Currently located in both Tokyo and Russia, Vomit Remnants has a grand total of two full-lengths to show for a 20-year career in the brutal slam game. After numerous lineup shifts and periods of inactivity, the band has returned with exactly one original member (drummer Keisuke Tsuboi) in tow. Has it changed their sound that no one remembers from 1999?
In a word, no, but this is a full-length feature review for a respectable website, so this must be elaborated upon: with Hyper Groove Brutality, Vomit Remnants has recorded the best Dying Fetus album since Destroy the Opposition. As a matter of fact, in what is either complete worship or a “great minds think alike” scenario, several riffs from the latter are nearly replicated on the former. Now, before you go crying “PLAGIARISM, FOR ALL THE WORLD TO SEE” in a ridiculous cockney accent, keep in mind there’s only so much slam riffage to go around these days. Furthermore, there are WAY shittier albums to be cribbed from — may as well go for one of the kings.
Why is a derivative, barely-active band getting such a pass? Simple– this entire album is one long ignorant slam. That’s right. All eight songs, all 35-40 minutes or whatever, all fucking slam. It’s a goddamn slam salad with all the fixins. The “ride cymbal with no riff” slams? Got ’em. The “singer grunts before the slam” slam? Check. The “pause the entire song for a few seconds just to set up a tempo -changing slam” slam? Buddy, you better believe it. There’s enough slams to forgive the fact that these guys are about a decade-plus late on the Happy Tree Friends sample at the end of “Inflicted Artificial Intelligence.”
Now, you non-slam types (mostly dorks, posers, nerds, virgin losers, etc) may not appreciate a gift of supreme ignorance when it is laid before you like gold, frankincense and murr. This is one of the greatest travesties the mind can fathom. I feel sorry for you, personally, but nobody’s perfect. Neither is Hyper Groove Brutality, but it’s certainly close enough for what it attempts. If starving to death were at one end of a “best cereals of all time in relation to great slam albums” chart (Waffle Crisp being at the other, and no discussion will be heard on this), Vomit Remnants would fall somewhere between Sugar Smacks and Golden Grahams; that is to say worthy of one’s cabinet space any day of the week.