Beyond Terror, Beyond Grace, Our Ashes Built...

When we last heard from Australia’s Beyond Terror, Beyond Grace they were bludgeoning there way through Extinction/Salvation with a ferociously thick production and maniacal, grinding blasts. This time around the band let loose with Our Ashes Built Mountains comprised of twenty fetid, raw and high energy blasting grind tracks.

Sure the vocals are unintelligible and the production is insufferably thick at times, but overall, these dudes have out done themselves with a more varied sound and improved song writing despite a few hiccups here and there (poorly timed or misplaced samples). There’s a good deal more atmosphere to the band’s sophomore release that gives the album a more adventurous feel.

Mannequins
This thirty second opening blast and hellish screams are sure to put you in the right frame of mind for the album. Layered vocals and a little distortion go a long way in making this short track that much more chaotic, violent and powerful.

Amnesia
I’m digging the thicker than thick bass that thuds along in this one. Again, more layered vocal destruction awaits you among massive blasts and frenetic guitars.

Husk
“Husk” is a frantic, grinding blast with a feel of urgency along with the introduction of a more guttural vocal delivery. There’s all sorts of noise and textures going on within this sub two minute song.

Information Scars
Despite the cacophonous noise that’s integrated into this one, it’s got a bit more of a traditional grind vibe with a slight industrial tinge. It’s also one of the few tracks that sees the band slow it down a bit and let you catch up. There’s a break of silence from 1:21 that lasts a few seconds before ambient background noise slowly fades in for the remainder of the 2:11 long track.

Tumour
That same noise transitions into the more experimental and noise fueled “Tumour.” Massively thick bass dominates this song as a variety of vocal deliveries (high shrieks to guttural death growls) battle with one another for supremacy. The more restrained moments of this song offer huge grooves and plenty of head banging mayhem.

Shadowhalo
Fifteen seconds of clashing drums, raw guitars and layered growls. Cool.

Words
“Words” brings in an Entombed-like tone to the guitars of this raucous, high-paced track. I’m digging the incorporation of more traditional death metal influences into the mix. It offers a nice change of pace.

Exposure
A catchy vocal pattern gets this next one under way with death metal inspired riffs along with frantic drums and a good deal of chaos before the guys give way to atmosphere building samples and noise for the rest of the track — one of those moments where it just doesn’t fit too well.

Fugue
I love the darker, slower start to this next one despite the layered samples over top of the funeral dirge guitars. Thankfully, a huge scream just after the one minute mark shocks us from a premature burial and hurls us head first into a grinding mass of drums, violent vocals and thick, staggered guitars.

Flightless
“Flightless” has a much more urgent opening than the last track as the dual vocal attack lets loose with a barrage of screams and growls. There are a couple of well timed tempo shifts in this one that work nicely to keep you entertained between the bestial blasts and thick grooves. Too bad the last minute or so is taken up with more random, ambient noise.

Coil
A brief sound clip and distant guitars get this next one going before the band settles into a much slower paced, bruising attack. Man, the vocals on this one are evil as fuck — guttural, raw and violent. As a huge departure from the blinding grind these guys have been throwing around, “Coil” turns out to be a fairly simple, yet stand out track.

Paradigm
“Paradigm” is another more experimental piece by the band. Building in from distant noise the band takes on an almost Sepultura like vibe, yet swallow that same vibe with layered vocals and lots of textured noise.

Hang Them By Their Crowns
Crusty and chock full of punk vehemence, “Hand Them By Their Crowns” is a raw, aggressive one minute blast of mid-tempo violence. I really like this one a lot.

Answers (In Front of Broken Eyes)
That same confrontational feel from the last song is carried through with this next track that also has a more traditional vibe to it. The slow down in the middle of the song is packed with massive bass and guttural vocals.

Control
For as raw as the last two songs were, they were also a bit more structured. Well, you can through that out the window with “Control.” This thing is like shoving the nozzle of a high powered sand blaster into your ear and pulling the trigger. Well, the first 25 seconds or so are like that. The remainder of the track would more represent the deafening void of hearing loss after such a stunt.

Aesthetics
Unrelenting drums and driving riffs accompany layered growls and screams in this short, violent burst of frenetic energy. For all the experimentation these guys are playing with on the album, it’s nice when they come back around to a simple, barbaric ass whooping — in under a minute, too.

Ashes
“Ashes” has some slick bass work that’s a bit tough to pick out at times amongst the din of texture riffs and noise. This is another track that’s a bit all over the place. From industrial grind to misanthropic black metal, the band throws a little bit of everything at you.

Pathetic
Buckle up and hold on for the next 39 seconds.

Murakami
I’m not quite sure what to make of this next song. At just under 8 minutes in length, it’s easily the longest song on the album, yet it’s also the most varied. Light guitars and softer, distant drums fill the first two minutes or so before a more melodic riff comes in along with heavier drums. There’s also an interesting layer of sludgy and textured noise smeared atop this song that takes a bit away from the musicianship, but is still in line with the rest of the album. All in all, the song amounts to a pretty well written albeit lengthy instrumental.

Bias
“Bias” wraps the album up in a tattered, blood soaked bow with blasting rhythms, hellish scream and discordant guitars. I’d have to say that, for as bludgeoning as the band’s debut album was, I think I’m preferring the more varied sound they’ve produced with this latest effort.

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Additional Notes:
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