fact. Give this album more attention and focus less on all the other ones. Life can be nice with a pretty girl, a good drink and a strong album. But without a pretty girl, without a good Six Feet Under - Maximum Violence and only equipped with a work of Six Join Me In L.A.
- Warren Zevon - Warren Zevon Under, one will probably discover the dark side of life. Okay, let's stay fair. The more or less acceptably produced disc starts in a solid way. Only the polarizing, one-dimensional vocals of Barnes do not give me anything. However, "Maximum Violence" is one of these notorious albums that entice the listeners with a fairly proper opener, but the remaining 33 minutes announce the triumph of mediocrity.
I am sure that the musicians have the technical abilities it needs to perform interesting songs, but this fact remains their secret as long as they do not compose interesting songs. Some riffs have been heard a thousand times before and the whole guitar work sounds bloodless. The slow pace of many sections are totally boring and, as mentioned before, the ridiculously deep growls fail to add value to the single compositions.
SFU have written ugly songs, but they lack dynamic and vehemence, impulsivity and momentum. Surprising or enthralling elements? Don't even think about it. Maybe the cover song of Kiss was meant to set a contrast, but SFU ruin this song completely. The original version from "Creatures of the Night" with its dull riffing is not great, but here the boring essence of the piece shines in full glory.
It sounds absolutely powerless and is performed without any inspiration. The pieces have no personality, the entire full-length appears as a sticky porridge. Although the group wants to deliver catchy sections, I belong to the lucky people who are able to forget each and every song immediately as soon as the last H & K Riddim - DJ /rupture Vs. Mutamassik - The Bidoun Sessions has faded away.
I admit that SFU try to vary their approach within the very narrow guidelines of their style. Many tempo changes indicate their ambition to avoid monotony. But this attempt fails. I am not at risk to press the repeat button.
Quite the contrary, the longer the album lasts, the more I wish that it comes to an end. These shitty numbers like "Torture Killer" these stupid titles make me sick are amateurish and do not even contain the smallest form of a melody. Okay, death metal is generally not known for offering melodic harmonies in abundance, but a necessary minimum should not be forgotten.
Yet here it seems to be killed by the "Maximum Violence", although this blunt and lacklustre work fails to deliver a really violent sound. Compared with the brutality of bands such as Vomitory, the maximum violence of SFU is nothing but a moderate breeze.
Give up, dudes, it just Six Feet Under - Maximum Violence no sense. And now I need a good drink. The first record to feature him, their third album "Maximum Violence", seems to be one of the only albums by the band that most people can agree is good.
Truth be told, even as one of SFU's diehard fans, even I have been able to grasp the reasons why so many people don't care for their music but I'm not going to get into that in this review. Looking at all of their records from an Six Feet Under - Maximum Violence perspective, there are very few of them that have genuinely redeeming factors, but this is one of them.
The "Obituary with Chris Barnes" sound that dominated the first two records is completely gone here. The guitar work is much crunchier and at times speedier than before, plus the sound is much more blistering and violent compared to the somewhat restrained vibe of the prior releases.
Swanson's riffs pummel the listener with their power, while at the same time sacrificing none of the groove that SFU is famous for. He brought a revamping to their sound that they definitely needed, and to be honest, I feel Six Feet Under - Maximum Violence began to develop more of an identity once he joined.
Compared to the previous records, the lyrics are much gorier and more akin to Barnes' work in Cannibal Corpse, although it's not as over-the-top with its nature. Unique among the songs is his almost rap-like flow to his growling in opening track and fan favorite "Feasting on the Blood of the Insane" and his breakneck speed in the verses to "Bonesaw", Six Feet Under - Maximum Violence that this record turned SFU into a more ferocious beast.
The riffs and guitar tone are fantastic, and all the songs are extremely well-composed, not to mention the songwriting is much stronger than the two Allen West albums, being a Six Feet Under - Maximum Violence more interesting with varied passages and more unique arrangements. But despite the acclaim that the album receives even from non-fans, the album has a few minor flaws that bring it down somewhat. For one, the production is extremely muffled, making some of the instrumentation lose its punch, which in turn causes it to lose a bit of its impact if the volume on your headphones aren't turned up pretty high.
Another thing is that the faster-tempo parts are extremely generic-sounding and at times sound phoned in, not to mention a lot of the lyrics feel like they could have been just a tad more violent than they were, almost like Chris was restraining himself despite clearly trying.
It's highly enjoyable, and it's not all that difficult to see why even non-fans like it, but they've done better in the past and future.
Few extreme metal bands are as often criticized and looked down upon as Chris Barnes second major band, Six Feet Under. From their inception onward, they have been ridiculed for the simplistic riffing and rapidly deteriorating vocal performances from Barnes, which seem to have only gotten worse over the many albums the have recorded now.
However, of the bunch, one stands out as being slightly better than the rest. Instead of being an absolute cesspit of recycled Obituary riffs and unimaginative songs, Maximum Violence stands proud as being considered the best in the band's discography, due to its more graphic lyrics and overall better performance from the band than on their other albums.
The most obvious thing about this release is that Chris Barnes is not young any more. The amount of marijuana he smokes coupled with the vast number of years in the business have crippled his voice so that his growls sound overly breathy and his weird shrieks that occurred on his last two Cannibal Corpse albums are far more present and annoying here than ever before.
However, something about his vocal patterns on this album makes him slightly more tolerable than on their other albums.
For instance, on the song Feasting On The Blood Of The Insane, Chris attempts a style of rapped growls which, whilst sounding cheesy and completely ridiculous, they do have a memorable feel to them and will stick in the listeners head. Also, on fan favorite No Warning Shot, Barnes manages to simultaneously create one of the most laughable and one of the catchiest moments in death metal during the chorus, with the low growl of "Die Mother Fucker" followed by the raspy scream of "Die,Die!
The lyrics on this album are considerably more graphic in their depictions of violence than previous Six Feet Under releases, but this works well with Barnes vocals, and is one of the things he has become famous for. The guitar work on Six Feet Under - Maximum Violence once again Kroke - Eden like a second rate Obituary clone, with many of the riffs being extremely simplistic but having a crunchy, heavy groove to them that makes them sound so sweet.
Unfortunately, they do nothing new, with the guitarist instead re-hashing his past work instead of attempting anything fresh. However, for what it is, this album boasts some decent enough guitar work, with some cool drumming and thundering bass behind it.
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