originally written by Erik Thomas
Holy shit. My scars have only just healed from 2008’s murderously seething Traitors, and here are Baltimore’s veteran grinders with yet another vitriol-filled, anti-government sonic IDE that will leave shrapnel in your ears as the band attacks America’s alleged “hidden history” and shows that they are arguably one of grindcore’s top bands.
Culling the same slightly death metal backbone that the band’s Dying Fetus bloodlines demand, Misery Index’s take on grindcore is still rooted in the classic crusty, punk-driven influences plied by the greats like Napalm Death,Terrorizer and such, but with some real American attitude and beef dumped into the mix. Misery Index has managed to take their sound to new levels by adding a little control to their violent assault.
By adding some restraint to the formula that made Traitors a grindcore bitchslap, Misery Index has upped their game exponentially. But don’t worry, the restraint isn’t anything that lessens the impact of Misery Index’s sound – it’s very subtle with a slow song here and there, a brief groove or rumble to cement and enforce Jason Netherton’s vehemently intelligent diatribes. Let’s call it “maturity.”
After the likes of throat-ripping opener “Embracing Extinction,” which might be one of the most intense tracks the band has penned, the first signs of maturity arise for the almost 4-minute “Fed to the Wolves,” where the closing moments deliver a melodic solo and an almost somber rumble, then the almost 5-minute controlled lurch of “The Seventh Cavalry,” as well as the surprisingly catchy “The Spectator.” Otherwise the album is what you’d expect, from the likes of the punishingly militant title track, skin-peeling “You Lose,” lumbering “The Carrion Call” and “The Illuminaught,” which both reek of classic Dying Fetus. And even with various levels of restraint, the album still tangibly seethes with anger and the sheer piss n’ vinegar that, while inherent to grindcore, are palpable here. And it’s aided by the band choosing to record, engineer and mix this album themselves in their hometown Wrightway Studio rather than the Zuess production of Traitors. It sounds a little more natural.
If you are lucky enough to score the Japanese edition, be sure to stick around for the hidden recording at the end of punky closer “Day of the Dead”. It involves Blake Harrison from Pig Destroyer, some beers and some shit-talking about Misery Index in the studio.
