May 14, 2010 | , | 3

Arma Gathas, Dead To This World

Arma Gathas: Dead To This World

Man, if I hadn’t known better (and without looking at what disc I just threw into the stereo) I would have sworn that this was a Jamie Jasta (Hatebreed) spin-off. While the music on Arma Gathas‘ debut Dead To This World is firmly rooted in early 90’s Hatebreed style hardcore, there are some heavy thrash and metalcore leanings to be found throughout the disc.

Featuring slick guitar work from Simon Füllemann (Cataract) and Marc Niedersberg the album is chock full of catchy riffs that would be happy on Burn My Eyes-era Machine Head, but with bit more hardcore influences thrown in. The rhythm section know how to lay down some burly beats and up-tempo gallops, driving the dueling guitars deep into your skull. Vocally, Ché Snelting (Born From Pain) has a delivery and cadence very similar to that of Hatebreed’s Jamie Jasta. I don’t believe that he’s going out of his way to ape the style, but I’ll be damned if it’s not confusing at times.

Overall, Dead To This World is one of those albums that’s not going to end up on many year-end lists, but it’s easy as hell to get caught up in. There is plenty of groove, aggressiveness and catchy sing along sections with the choruses that you can’t help but have fun with this one.

Arma Gathas open up the album with this brief instrumental that’s rather subdued and has a sound clip over top of gentle guitars. It’s an interesting track since it sets up a bit of atmosphere that’s bleak and sort of goes with bludgeoning hardcore/thrash that fills the remainder of the album.

The Rise And Fall
“The Rise and Fall” open up ferociously with a big scream and massive guitars, waking you from the gentle slumber that the opening instrumental lulled you into. There’s a great groove permeating this song. And dammit, those vocals are so uncannily similar to Jasta’s (especially the vocal patterns) that it sort of throws you off track at first. Once you get past that the rest of the album is pretty damned decent.

Losing Hope
“Losing Hope” transitions in seamlessly from the previous song, but hits a great deal harder with a more ferocious vocal delivery that’s accompanied by driving riffs and bestial drum work. Man, this is a heavy song. There’s a pretty slick lead at 1:27 that you should definitely check out. Overall, this one definitely has that Hatebreed sound, but it’s still enjoyable as hell.

The Lies Of Man
The opening riffs on this next one are catchy and lead into a decent groove as the vocals arrive on the scene. There’s a bit of a lull in the attack just before the two minute mark that then jumps into groove filled riffs and drum work. Not a bad song, but not nearly as aggressive as “Losing Hope.”

The Damage Done
“The Damage Done” sounds like a thrashed up song from Hatebreed’s Satisfaction Is the Death of Desire. It’s a bleak, ferocious and aggressive song that has plenty of opportunity for you to get into it and shout along with the chorus. This is a burly track that is sure to move a few circle pits. The track dissolves into a mass of noise as it fades into the next instrumental.

Liberate Me
“Liberate Me” is a relatively tame 1:22 long song with moody guitars and a string arrangement that comes in during the second half. I’ll be skipping it in the future.

Now this is what I’m talking about. This is one of those songs that dark, brooding and heavy as hell. It’s got thick groove driven guitars, a catchy chorus you can shout along with and a bruising pace that’s sure to snap a few necks. The lead around 1:50 fits in nicely, as well.

New Saviour
“New Saviour” has all sorts of layered vocals that add a new dimension to the band’s overall sound. This is a pretty beefy track with pile driving drums and driving rhythms. It’s got a bit more of that early Machine Head sound that’s a nice addition, as well. The end of the song is quite epic in feel.

Generation Doom
After that rather interesting ending to “New Saviour,” the guys gets down to business with “Generation Doom,” a thrashing, menacing song. The vocals on this one have seen a shift as well. I’m not sure if it’s a guest vocalist or if Snelting is just being more authentic with his own voice, but I’ll be damned if I don’t prefer this style so much better. Overall, this is easily one of the best (if not the best) songs on the album. It’s got a more metal vibe to it and is what I would love to hear more of from the band.

This is the last instrumental on the album and quite honestly probably the most poorly timed one. It absolutely kills the momentum that “Generation Doom” had built up. On a side note, the sound clip used was also recently employed on Mr. Death’s Detached From Live.

God’s Wrath
After that brief interlude, the band gets back into the metal tinged hardcore beat down. “God’s Wrath” also sees the revised vocal presence that still reaches into the Jasta realm of deliveries, but not too much. There’s a good deal of groove flowing through this monster of a song.

Constant Hunt For Blood
I’m digging the overall feel of this next track as the lead work is overlayed on top of some burly riffs. Once the guys settle in, the pace is ramped up with bruising drum work and driving riffs. The vocals are delivered aggressively and with plenty of vehemence as the song progresses.

Our Final Breath – Our Last Goodbye
The final track starts off with distant, muted guitars and drums for the first minute or so before coming up to a more upfront volume along with the vocals. The main riff that weaves in and out of the burlier moments of the song is catchy and quite memorable, adding a bit of solemn melody to the mix. Hot damn, we finally get to hear some more variety in the vocals with the addition of some ragged screams and deeper, more guttural growls. Talk about saving the best for last! I’d love to hear more of this stuff on the band’s next release — fucking awesome.

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