Let’s get stupid up in this piece. Or not, because it’s hard to decide when dealing with Forest Of Remorse, a band that can only be described as “coming from New England”, with members from Massachusetts, Vermont, and New Hampshire, though they convene in NH, so let’s just say Namshaw. So, Forest Of Remorse is a Death Metal band from Namshaw, and this is their EP, boasting 5 songs of sonic headfuckery that doesn’t know what to do with itself, but will punch you in the mouth and then saw you open. If you smell a track-by-track treatment, you’re correct.
Opening this pus-filled cadaver, one is immediately treated with “Atlas Resolve”, and immediately given a good idea of what to expect from the rest of the album. Starting out with some Technical Death Metal to rip your nose off, it then descends into a massive slamdown that’ll open up the pit, before a surprisingly melodic injection followed by a catchy jazzy djent section. It’s as if Devourment began jamming with Intronaut, pretty cray. In step with slam tradition, the song ends with a shovel beatdown of distorted, damn near sludgy crawls, backed by RJ’s sewer gutturals and Blake’s earthsplitting drums. It’s time for hyperbole, so put your thinking caps back on.
World Of Industry, oh man. What is that sound RJ makes after the circlepit section? It’s like the female vocalist from Despise You having an aneurysm. After that the music takes an odd turn, becoming a windmill-headbangable blast-beat and tremolo section, followed not by a slam, but a groovy pseudo-breakdown and a return to the semi-thrash. It continues in a fashion that sort of fizzles out, but it maintains some heaviness, though a megaslam would have really sealed the deal.
Every great EP needs a throwaway track, and the backwoods boiz in Forest do just that in Chicken Lover. It reminds me of Thou/EyeHateGod type sludge, but instead of screeched or even growled vocals, a symphony of clucks, yipping, and X-rated dirty Southerner howls for your chicken fucking pleasure. Makes me hungry to no end, I tell ya what.
Frail is an old track, re-animated from Forest Of Remorse’s salad days of being a doom/deathcore band, but given a little more vitality from RJ’s vokills. It’s certainly a crowd pleaser, much to Blake’s chagrin, who regards it as a prose unworthy fecal nightmare. Okay, that’s not true, but he’d prefer that it be a little more complex, or something. I’m not getting paid for this so I don’t care. It does end in a grindy freakout that would please Fused-era The Red Chord lovers, so that’s also an option.
Ritual Penetration just may be one of the best tracks on the EP for its sheer simplicity and heaviness, following the kooky opening that makes it truly stand out. So, next time you’re at a party and somehow forget the track’s name, you can just say it starts like “doo-dee-doo-doo-dee-doo-dee-doo-doo”, accounting for pitch, of course. But anyhow, this track is bottom-heavy to the max. Chris and Alex dispense with notions of technicality for the greater part of the track, and slam til they can’t slam any harder while RJ voids himself of his pancreas. If you tryna git ignant in the pit, this is your dream track. Despite the relentless chugs, RJ keeps it fresh by not allowing his vocals to become a single monotone slime monster purr, and Blake’s drumming is of course, rhythmically tight but not unremarkable.
Serotonin Hell brings back some of the technicality that was showcased more in the beginning of the EP, and has a catchiness that you can shake ya ass to, but watch yourself. It’s not the most interesting track, but you can tell the boys put some actual songwriting into this one, though that’s not to say the others are poorly written. The ending slam, I feel, could have been much heavier and de-tuned, but the melody on top of it was a nice touch and brought some balance, so perhaps it would have sounded silly otherwise.
And that there is my take on this EP that’s been bouncing around for a few months. It takes me forever to do a lot of things, even if I like them. Something’s very wrong. All I’ll say in closing is that this is a very promising start for the band, and despite some obvious recording quality limitations and some songs that could use improvement as far as structure, it’s a damn fine release that’s good for ages 8 and up.
The Verdict: More Popeye’s.