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Vision Of Disorder - Razed To The Ground

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    Ian Jane
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  • Vision Of Disorder - Razed To The Ground



    Vision Of Disorder - Razed To The Ground
    Released by: Candlelight Records
    Released on: November 20th, 2015.
    Purchase From Amazon

    Made up of guitarist Mike Kennedy, drummer Brendon Cohen, vocalist Tim Williams and bassist Mike Fleischmann, New York's Vision Of Disorder unleash their second full length on Candlelight Records with Razed To The Ground. These guys have been around since the early nineties (though they disbanded for a while in 2002) and popped up in the N.Y.H.C. documentary that came out in 2008. Production duties are handled by Chris “Zeuss” Harris who has worked with everyone from Rob Zombie to Earth Crisis to Crowbar to Agnostic Front and Municipal Waste.

    Heart Of Darkness kicks things off right, three and a half minutes of pure, unbridled intensity hardcore style. It's a track that does everything right, from the pissed off vocals to the heavy, heavy riffs right down to the breakdowns and the unexpected but surprisingly effective harmonies that surprise you a minute in. Track two, Hours In Chaos, continues that trend - minutely focused anger channeled through heavy guitars and slick, tight drumming. Williams' vocals completely explode in the last twenty seconds of this song, the intensity he hits here is just absolutely nuts.

    Electric Sky is just as heavy as what came before but it's not nearly as fast. It works though, again the band plays super tight here and the guitars anchor things nicely. Williams howls his way through it like a man possessed for just over five minutes, while the title track, Razed To The Ground, brings things back into straight ahead hardcore territory with style. This is fast, balls-out heavy, and just perfect hardcore through and through. Play this one loud a few times back to back - it'll make you want to smash stuff and punch something like good hardcore should!

    The Craving is a little sludgier, it incorporates some different vocal techniques that are a bit more melodic. Still intense, still heavy, but not the stand out track on the record. Cut My Teeth starts off like more of a metal track than anything else and then it switches back and forth; incorporating a traditional hardcore sound in with some technically impressive playing that really shows off what Kennedy, Cohen and Fleischmann can do. This segues really nicely into Red On The Walls, another track that mixes their technical abilities with hardcore elements in which Williams' switches back and forth from incredibly pissed off sounding to a bit more restrained, refined and controlled in his delivery.

    Nightcrawler stands out a bit because it's more groove-centric than a lot of the other tracks on the record. Williams holds back a bit here, less wailing and more signing in the vocals department, but he's still plenty intense sounding while Kennedy's guitar playing channels early Helmet in spots. This isn't what you might expect out of a VOD track but it's really well done. Severed Wing kicks off with some distorted vocals that build over some pretty pounding work from the rhythm section and some obscenely strong riffing in the guitar department. There's some tricky stop/start going on here that keeps you guessing while Williams heads straight back into 'I'm going to wail so hard it'll terrify you' territory with the vocals. The album finishes off with Amurdica: A Culture Of Violence, a four minute plus blitzkrieg that channels pretty much everything that makes VOD great - the hardcore elements, the riffs, the shrieking microphone work, the pounding drums that seem to fly off the handle but that never miss a beat and super tight bass lines.

    It took three years for Vision Of Disorder to follow up 2012's The Cursed Remain Cursed but 2015's Razed To The Ground delivers. If you don't mind hardcore that travels into different forms of heavy musical territory, give this a shot. Those who know VOD's style should appreciate this, it delivers pretty much exactly what you want from the band while simultaneously allowing them to experiment a bit. The production is very slick but it works and clean recording really lets the playing shine through here in a big way.
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