Fucking Ouch.

I always thought Australia’s The Berzerker was a bit of a gimmick act, relying on their vortex of industrialized death metal/grindcore noise to overwhelm listeners rather than actual song writing, but with album number three, The Berzerker have come into their own creating a punishing and more coherent display of pummeling programmed death metal that’s far more dynamic than their last two albums.

Though still based around a ridiculously heavy and fast programmed percussive assault, inhuman dual vocals, down-tuned cybernetic guitars, distorted bass and a plethora of samples, World of Lies contains actual riffs, structures and songs that stick, and that’s immediately apparent from seething opener “Committed to Nothing”. From there on, World of Lies, is a full throttle, teeth rattling, brain cell destroying album of speaker decimating and ear canal shredding proportions.

With the exception of the surprisingly hypnotic 20-minute instrumental album closer “Farewell”, the album careens at breakneck, virtually implausible programmed speeds in short sub three minute bursts. But within the framework of the ballistic speed are well placed, suitably robotic grooves and threatening lurches; tracks like “All About You”, “Free Yourself”, “Follow Me”, “As the World Waits” and the fine “Constant Pain” throw in chest collapsing implosions like an EMP grenade shutting down all electronics in the vicinity. Other wise, tracks like “Black Heart”, “Burn the Evil”, “Y”, “Never Hated More” and the blackened “Afterlife” are sheer forces of sonic nature, like being caught in a landslide comprising of razor wire, engine blocks and crude oil.

The mankind hating samples are short and effectively used, and often amusing in a ‘wow humans are pieces of shit’ sort of way. The programming aspect of things is not overdone, meaning it doesn’t come across as clinical, bleak or overly robotic as the drums, while programmed in tone are relatively realistic. It’s the bass ‘guitar’ that really gives this album its industrial sheen, rendered in more thick throbs and pulses than actual notes or chords. Only “………………..” seems a bit wasted, but it does segue into the interestingly restrained aforementioned closer “Farewell”, a lengthy insight into The Berzerker’s rarely seen experimental and introspective side.

With World of Lies, The Berzerker have finally defined themselves as more than a hyperspeed industrial act. Their improved song writing and well placed sense of menacing restraint makes them a genuine act and a contender for a truly formidable band with future releases.