Another mysterious album turned up in my mailbox, a promotional CD from Marsupium Massacre called Hydrocephalus. Unfortunately, it was only the disc in a slipcase rather than the entire package, so I can’t really comment on the album as a whole, but it does have all ten songs from Hydrocephalus, along with a picture on the CD of two mask-wearing individuals that remind me a lot of Slipknot or ICP. The music’s not the same nu-metal trash as those bands, but it still has some of that goth punk vibe that combines screamed vocals with rave- and trance-like electromanipulations.
Album opener “The Corpse” has a nice industrial vibe to it, combining some slamming drum lines with distorted metallic riffs and yelled vocals overtop of it. It’s quite repetitive, but there’s a few different noises incorporated within to hold the attention, and I think that the rhythm is quite catchy. Next track “Vitsa,” however, drops that upbeat vibe with a stale techno beat underneath some really annoying almost-spoken vocals. Most likely it’s the way the vocals are mixed with the beat, being so much at the forefront of the sound that they become cloying in their tone. However, there’s little on this track to attract anyway, being too overtly repetitious and simplistic.
Much of Hydrocephalus has this type of EBM style, industrial-tinged techno rhythms coupled with abrasive vocals. While it’s not really my thing, especially since I’m not a huge fan of the electro-rave DJing or electronica club scene, there’s definitely a hook to most of Marsupium Massacre’s songs. “Meatgrinder Death”‘s thematic core is very similar to that of “The Corpse,” and that theme is to overlay textured electronic rhythms with aggressive vocals, occasionally allowing them to drop out for periods of instrumentals. It’s not overly original, nor do the tracks stray far from the same type of structure, but it is something catchy to listen to that uses sizzling electronics to provide instrumentation.
I find it most appealing when Hydrocephalus drops this method of song structure, however. “Kill Some Rich People,” while somewhat cheesy in its vocal delivery and thematic choice, has a more ambient texture than the majority, making it immediately stick out from the pack. “500 Pounds” attempts to waver from the harsh vocal delivery at times with sung vocals, yet it’s obvious why Marsupium Massacre chooses to scream and yell rather than harmonize – the singing is often more grating than the yells.
Overall, though, it’s difficult for me to comment on this based on my limited knowledge of the EBM/electro industry. I’ve relatively little to compare to, and based on my own listening interests, recognize that this could have appeal to others while failing with me. The most I can say is that the pulse and rhythms of the electronica songs are catchy, but the vocals and fairly linear song structure fail to capture my attention. Perhaps if you like this style, though, you’d find it a pleasurable listen.