Festival of Death (2001) - Brodequin

 

Festival of Death is the highly intense and brutally technical death metal offering from Brodequin, a band that specializes in delivering fast, unforgiving blasts of sonic violence. Released in 2001, this album is both a blistering critique and a celebration of the most macabre elements of human history, specifically focusing on medieval torture and the grotesque. With crushing riff work, lightning-fast drumming, and an unrelenting vocal style, the album demands your attention, dragging you through an auditory experience that is both disturbing and captivating. The tone throughout is heavy, aggressive, and relentless, with no room for mercy.

Tracklist:

1. Mazzatello – 2:31
2. Judas Cradle – 2:12
3. Trial by Ordeal – 2:48
4. Torches of Nero – 1:55
5. Vivum Excoriari – 2:56
6. Lake of the Dead – 3:26
7. Blood of the Martyr – 2:03
8. Gilles de Rais – 2:39
9. Flow of Maggots – 2:58
10. Bronze Bowl – 2:52
11. Auto de Fa – 4:37

From the opening seconds of Mazzatello, the listener is thrown into a whirlwind of blast beats, guttural growls, and lightning-fast guitar work. It’s clear from the very beginning that this album will not let up, and as each track progresses, it becomes evident that Brodequin has a unique take on grindcore-infused death metal.

The standout track on Festival of Death is undoubtedly "Judas Cradle." This track showcases the band’s relentless speed and precision, while the grinding riffs and pounding drums take the listener on a ride through a hellish, medieval landscape. The track captures the essence of the band’s thematic interest in ancient torture devices and human suffering, which are portrayed with vivid lyrical imagery.

Another notable highlight is "Gilles de Rais," a song named after the infamous French nobleman who was convicted of numerous grisly crimes. The song's dark, brooding atmosphere mirrors the sinister and macabre nature of its historical reference. The track perfectly captures the concept of the album: blending aggression with historical darkness.

"Torches of Nero" is another fan favorite, referencing the brutal execution of Christians under the Roman Emperor Nero. The track is relentless, fast-paced, and filled with chaos, giving the impression of the infernal nature of the times.

Closing the album is "Auto de Fa," a track that clocks in at over four minutes but still maintains the intensity of the rest of the album. The song explores the concept of the Spanish Inquisition and the horrific practices associated with it, delivering one last brutal onslaught of drums and riffs before the album ends.

What makes Festival of Death such a captivating listen is how it seamlessly marries historical macabre with extreme music. While the lyrics are often hard to decipher, the power of the music speaks volumes on its own. Brodequin’s technical prowess and passion for the genre are evident in each track, and the album doesn’t shy away from pushing the boundaries of what death metal can do in terms of speed, brutality, and thematic intensity.

For fans of grindcore-infused death metal, Festival of Death is a must-have. The album showcases the raw aggression of early death metal with a level of technicality that elevates it above the standard fare. The oppressive atmosphere and constant barrage of sound are truly unforgettable.

• "Judas Cradle" – A perfect storm of aggression and technicality, encapsulating the band’s ability to create both melody and chaos.
• "Gilles de Rais" – Dark, heavy, and relentless, this track is one of the album’s true standouts.
• "Torches of Nero" – Fast, furious, and all-consuming, this track captures the essence of the band’s thematic focus.

In conclusion, Festival of Death is a masterclass in extreme death metal, and Brodequin’s dedication to their craft is evident throughout. The album is not for the faint of heart, but for those who crave intense, challenging music, it remains a cornerstone of the brutal death metal scene.