Hatred for Mankind
Hatred for Mankind sounds as though several forms of extreme metal are pushing against the walls together. Dragged into Sunlight connect dirty sludge with faster, fiercer guitar parts and a voice which moves between rough tones. The sound is especially sharp, but more structure exists beneath the initial chaos than you might expect.
The band never keep everything at the same speed. Fast attacks meet slower, suffocatingly heavy passages. Guitars use that difference to shift the tension. Harsh singing matters, but never determines the music's force on its own.
Buried With Leeches provides a clear example of the direct side. Riffs and voice come forwards with little protection. The sound stays rough enough to feel uncomfortable while instrumental movement prevents the song becoming an indistinct mass.
Volcanic Birth takes more time and introduces recognisable faster metal riffs within the wider attack. This variety adds another character, although the song lasts longer than its strongest ideas need. Spoken passages also fail to create fresh tension everywhere. The record occasionally interrupts its own force with material which mainly underlines the same atmosphere again.
Strong guitar writing balances those limits. Even within the abrasive sound, riffs provide direction and make differences between sections audible. Hatred for Mankind offers more than an exercise in sounding unpleasant as a result. The band use an especially harsh tone to construct songs which also convince through their movement. Length and samples leave the whole slightly uneven, but the best passages join sludge-like weight and faster extremity with enough personality to remain memorable. The aggression has a clear musical foundation beneath it.
