Today we present Part 12 in the continuing rollout of our list of 2014′s Most Infectious Extreme Metal Songs. For more details about what this list is all about and how it was compiled, read the introductory post via this link. For the other songs we’ve previously named to the list, go here.
Today’s songs come from two outstanding albums by death metal bands who are quite skilled at putting a vigorous bludgeoning on your ass — and doing it in the context of actual songs that prove to be quite memorable.
Abysmal Dawn’s Obsolescence came loaded with highly infectious material, and so morbid that it might have been hand-delivered by the grim reaper. I think “Inanimate” is the most infectious track on the album, but only by a hair. It had lots of competition all around it.
The grim opening riff in this song is an immediate grabber — a sure-fire headbang fuse that just continues to jab and stomp all the way to the end, punctured by some melodic soloing and enlivened by vocals that sound like a whole menagerie of beasts taking turns in venting their rage.
We spilled gallons of ink (metaphorically speaking) on Hideous Divinity’s 2014 album Cobra Verde. I think we wrote about all the advance tracks as they appeared, in addition to posting a fulsome review. As DGR wrote in that review,
Cobra Verde, even with its familiar foundation in place, is a dynamic album. With a length of about forty-three minutes, it doesn’t drag, because the band are always in one of three modes: super-fast, frighteningly technical, or bludgeon-heavy with a groove-and-hook combination. The shifts in mode aren’t abrupt, but they instantly feel welcome the moment you notice. When the three combine, this Cerberus-headed monster of death makes it difficult to resist some form of rocking out.
The album’s long opener, “In My Land I Was A Snake”, might not be the most obvious choice for one of the year’s most infectious songs, much less the most infectious song on Cobra Verde, but that’s the one I’ve chosen. I’ve listened to it more than any other track on the album, and that tells me something.
To quote DGR again:
The song itself feels like two different snakes entangled into one, constantly taking different bites at each other and always on the attack. It makes a two-phase assault, and the one moment it seems to calm down, it ramps up right back into light speed and accelerates again with a slamming groove.
It really is a hell of a song, and in my book a highly infectious one, too. Listen below.