Released: 2017, Transcending Obscurity
Reviewer: Aaron Yurkiewicz
From the land down under comes some of the most chaotic blackened thrash you’re likely to hear in 2017. Stewarded by the mighty Dizazter of Singapore’s Impiety, Bloodlust, and a host of other Aussie extremists, The Furor subscribes to “invoking holocaustic aural power from the realm of the unmanifest”. I’m sure that’s supposed to be a much scarier statement than its grammar implies, but their latest release CAVALRIES OF THE OCCULT is nonetheless one ferocious beast of a record.
CAVALRIES OF THE OCCULT rages like a fistful of amphetamines chased with a six pack of Red Bull. It’s a hypersonic exercise in musical velocity, whose speed is matched only by its technical proficiency. Start to finish, you’re constantly hit in the face with a flurry of seemingly infinite notes and a degree of virtuosity that’s almost unheard of on this side of the heavy spectrum. Sandwiched in between all of the spectacle are 9 really good songs that almost get lost in the aural hellfire.
When The Furor locks into a solid riff, the band goes from good to great. “Storm of Swords” opens with an early-Slayer groove that catches you off guard, as does “Rampage Upon the Rational” with its doomy-Dark Funeral vibe. But it’s still hard not to dig the manic Impaled Nazarene-isms of “Second Coming Slaughtered” and the title track, the latter of which sounds like it was pulled from the Gary Holt riff guide. It also features a guitar lick that sounds like it’s saying “meow, meow, meow”. That’s pretty metal.
With as much as it throws at you, CAVALRIES OF THE OCCULT can be an exhausting record at times, but it’s soooo friggin’ good. The Furor need to slap some kind of medical disclaimer on the album before it releases in March advising that CAVALRIES OF THE OCCULT isn’t suitable for listeners with a heart condition. Put another shrimp on the barbie and celebrate the apocalypse.