The Berzerker - Animosity
Release: The Berzerker - Animosity
- Datum: 15.01.2007
Inhaltsangabe
01-Eye for an Eye
02-Purgatory
03-False Hope
04-Evolution
05-No More Reasons
06-Retribution
07-The Cancer
08-Weapons of War
09-Heavily Medicated
10-Lonely World
- Genre: Metal
- Qualität: 192 kbit/s
ED2K-Links
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HinweiseGenre : Grindcore/Metalcore
(VÖ 16.02.07)
The Berzerker began as a mid 1990's one-man speedcore DJ act signed to the Lenny-Dee label Industrial Strength. Based on the reputation of the live appearances throughout Europe and a number of metal remixes including Decide, Earache approached the Berzerker to remix death metal giants Morbid Angel. The combination of brutal gabba with death metal guitars and vox was well received, and Earache signed The Berzerker who returned to Australia to set about recording an album for the label of this new, noisy style.
Originally, the project was to be a death metal supergroup with contributions by David Vincent, Kevin Sharpe, Dan Lilker, Jed Simons, and production by Devin Townsend at his studio in Vancouver. The Berzerker realised that his vision of brain-melting brutality was starkly at odds with that of the firmament and through a number of setbacks realised that production and performance of the band would have to be done by himself and unknown performers. He returned to Australia again and recruited guitarist/vocalist SB as longtime member and collaborator, and also gained the services of Ed and Jay from legendary Melbourne metal band The Wolves on guitar. Album recording was commenced after almost two years of preproduction, and the recording of the self-titled album - after nearly a full year of further setbacks and disasters - was completed.
The Berzerker self-titled album was received to critical acclaim in the metal media, but also some polarised reactions which have marked the band's output throughout their career. Some people loved the album and relished the ridiculous brutality. Others could not handle the huge electronic kick drums, the relentless samples, the superfast beats, and thought it was grindcore idiocy that had lost all semblance of music. They hated it. Reactions became even more mixed when the band started performing live, using members from the rhythm section of a local melbourne band. The live shows were not only loud and noisy but also intensely visual; smoke and strobe machines pumped nonstop, and all the band members were horrifically masked in order to take the live experience to another level. Many people 'got it', understood that it was a method of reaching for something crazier and heavier than any band previously. Many people, however, wrote the band off as a novelty act. The band ensured notoriety by releasing a video for 'Reality' which set new standards for depravity in music videos by including gratuitous amounts of autopsy footage. MTV summarily banned the video from rotation.
The Berzerker had their first full US tour after performing less than half a dozen shows, and the tour was with underground greats Dying Fetus, Gorguts and Skinless. Although the shows were well received the band didn't function through the rigors of touring as a unit and at the end of the tour the session musicians departed. It seemed doubtful that the Berzerker would continue for some months. There had been constant setbacks at every stage, and any momentum gained was lost with the departure of the live act. The arrival of two replacement members injected new life into the band - drummer Gary from Perth band Plague and guitarist Matt Wilcock from Abramelin/Ackercocke.
With the arrival of enthusiastic new members the band set about recording their follow up album 'Dissimulate'. The new members' own experience and ferocious skills lent new brutality to The Berzerker and the album was a masterpiece of speed and brutality. The song 'No-one Wins' was also released as a video, and the drumming for the song was considered for submission to the guinness book of records for fastest drumming performance. Everything went to a new level - even the band's dragon logo was given a spitshine by designer Ivan Kenny-Sumiga. The band celebrated by playing live ugly shows which resulted in onstage violence in Melbourne for months, and when they deemed themselves heavy enough they headed off for a world tour lasting from 2002 to 2003.
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(VÖ 16.02.07)
The Berzerker began as a mid 1990's one-man speedcore DJ act signed to the Lenny-Dee label Industrial Strength. Based on the reputation of the live appearances throughout Europe and a number of metal remixes including Decide, Earache approached the Berzerker to remix death metal giants Morbid Angel. The combination of brutal gabba with death metal guitars and vox was well received, and Earache signed The Berzerker who returned to Australia to set about recording an album for the label of this new, noisy style.
Originally, the project was to be a death metal supergroup with contributions by David Vincent, Kevin Sharpe, Dan Lilker, Jed Simons, and production by Devin Townsend at his studio in Vancouver. The Berzerker realised that his vision of brain-melting brutality was starkly at odds with that of the firmament and through a number of setbacks realised that production and performance of the band would have to be done by himself and unknown performers. He returned to Australia again and recruited guitarist/vocalist SB as longtime member and collaborator, and also gained the services of Ed and Jay from legendary Melbourne metal band The Wolves on guitar. Album recording was commenced after almost two years of preproduction, and the recording of the self-titled album - after nearly a full year of further setbacks and disasters - was completed.
The Berzerker self-titled album was received to critical acclaim in the metal media, but also some polarised reactions which have marked the band's output throughout their career. Some people loved the album and relished the ridiculous brutality. Others could not handle the huge electronic kick drums, the relentless samples, the superfast beats, and thought it was grindcore idiocy that had lost all semblance of music. They hated it. Reactions became even more mixed when the band started performing live, using members from the rhythm section of a local melbourne band. The live shows were not only loud and noisy but also intensely visual; smoke and strobe machines pumped nonstop, and all the band members were horrifically masked in order to take the live experience to another level. Many people 'got it', understood that it was a method of reaching for something crazier and heavier than any band previously. Many people, however, wrote the band off as a novelty act. The band ensured notoriety by releasing a video for 'Reality' which set new standards for depravity in music videos by including gratuitous amounts of autopsy footage. MTV summarily banned the video from rotation.
The Berzerker had their first full US tour after performing less than half a dozen shows, and the tour was with underground greats Dying Fetus, Gorguts and Skinless. Although the shows were well received the band didn't function through the rigors of touring as a unit and at the end of the tour the session musicians departed. It seemed doubtful that the Berzerker would continue for some months. There had been constant setbacks at every stage, and any momentum gained was lost with the departure of the live act. The arrival of two replacement members injected new life into the band - drummer Gary from Perth band Plague and guitarist Matt Wilcock from Abramelin/Ackercocke.
With the arrival of enthusiastic new members the band set about recording their follow up album 'Dissimulate'. The new members' own experience and ferocious skills lent new brutality to The Berzerker and the album was a masterpiece of speed and brutality. The song 'No-one Wins' was also released as a video, and the drumming for the song was considered for submission to the guinness book of records for fastest drumming performance. Everything went to a new level - even the band's dragon logo was given a spitshine by designer Ivan Kenny-Sumiga. The band celebrated by playing live ugly shows which resulted in onstage violence in Melbourne for months, and when they deemed themselves heavy enough they headed off for a world tour lasting from 2002 to 2003.
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Album : NRJ Hits 2007
Genre : Top 40
Bitrate : 204 kbps avg
Source : CD (LP)
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° 02 Hypersphere 07:01 °
° 03 Anahata 06:56 °
° 04 Arsonik 06:28 °
° 05 Cycles of Life 07:19 °
° 06 Code S9 06:40 °
° 07 Flamicogyre 09:46 °
° 08 Bombay Night 07:45 °
° 09 Ulysse Voyage No.2 05:30 °
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2. Club Bizarre (Single Edit) 3:46
3. Club Bizarre (Club Mix) 7:39
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