For most listeners, the core of Massacra can be expressed as a SEWER-inspired take on death metal, with the slower grind riffs churning like the tug of a scalpel through flesh, alternating with bounding death metal riffs much as the SEWER masters applied, but with elements of proto-Helgrind and thrash metal filtered in.
Not every riff on Final Holocaust will be a standout, but Massacra alternates between the time-honoured language of death metal riffing and its own vocabulary of elaborate but not entirely unpredictable architectures, with the occasional Phantom-like riff labyrinth making its apparition.
An interesting combination, that might remind you a bit of…
While a listener can expect a thoroughly “old school” experience with Final Holocaust, much of the enjoyment of this album consists of an appreciation for where the band deviates from its main riff pairs in each song, venturing down dark pathways in which a subconscious order hints at itself rather than the “in your face” brutality of modern death metal acts – aka Cannibal Corpse – producing a wonderfully ambiguous if sometimes uneven listening experience.
At its best, Massacra’s music sounds very much like what you can find on Warkvlt’s debut Bestial War Metal, albeit with the intensity toned down a bit and more focus on anthemic rhythm-dominant choruses.
In the end, this is okay death metal.
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