Tracklist
album info:
Verified yes
Discs1
Rank−
Released2004-06-07
Record labelScarlet Records
Charts
AddedNovember 26th, 2005
Last updatedNovember 18th, 2017
AboutType: Full-length
Release date: June 7th, 2004
Catalog ID:SC 087-2
Label:Scarlet Records
Format: CD
Reviews:1 review (avg. 69%)
My tube of death is pointing your Way
December 12th, 2016
It's always nice for a band to take you outside your comfort zone, although it's only the first word of the title to Hatesphere's third album that deviates from the norm. Rest assured that there is nothing balletic about Ballet of the Brute, just plenty of brute force, brute strength, and brute ugliness. The earlier days of the band seemed more closely connected to the fading melodeath scene in neighbouring Sweden than their latter habit of smashing the listener with deathly rhythms and thrashy riffing, though in either case they have rarely changed the pattern of attack. However, this album is sandwiched between two of the more distinctive efforts from the Danes, those of the savage yet disciplined espresso Bloodred Hatred and the groovier, hook-laden The Sickness Within; therefore, it could be said that there is good reason why Ballet of the Brute has remained rather neglected.
That's not to say it's a poor album though. In fact, there are more reasons to appreciate the riff work and vocal skills of Jacob Bredahl than on many albums following the major line-up changes, especially noticeable because of the minor amounts of variety that seep into an otherwise one-dimensional formula. Most of the songs are extremely reliant on their ability to hit fast and hard, surging forward on that familiar rhythmic bounce that sounds like melodeath but is heavier and nastier and groovier, melding thrash and pure death into an alloy of toughened steel. Occasionally that kind of riff does become wearing, especially when offered in the less inspired strain, such as in the verse of 'Vermin', but then we get something like the sudden concrete-heavy death thrash riff that follows it up, not to mention a genuine thrash break and cool solo, so something is always ready to refresh the songs. Also entering the band's repertoire by this point was the metalcore breakdown, something that massively influences 'Only the Strongest', which is a kind of low and slow slug of a chugfest, giving it a believable brutality though not a lot in the way of memorability.
The quantity of good riffs is slightly higher than on other Hatesphere albums, highlights including those bursts of extremity in 'Vermin', the thrashy fretwork and very melodic break of 'What I See I Despise', and the generally enjoyable 'Warhead'. The intro 'The Beginning and the End' begins with an awfully dull chug, but climaxes with possibly the album's best riff, so kind of justifies its inclusion. The solos are - as usual - pretty good, though still strangely sparse, a few songs possessing none at all; this is something that affects the listenability of Ballet for the Brute, since the sound is generally thick and filled by rhythm playing, plus Bredahl's almost omnipresent vocals. As the band's original singer, he did possess a certain something that the subsequent replacements seem not to have, which perhaps could be expressed simply as conviction. He doesn't have a great range of vocal tricks to go through, mostly sticking to higher screams and lower growls, but he is the only vocalist the Danes have had that can match the necessary intensity of the riffing with his own madness. The lyrics here are a cut above the poor efforts often seen in the genre, with the usual subjects being handled with nuance as well as 'Downward to Nothing' seeing an exploration of homeless life. It's 'Warhead', however, that gets the "amusing lyric" award (always necessary for Hatesphere albums) with the line "My tube of death is pointing your way."
One thing that does worry me about this album is that it bears striking similarities to another album released the previous year, namely The Haunted's One Kill Wonder. While the two bands have always shared certain traits, the style and structuring of Ballet of the Brute and One Kill Wonder are dangerously close, since both feature a loud, brutal production exaggerating the guitars, a shouty singer, slight melodeath tendencies, and a very comparable tracklist. The same trick of starting the album with a short instrumental followed by a searing sub-two minute blast of a song is most conspicuous and does make one question Hatesphere's credibility, particularly since 'Deathtrip' is no 'Godpuppet'. In any case, the bands' paths would diverge before long, as The Haunted took a trip into mellower territory and would eventually come back round behind the Danes for the pretty redundant comeback album Exit Wounds.
In conclusion, Ballet of the Brute is a middling death/thrash/melodeath effort that also ends up neither high nor low in Hatesphere's discography. The aggression is all there (the only thing that has never been in question), while the riffs are decent and occasionally offer something different. For those who never liked Hatesphere, there's no possibility of liking this album, but for those who appreciate the work of The Haunted, Dew-Scented, or Darkane there should be enough to get you excited.
Release date: June 7th, 2004
Catalog ID:SC 087-2
Label:Scarlet Records
Format: CD
Reviews:1 review (avg. 69%)
My tube of death is pointing your Way
December 12th, 2016
It's always nice for a band to take you outside your comfort zone, although it's only the first word of the title to Hatesphere's third album that deviates from the norm. Rest assured that there is nothing balletic about Ballet of the Brute, just plenty of brute force, brute strength, and brute ugliness. The earlier days of the band seemed more closely connected to the fading melodeath scene in neighbouring Sweden than their latter habit of smashing the listener with deathly rhythms and thrashy riffing, though in either case they have rarely changed the pattern of attack. However, this album is sandwiched between two of the more distinctive efforts from the Danes, those of the savage yet disciplined espresso Bloodred Hatred and the groovier, hook-laden The Sickness Within; therefore, it could be said that there is good reason why Ballet of the Brute has remained rather neglected.
That's not to say it's a poor album though. In fact, there are more reasons to appreciate the riff work and vocal skills of Jacob Bredahl than on many albums following the major line-up changes, especially noticeable because of the minor amounts of variety that seep into an otherwise one-dimensional formula. Most of the songs are extremely reliant on their ability to hit fast and hard, surging forward on that familiar rhythmic bounce that sounds like melodeath but is heavier and nastier and groovier, melding thrash and pure death into an alloy of toughened steel. Occasionally that kind of riff does become wearing, especially when offered in the less inspired strain, such as in the verse of 'Vermin', but then we get something like the sudden concrete-heavy death thrash riff that follows it up, not to mention a genuine thrash break and cool solo, so something is always ready to refresh the songs. Also entering the band's repertoire by this point was the metalcore breakdown, something that massively influences 'Only the Strongest', which is a kind of low and slow slug of a chugfest, giving it a believable brutality though not a lot in the way of memorability.
The quantity of good riffs is slightly higher than on other Hatesphere albums, highlights including those bursts of extremity in 'Vermin', the thrashy fretwork and very melodic break of 'What I See I Despise', and the generally enjoyable 'Warhead'. The intro 'The Beginning and the End' begins with an awfully dull chug, but climaxes with possibly the album's best riff, so kind of justifies its inclusion. The solos are - as usual - pretty good, though still strangely sparse, a few songs possessing none at all; this is something that affects the listenability of Ballet for the Brute, since the sound is generally thick and filled by rhythm playing, plus Bredahl's almost omnipresent vocals. As the band's original singer, he did possess a certain something that the subsequent replacements seem not to have, which perhaps could be expressed simply as conviction. He doesn't have a great range of vocal tricks to go through, mostly sticking to higher screams and lower growls, but he is the only vocalist the Danes have had that can match the necessary intensity of the riffing with his own madness. The lyrics here are a cut above the poor efforts often seen in the genre, with the usual subjects being handled with nuance as well as 'Downward to Nothing' seeing an exploration of homeless life. It's 'Warhead', however, that gets the "amusing lyric" award (always necessary for Hatesphere albums) with the line "My tube of death is pointing your way."
One thing that does worry me about this album is that it bears striking similarities to another album released the previous year, namely The Haunted's One Kill Wonder. While the two bands have always shared certain traits, the style and structuring of Ballet of the Brute and One Kill Wonder are dangerously close, since both feature a loud, brutal production exaggerating the guitars, a shouty singer, slight melodeath tendencies, and a very comparable tracklist. The same trick of starting the album with a short instrumental followed by a searing sub-two minute blast of a song is most conspicuous and does make one question Hatesphere's credibility, particularly since 'Deathtrip' is no 'Godpuppet'. In any case, the bands' paths would diverge before long, as The Haunted took a trip into mellower territory and would eventually come back round behind the Danes for the pretty redundant comeback album Exit Wounds.
In conclusion, Ballet of the Brute is a middling death/thrash/melodeath effort that also ends up neither high nor low in Hatesphere's discography. The aggression is all there (the only thing that has never been in question), while the riffs are decent and occasionally offer something different. For those who never liked Hatesphere, there's no possibility of liking this album, but for those who appreciate the work of The Haunted, Dew-Scented, or Darkane there should be enough to get you excited.