F.T.U.N. left me with an ambiguous feeling, as the compositions were simply too close to what Soulfly and Sepultura had offered on their album and the vague suspicion that some ideas had been recycled by the Syrian band could not be shaken off. The similarities are still there on T(h)rash of the Orient, but the band attempts to move out of the shadows of their archetypes a bit and progresses into a new direction by webbing elements from the Arabian music into their own compositions.

A facet that has remained the same is the performance by the vocalist, whose voice still reminds on Max Cavalera. Maybe this is just a strange coincidence, but it leaves the listener nevertheless perplexed about what is going on here. Presumably, I am not too nit-picky here, because the vocals are performed quite well and work actually fine with the music.

Generally speaking, the approach of combining thrash with groove metal is still present, but some additional facets have been woven into it. Not only did the band use Arabian instruments for this record -- an Oud and a Derbakke --, but also some riffs show some reference to the band's cultural background, which is nice and makes the music more interesting. Through this it is lifted from the suspected copycat-approach to something more independent respectively an identity; yet this progression is still in its children's shoes and further effort is needed in order to bring it on a new level. In comparison with F.T.U.N. demo, the songs have gained in complexity and additional arrangements, while loosing a bit of the catchiness; there is more to explore now and whole approach has more depth now.

Yet, some amount of shallowness is still apparent and especially the lyrics could use some further elaboration. Maybe these kinds of simplistic and minimalist writings is generally used in this particular field of the music scene, but at least for my tastes, the quality is not as such as to fascinate me entirely. Beyond this aspect reminds me the composition Borderline a bit on Lick the Droppings from the preceding demo. Again, the Soulfly and Sepultura references hang over this release like a burden and again the question arouses whether not some ideas had been recycled in one way or another.

Well, let us describe this as a step in the right direction, but the overall quality is still wanting. Even though the compositions are listenable and certainly interesting, the aspects discussed in the paragraph above still need to be considered when in terms of the quality of the performance. So, the band has still some work to do, but they have at least shown a path which they might progress on in the future and this leaves hope for the future. ... See More

Slumpark Correctional are from Syria and it is interesting to see that even in this country metal bands can exist and record music, but they might be given a hard time by the government or religious authorities. Metal and Islam do not go well along in the eyes of those in charge in Muslim or Islamic countries and the examples told by the Lebanese band Kaoteon in interviews give an impression on how things might be in the even less 'modern' Syria.

The first impression left by this release is its good sound. Another would be the obvious background of at least some band members: Sepultura and Soulfly; the emphasis lies on the latter one. Yes, there is a cover from the Chaos A.D. album, but the general approach is more in vein of Max Cavalera's solo project. The music is thrash/groove metal around which comes in a mixture of the aforementioned release and some of the later Max Cavalera albums. The resemblance in the vocals is really striking; I really mean it. Listen to the music and judge by yourself. Tempo and expression of the lyrics are amazingly similar.

As I do not give a fuck about the discussion whether Sepultura has lost it with Chaos A.D. or Roots and as I also listen to Soulfly at times, this release is something I am thoroughly able to enjoy. The songs have a lot of power, drive and are very catchy. The lyrics are a bit shallow at times -- Lick the Droppings --, but it is endurable. From this perspective not much is left to be desired.

Hard to say if this is good, as the concept is closely linked to the two bands which are mentioned in the title and Slumpark Correctional is not really able to step out of the shadow these. The music is well performed, the production, even though quite decent, presents the instruments slightly unbalanced, but the songs are at least quite catchy. Actually, I wonder whether they took riffs and motives from Soulfly and Sepultura and used them for their own purposes. I cannot help myself, but I have the feeling to have heard some ideas before. Maybe someone else with more knowledge of Soulfly can clear matters up. So, unless someone offers some evidence on the issue of riff-recycling, the band will get 66 points form me ... See More

Coming out with hard hitting beats and raging vocals, Slumpark Correctional manages to break free from your traditional 1980’s metal scene. This new band has its roots in Syria and you can even hear it in their music. While thrashing and bashing, oriental tunes flush out a sound that is refreshingly unique. Female vocals that appear on some of the songs tend to give harmony to the rage while the male vocals are brutally deep.

The band was put together by visionary artist skeeter who plays lead guitars and writes the lyrics for most of the songs.

I was pleasantly surprised with ‘Summer’s End’, a song that sounds medieval and spacey all at the same time. While some songs are meant for hardcore fans some songs such as ‘Guillotine’ can easily satisfy music lovers from all ages and social backgrounds.

‘Dreaming Underneath Destruction’ is an angst ridden parody that epitomizes global hatred for destruction and mass killings. Written at a time when the world is questioning US foreign policy in Iraq, this song is musically mature and thought provoking. ‘The Villan’s Demise’ follows in the theme of social and political inequality while adding a certain tuned-down alternative thrash sound.

‘My Suicide’ brings the band’s first album a personal touch with feelings of agony oozing out. While still tackling politics at its core the song manages to bring the spiritual realm in touch with the world we live in.

Musically, Slumpark Correctional has a metal base etched with screaming mad vocals and a neo-oriental infusion of electric guitar. The beat varies from steady to hectic. The bass guitar and drums are new-age and blend very well with their surroundings. Overall coordination and clean sound make Slumpark Correctional one of the best new heavy metal bands of the year 2005. Their album is a must-have for anyone wandering what the future of metal will sound like. ... See More

Effectively, the only way I even found out Hate existed was basically due to seeing a picture of Decapitated frontman Sauron wearing a band t-shirt of theirs whilst milling about at a live gig a year or so ago. Of course, with the size of my respect for Decapitated, I took the approach of what's good enough for him, I've got to at least give it a shot.

Now regardless of whatever label you want to stick on this band, there is no doubting whatsoever that this band is without a shadow of a doubt a death metal band. Both technical and brutal, possibly brutal through technicality, Hate manage to bludgeon you senseless with a big stick but at the same time amaze you by the intricate nature of the riffs and how all the instruments come together in the musical equivalent of a Communist ideal and work together toward the common goal.

Some songs on here verge more towards the emphasis on either technicality or brutality, but some songs - ie the slightly humourously (till you read the lyrics) titled opener 'Flagellation' - manage to blend the two seamlessly together.

Quite frankly, whilst some people have no doubt already written off Hate, simply because the measure of good Polish Death Metal has already been set and moved up by the likes of Decapitated & Vader, if you like your death metal with not just brutal and technical but also with stellar musicianship, then you have to at least give Hate a blast.

Not give Hate a listen, give them a blast... then you'll truly appreciate how huge this band deserve to be. ... See More