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Xibalba-Tierra Y Libertad-CD-FLAC-2015-CATARACT
Description :
ARTIST : Xibalba STOREDATE : 00-00-2015
ALBUM : Tierra Y Libertad RIPDATE : 02-11-2015
YEAR : 2015 RUNTIME : 43:24 min
GENRE : Hardcore LANGUAGE : English
LABEL : Southern Lord GRABBER : EAC Secure
SOURCE : CDDA ENCODER : FLAC 1.2.1
QUALITY : 983 kbps Avg 44.1kHz 2 channels SIZE : 320.5MB
URL : http://tinyurl.com/nxftpqx TRACKS : 8 Files
01 Enemigo 4:37
02 Guerrilla 3:02
03 Invierno 4:22
04 Pausa 1:19
05 En Paz Descanse 6:36
06 Tierra Y Libertad 5:01
07 Si Dios Quiere 5:44
08 El Vacio 12:43
43:24 min
Hasta La Muerte, the last album from Southern California death
metal/hardcore hybrids Xibalba, showed a group challenging their
peers to step up the heaviness while never losing sight of their
humble beginnings. It sounded as though a hardcore band got locked
in their rehearsal space with only their gear, Obituary’s Cause of
Death, and Crowbar’s Broken Glass to pass the time. Muerte was less
cerebral than death metal, meaner than sludge, and unsubtly
knuckle-dragging and proud of it. Beneath Xibalba’s ultra-tough
exterior was a desire to advance their sound, even by adding armor
to their older vessels. “Cold”, which started out on a split with
World of Pain and Ruckus as a chugging mosh song, became a hulking
riff mass with Greg Anderson’s guidance and additional guitars. The
band emerges as an even more confident war machine with Tierra Y
Libertad, streamlining their sound, cranking the tempos, and tipping
the balance towards death metal. If Muerte was the beginning of the
workout process, Libertad is where they come out swole as hell.
Where does this newfound vigor come from? Xibalba have clearly been
studying the British death metal band Bolt Thrower’s move from grind
to death, and unlike crusties who lean towards metal, not just their
rawer 1988 debut In Battle There Is No Law! Many of the album’s
faster moments sound not unlike 1991’s grind-ditching War Master,
and Xibalba’s development mimics Bolt Thrower’s on that as a whole.
“Enemigo” establishes the album’s direction promptly and with no
mercy; that chug is undeniable. Most of the record is carried out
with similar intent; the confidence in their playing cannot be
overlooked. It’s not just that they add more solos, it’s that
they’ve found a way to advance beyond listing their influences.
Xibalba’s penchant for groove is still evident even though their
dances have become quicker and deadlier, which is primarily why
these songs carry. “Invierno” has bounce for days, the closest death
metal can get to being funky. The ending riff of “Si Dios Quiere” is
just disjointed enough to sound a bit hazy, but still packs that
hardcore punch, making for a beatdown whose impact you’ll remember
better than the conflict that set it off. It’s hard to believe that
Xibalba were the same band that made Madre Mia Gracias Por Los Dias,
their 2010 debut whose production sounds downright anemic compared
to Nails drummer Taylor Young’s work on Libertad.
Muerte was primarily conceived for rough-housing, and few modern
hardcore records serve that purpose better, but Xibalba also gave
into a bit of experimentation. Some ideas worked better than
others—the female vocals on “Mala Mujer” gave a new dimension to
Muerte’s agony, but instrumental piece “The Flood” was plodding
along in search of a breakdown. Libertad’s instrumental piece,
“Pausa”, is much shorter and serves primarily as a lead-in for “En
Paz Descanse”. Xibalba’s restraint in this aspect pays off, as the
focus stays on the death metal muscle. They only really extend
themselves on Libertad’s closer, “El Vacio”. A lot of the sludge
influence comes back on this song; most of it sounds like Pallbearer
going back to basics, with dreary cleans and especially deep,
longing vocals that could be on the next Skepticism record.
“Vacio” is Xibalba at their most alienated, and while they’ve never
been more sure of themselves musically, there’s hints throughout
that they really want to shake up and challenge their audience. Most
of the record looks inward, but “Guerilla” speaks of violent
revolution with no uncertain terms. Vocalist Nate Rebolledo’s call
for unity against oppressors isn’t a whisper: “I’m not a spick, a
nigger, a cracker/…I am the pissed off human race/ We are here to
scream ‘fuck you!'” His vocals are the most obvious remnant of
Xibalba’s hardcore days, and they’re needed for a direct
proclamation such as this. And it’s just the thing fans of hardcore,
death metal, and, really, any form of heavy music need to hear more
of.
Hardcore waxes on and on about brotherhood and sticking together,
and isn’t opposed to using violent metaphors to express such
sentiments, but Rebolledo is speaking on a grander scale than bros
looking out for bros. That may be harder to take than an accidental
punch in the face at one of their shows. Some punk kid may cry
“ACAB” because he got written up for open containers, but there are
many who don’t get off that lightly. Dan Seagrave’s artwork for
Libertad is another one of his classic dystopian war scenes, but
Xibalba’s war is not literal: it’s about what your expectations of
them might be, it’s about pushing the limits of hardcore, it’s about
combating apathy. Helps when you’ve got sick riffs on your side.
NOTE: track 7 mislabeled on discogs.com url we provide u the correct
title. 6/7 tracks are english , track 6 is in spanish language.
confusing i know ;-)
–Enjoy
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