INTESTINE BAALISM — An Anatomy of the Beast

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INTESTINE BAALISM - An Anatomy of the Beast cover
3.96 | 3 ratings | 1 review
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Album · 1997

Tracklist

1. Corporal Celebration (5:15)
2. An Anatomy of the Beast (4:32)
3. Alastor Process (3:54)
4. Cannibal Sodom (5:43)
5. Energumenus (The Rebirth of the Curced Creation) (4:51)
6. Blasphemy Resurrected (3:40)
7. A Place Their Gods Left Behind (6:11)
8. Burn Thou in Effigy (1:10)
9. Tyrant (4:47)

Total Time: 40:07

Line-up/Musicians

- Seiji Kakuzaki / Vocals, Guitar & Acoustic Guitar
- Atsushi Miyata / Guitars
- Katsumasa Yoshida / Bass
- Takeshi Ohkouchi / Drums

About this release

Full-length, Repulse Records, February 1997
Reissued by Blackend Records (BLACK061CD) in 2004.

Recorded and Mixed at Studio Nest Chiba JAPAN from April to October of 1996
Produced by Kenji Kikuchi & INTESTINE BAALISM
Mixed by Kenji & Seiji
Engineered by Kenji, Assistant Engineer: Seiji

Music: Seiji, Lyrics: Takeshi
English Adviced by Richard Johnson

Thanks to UMUR for the updates

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INTESTINE BAALISM AN ANATOMY OF THE BEAST reviews

Specialists/collaborators reviews

SilentScream213
Although Intestine Baalism were one of the first significant Death Metal bands from Japan, they sound more like something straight out of Sweden. Dismember and Entombed influence runs rampant in this unholy union of brilliant Melodeath leads and pummeling OSDM riffage. Combining the best of both worlds, the band ensures every track has some fantastic leads that make them memorable and discernable from each other, without ever sacrificing brutality or darkness.

The vast majority of this album is straight up Death Metal, and the lyrics check out. Occultic ramblings of sacrifice and violation paint a picture of a twisted and godforsaken underworld, and the music similarly oozes an evil urgency. Even the melodic aspects of this album are much further towards the “evil” end of the spectrum than Melodeath tends to be. It’s clear here that the band enjoyed and was influenced by OSDM more than anything, but their penchant for writing melodic, memorable leads just happened to be smacked right into the middle of it. Which is actually typical of Japanese-style music; which tend to be on the more melodic side, when not going into full blown Avant-Garde territory.

Everything the album sets out to do, it achieves and does well. Even the acoustic interlude is nicely done. Not a weak moment here, no songs that aren’t amazing.

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