冲洗 - 黄金评论

Scour再次充分利用了这项工作的限时时间。黄金证明了残酷，肢体和所有可怕和邪恶的事物。我想应该是。

Extreme metal supergroup Scour has been issuing its missives in relatively short, sporadic, very violent bursts. Since 2016, the band - ex-Cattle Decapitation guitarist Derek Engemann, Misery Index guitarist/vocalist Mark Kloeppel, Agoraphobic Nosebleed bassist John Jarvis and his brother Adam, drummer with Pig Destroyer/Misery Index/Lockup, and fronted by Philip H. Anselmo - has produced a color-coded trilogy of EPs, "Grey," "Red" and "Black," each offering six songs and roughly 15 minutes of music that mashes up black metal, death metal and grindcore with the utmost ferocity.

极端的金属超级搜索一直在相对较短的，零星的非常暴力的爆发中发布其遗漏。自2016年以来，乐队 - 前牛斩首吉他手德里克·恩格曼（Derek Engemann），苦难索引吉他手/歌手马克·克洛佩尔（Mark Kloeppel），恐惧症的贝斯手约翰·贾维斯（John John Jarvis）和他的兄弟亚当（John John Jarvis）和他的兄弟亚当（Drummer），猪驱逐舰/苦难索引/洛克（Drummer），并由菲利普·H·安塞尔莫（Philip H. Anselmo）领导。已经制作了EPS，“灰色”，“红色”和“黑色”的颜色编码的三部曲每张提供六首歌曲和大约15分钟的音乐，以最大的凶猛捣碎黑色金属，死亡金属和磨碎。

This was perhaps both by design and as a matter of practicality - a means of capturing the immediacy and intensity of a band whose rank and file is busy with its myriad other pursuits, with precious little time to focus on Scour. So best to strike while the iron is hot - and strike hard it did indeed with the EPs - then get back to other business.

这也许是根据设计和实用性的 - 一种捕捉乐队的即时性和强度的手段，该乐队的排名和档案忙于其其他众多的追求，几乎没有时间专注于冲刷。因此，最好在铁很热的同时罢工 - 努力打击它确实与EPS罢工 - 然后重返其他业务。

Oddly enough, Scour's first full-length arrives as Anselmo - the frontman and highest-profile member of the band - is busier than ever, touring both with Pantera and Down, and recording a new Down album. "Gold" presents 13 tracks - including three instrumental interludes - over nearly 40 minutes. Yet in spite of its comparative girth, and Anselmo's other 'distractions,' "Gold" is no less feral or urgent than its predecessors.

奇怪的是，Scour的第一个完整长度是Anselmo（乐队的主持人和最高的成员）比以往任何时候都更加忙碌，与Pantera和Down一起巡回演出，并录制了一张新专辑。 “ Gold”在近40分钟内展示了13条曲目 - 包括3个乐器插曲。然而，尽管它具有比较的周长，而安塞尔莫的其他“干扰”，“黄金”也不是野性或迫切的，而不是其前辈。

Anselmo is his usual "pitbull on a poodle" self behind the mic. The screams, gutturals, phlegmy croaks and infrequent "goblin" cleans - to borrow from Cattle Decapitation frontman Travis Ryan - are delivered with vehemence and purpose, accompanied by a caterwaul of backing vocals.

安塞尔莫（Anselmo）是他通常的“贵宾犬上的比特犬”，在麦克风后面。尖叫，刺耳的嘶哑和不频繁的“ goblin”清洗 - 从牛斩首的主持人特拉维斯·瑞安（Travis Ryan）中借用，并以备受气氛和目的交付，并带有背式人声的表面。

The often-grotesque, Lovecraft-meets-LaVey screeds describe a litany of horrors and hellish landscapes. Take, for example, "Infusorium": "Skull embedded face up... / Buried feet first... / Faces just above the soil... /Mouth hung open... /Heads twisted backwards, facing up..." or "Invoke": "All hail Satan / Be at one with a hell / Give the body to Satan / Luciferian blood."

经常令人陶醉的Lovecraft-Meets-Lavey丝网描述了许多恐怖和地狱般的景观。以“ Infusorium”为例：“头骨嵌入脸部…… /埋在土壤上方的脚... /嘴巴悬挂着张开... /头向后扭曲，面对... ”或“ Invoke”：“所有的冰雹撒旦 /与地狱 /尸体送给撒旦 /路西法鲜血。”

The eerie, synth/string-drenched instrumentals - "Ornaments," "Contaminated" and the swarm-of-bees-like "Angels" - accent the sometimes-mystical air here, albeit briefly, and provide a breather from the blitzkrieg of blasphemy and blackness. And that blitz starts right out of the gate with "Cross" as Adam Jarvis' drumroll launches a cacophony of frantic trem guitars, heaving riffs and blast beats. "Blades" follows in a hail of Terrorizer-like surging grind and it's off to the races from there.

令人毛骨悚然的合成器/弦乐器的乐器 - “装饰品”，“被污染”和类似蜂群的“天使” - 在这里有时是有时的神秘空气，尽管短暂地散发着亵渎的亵渎神灵的呼吸器和黑度。当亚当·贾维斯（Adam Jarvis）的鼓声发行了疯狂的吉他，隆重的即兴演奏和爆炸节拍时，这种闪电战以“十字”开头开始。 “刀片”紧随其后的是恐怖分子般的潮汐，从那里开始比赛。

"Infusorium" does provide some slower, more atmospheric moments and a graceful, almost Maiden-esque lead break, while the title track, "Coin" and "Invoke" are a bit chunkier and groovier. "Invoke" uses its hookiness to accommodate the "All hail Satan ..." chant noted above, while the more majestic "Coin" is graced by a solo from Exodus/Slayer guitarist Gary Holt.

“ Infusorium”确实提供了一些较慢，更大气的时刻和优美，几乎是处女般的领先优势，而标题曲目“ Coin”和“ Invoke”更加矮小，更加浓郁。 “ Invoke”使用它的魅力来容纳“所有冰雹撒旦...”上面指出的唱歌，而更雄伟的“硬币”是由出埃及记/杀手吉他手加里·霍尔特（Gary Holt）的独奏所赋予的。

The rest, as embodied by "Evil," "Devil" and "Hell," is pretty fucking relentless, bringing to mind Marduk, Dark Funeral or Immortal at their most manic. And while that steady pummel might be better suited to the more concentrated bursts of Scour's previous work, it holds up here over the long-ish haul.

其余的是“邪恶”，“魔鬼”和“地狱”所体现的，这真是无情，想到马尔杜克，最躁狂的葬礼或不朽。尽管这种稳定的pummel可能更适合Scour以前的工作更加集中的爆发，但它在这里持续了漫长的途径。

Scour has once again made the most of the limited time it has for this endeavor. "Gold" is a testament to brutality, extremity and all things horrific and evil. As I suppose it should be.

Scour再次充分利用了这项工作的限时时间。 “黄金”证明了残酷，肢体和所有事物可怕和邪恶的事物。我想应该是。

4.0 Out Of 5.0

4.0（满分5.0）