Amazing. One of the best "Ep" I've heard in my life. If an "EP" sound has that power, what about an entire album? "Justin Rousselle" destroys everything with his technique brutally awesome, nothing stays the same after this incredible drummer initiates the destruction. "Christopher Bradley" is another monster, full of brutality and technique in all the strings of his guitar. "Dennis Bradley" is fast with his bass and detail, do not use pick. I watched some videos of the band and I could prove it. Praise also to the singer "Elliot Desgagnés" who spare no voice, no breath.

"Comforting Prejudice" is the shortest of the "Ep." The letter is a criticism to Christianity. The contradiction of preaching "Love and compassion" but missionaries have bloody missions. It is matter of opinion. Musically speaking is the junction brutality carried out in accordance with the best possible way.

"Profitable Killcount" is more a criticism that involves religion, war and economics. It is readily apparent that "Justin Rousselle" is not limited in its instrument. It uses all parts of his drum. The voice of "Elliot Desgagnés" is not very clear about what he sings, is not so easy to understand, but very few actually bother to understand.

"Totalitarian Hypnosis" brings a criticism directed at the TV about his power of alienation. In general it is more "broken" than the other tracks but without losing the offensive power.

"Regurgitated Lullaby for the Born Dead" is mass destruction. Merciless riffs, a terrifying aggression on all instruments. It is the best track in "Ep." Here is also where most realize the technical drummer "Justin Rousselle," that without disparaging the other members, it is the high point of "Ep." "Awake the born dead..."

"Nevermore" quits "Ep" with a powerful critique of the vicious circle that surrounds the society. "Work more, faster, the show must go on it. Work more, Spend more. Happiness is one purchase away. We live our lives like if our condition would be just a phase" This letter is a slap in the face. "Happiness can not be bought." The sound is a punch in the stomach. Hearing mandatory for anyone.

Heavier than the previous album, the only change was the singer, "Dave Ingram" instead of "Mark" Barney "Greenway." The sound of the album is generally heavier than "Subconscious Terror", the riffs are also better designed.

"Ian Treacy" holds up the sticks again and very helpful in the improvement and evolution of the band.

It seems that the two guitarists are more inspired, "Darren Brookes" and "Peter Rewinsky" improved their technical merits for the band.

"Paul Adams" in the first moment seems inaudible but only seems ... arrives at his bass and do not let the pick away from the strings.

The voice of "Dave Ingram" fits better with a sound proposal for the band.

This album contains a cover song of "Celtic Frost -" Return to the Eve. "

Even with some passages still drawn to resemble the first album, here you can see a maturing of the band.

For those who enjoyed that line quite a bit dragged from the first album, the track "Vision in the Shroud" is a good tip, although shake a little later. "Opulence of the Absolute" has a "Benediction" more aggressive.

Overall, "The Grand Leveller" also recalls a bit the "Subconscious Terror", because the difference is only one year, but it's still another step of maturity. Worth it.

"Intro - Portal To Your Phobias" is an introduction through bizarre. Not much to say about it unless it is too long.

"Subconscious Terror": The title track begins with the bass of "Paul Adams" and the drum "Ian Treacy," which stands out in this particular track.Initially it seems that we are facing a band of "doom metal" riffs so dragged. The sound changes a little to one side more "hardcore" when drummer decides to act ...

"Mark" Barney "Greenway" lacks the vocal level of something different. Luckily for him and "Napalm Death", there was another story.

"Artefacted Irreligion" takes the feeling of "doom metal". The riffs dragged return, sometimes alternate, but in general the "death metal" predominates. Good music even without big news.

"Grizzled Finale" follows the lines of what has been the album, with some variation of speed and mixed with slow riffs.

"Eternal Eclipse" gives way to the talent of "Ian Treacy" that starts the range. It's a song faster than the previous tracks.

"Experimental Stage" explores sound and the riffs and the "death metal", making this track a standout.

"Suspended Animation" get dragged into that line gain speed with dual pedals, riffs and a beat hardcore. In the style "death metal" to be, the track is instrumental.

"Divine Ultimatum," "Spit forth the Dead" and "Confess All Goodness" finish the debut album from British band of "death metal" Benediction. Not their best album yet, the result is not displeased.

For those who like "death metal" worth listening to know a little about the origins of style and also for those who enjoy "metal" in general, it is curiosity.

Recorded in 1988, released in Europe in 1989 and the U.S. in 1990, "Piece of Time" joins the "death metal" elements with "progressive". The outcome is exquisite. The sound is surprising because until then I had only learned of bands of "death metal" that did not have great rhythmic variation. The band's name already exposes the ideological issue in their letters. With "Kelly Shaefer" on vocals and guitar, and primary lyricist, and also "Rand Burkey" on the other guitar, "Steve Flynn" in the sticks and finally bassist "Roger Patterson", the band showed quality work unquestionable and with a vision beyond his time. "Roger Patterson" stands taken by the sound of your bass, the guitar riffs are the bridge between "death metal" and "progressive", and rhythmic changes made ​​by the drummer. In fact the strong point of this album, the band itself is innovation. "Piece of Time" is an album of short tracks, but full of quality and musicianship. If at times the sound exposes his side "death metal" on the other side so complex exposes more "progressive".

"Over The Hills And Far Away" in his overall result is a good record of the band. This "Ep" is basically made ​​of re-recordings and live versions. The title track as well as other remakes follow what the band was before the watershed, "Century Child". "Astral Romance" had a more serious tone in order to help "Tarja Turunen" interpretation. The original version required a lot of it and so ... The live tracks feature the familiar sound of the band, with the bases and guitar solos "Erno" Emppu "Vuorinen," the effects of keyboard "Tuomas Holopainen" and the voice of "Tarja", as well as a complement to other members . "10th Man Down" and "Away" are as previously unreleased tracks from the "Ep." The live tracks feature the familiar sound of the band, with the bases and guitar solos "Erno" Emppu "Vuorinen," the effects of keyboard "Tuomas Holopainen" and the voice of "Tarja", as well as a complement to other members . "10th Man Down" and "Away" are as previously unreleased tracks from the "Ep." Participations "Tapio Wilska" on track "10th Man Down". Nothing expecional in general, but applies to hearing.