Hemoptysis - _Misanthropic Slaughter_
(Metal Matters, 2010)
by: Aly Hassab El Naby (5.5 out of 10)
Just like many bands in the Pacific Northwest of America take influences from the surrounding mountains, forests and vast areas of uncharted wilderness, and incorporate it into their Cascadian black metal, Hemoptysis attempts the same from their hometown of Phoenix in the state of Arizona. Of course the surroundings are entirely different over there. The open uncharted wilderness is there, but it's surrounded by a barren desert with a scorching sun that's strong enough to compete with African Sahara on a winter morning. So if one were to imagine how the hot desert would influence a metal band, it wouldn't be far off the mark to assume an angry, frustrated band. This is what I was expecting from Hemoptysis before listening to their debut full-length _Misanthropic Slaughter_ and my expectations were met, albeit in a rather mediocre manner.

The anger is there on _Misanthropic Slaughter_, but it does not gather any momentum to really make an impact. The title track comes in first, and it boasts some feel-good melodies -- and I mean that in a non-angry metal kind of way. These melodies are available all around _Misanthropic Slaughter_ really, and they serve the function of taking a little bit of the metallic edge off the album. The guitar tone is not muddy and the riffs are very clear, yet they do lack a certain sonic punch. Tracks like "Hopeless", "Blood Storm" and a few others lug a guitar tone that is similar to those from the old school of heavy metal. The bass guitar sounds inconsistent throughout the record in terms of volume, while the vocals don't conform to the classical ways like the guitars; they actually sound like a raspy hybrid of a young Tom Angelripper and Angela Gossow circa _Anthems of Rebellion_.

Perhaps the most commendable trait here is the fact that most of the tracks are individually recognizable and don't bleed into each other. There are some things that could have sounded better with some extra work in the mixing phase, especially the sound of the drums on "Shadow of Death" and the volume levels of the bass guitar on a number of tracks. Of course these are things that every young band must learn eventually, but a picky listener like me would point them out every time as production flaws. For now, Hemoptysis has the individual skills every band needs to make a bigger name for itself, but they might benefit from some extra pre-production hours in the studio with later releases.

Contact: http://www.hemoptysismetal.com

(article published 25/2/2011)

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