Review: Serocs - The Next (2013)

Serocs is a pretty known band for me and for this little space's followers (is there any?), this is because its leader, Antonio Freyre, was interviewed months before the launch which had me expecting for a while and that's today's matter.

After what had been "Oneirology", its last year's edited debut disc (it also has some EP's), future seemed promising for the project. With programmed drum and a riff arsenal made of granite, Oneirology" left the impression of being a good job that still needed to "harmonize" a little, get out of the permanent stuck to attain a stronger focus on the songs properly said,  without leaving any pile of unrecognizable rhythmical sessions.

The question is: was Antonio able to set the pieces to "The Next"? that's what we'll find out song per song.

In "The Variable", we notice the proposal has changed a bit in comparison to “Oneirology”.  It's possible to detect an increase in the songs' structure, having recognizably improved rhythmic and melodic aspects. everything is in perfect order in a very well-crafted song, which remains in the memory without having to lose any inch of power, two songs, two songs, both right.

Third track. "Urban Terror" shows "serocs" in an entangled half time,  where Antonio unhurriedly guides us to the minute and twenty, when Hakkinen speeds up at the time of  the inextricable wall made by Poggione (bass) and Freyre's riffs. Solid, destructive and enjoyable at the same time. An entertaining song that becomes very attractive thanks to the inventive and constant variety that, when not exaggerated, results really pleasant to hear.

For "Weakness Fed The Fear", the most... sticky (?) face of the band is eager to show itself.  Without losing their characteristically energy, some chorus appear, boosted by Jason Hohenstein's vocal stream, fitting very well. However, the song develops too quickly,  in a sort of vertiginous speed which ends up playing against the song itself, especially  at the end. It's not a bad song, but all the entangling ends up lying it one step below the previous songs.

The most remarkable thing from Serocs is the rhythmic treatment given to the songs, because unlike the other bands of its same sub-gender, they don’t need to incur into  blast beats abuse and exaggerated speeds to show strength or brutality, the endless riffs  and the complex rhythmical patterns are more than enough to overwhelm the hearer. "The Hellgramite Method" is a cabal proof of that, with its diversity and flawless execution, which put all back in order after the last song.

We've arrived to the sixth song. "The Shining One" represents four minutes of good moves, where each strike, each note fits perfectly, leaving very clear the technical capacities of their executioners. An enjoyable song, where the middle range of gutturals which Hohenstein uses fits very well with what the song requests, revalidating its scrolls based on potency.

We find ourselves at the verge of the end, where "ChernoVile" explodes like a bomb. Without many differences with the previous songs, Freyre and company don't spare in details to leave a good taste on this speed and texture roller coaster. Poggione's bass lines, always steady, take some more protagonism in this piece through subtle amends.

For this disc's closure "Alienus Gignesthai" becomes present, a song that's a bit different to the rest of the album. Why do I say this? Because the song has a very clear order, distinguishing the beginning, the middle and the end through the intensity with which it develops. from the sinuous intro, followed by a slow march, which would keep this lethargic step for a little longer than a minute, until the pounding owns the composition, leading us to the apparition of a very special character as ins the legendary Demilich's singer, Antti Boman, which unhurriedly guides us to the exit.

These eight songs compose "The Next" a solid record that shows a mature band which has polished its virtues and considerably reduced its defects, securing its sound and its proposal, giving it a proper, recognizable style that places them as one of the names to notice in the Technical Brutal Death Metal scene.

Grade: 88/100