on April 3, 1999
This one was hard for me to get into at first. If you've never listened to grindcore before, or know only the likes of Napalm Death and Carcass, you'll most likely feel the same way. But once you've listened carefully to the beautiful destruction that this album comprises of, you'll find yourself entranced in a whirlwind of chaos. Fans of extreme music, check this out! Fans of the Backstreet Boys, 98 degrees, Britney Spears, and N'Sync, have a listen to this and die! -Nick
on March 22, 2001
This is the 'Raw Power' of grindcore, without any doubt. Like the Stooges record, some love it, because of the raw and animalistic approach of the music, some hate it, usualy because of the production. And like 'Raw Power' this is a cult record (even if only in the brutal world). Once, after several listenings, you're into it, you can't leave it anymore. Brutal Truth is still for me the highlight of Grindcore, with three awesome studio records, two EPs and a live testament. Essential!
on July 9, 1999
The name sums up this band so well. With the opening line of "Still not loud, still not fast enough", the rest of the album commences to crush your skull. Tight and extreme blast beats from drummer Rich Hoak are definetly one of the best assests of this band, however animalistic vocals, at times odd guitaring and thundering bass all add to the Brutal Truth experience. Too bad they split up.
on December 29, 1998
This album rocks. Guitars and drums sound inhuman. Richard Hoak is one of the best drummers in the genre. Gurn has a very interesting approach to the guitar, while Kevin Sharp's vocals are just plain brutal. For any one who likes tight, fast, and intricate grindcore with a mix of black metal, death metal, and hardcore/punk, pick this one up. My personal favorite brutal truth album is kill trend suicide, but some may prefer the production of this album.
on March 8, 2013
New York's own Brutal Truth finally started experimenting with their sound a little bit -- but they waited until the very end to do it. Just a few years before temporarily disbanding in 2000, they released "Kill Trend Suicide" in 1996, and "Sounds Of The Animal Kingdom" the following year. The former album was a bit of a departure for grindcore primitives because it fused-in surprising levels of melody (thanks to its high-strung guitars). But this review is about the latter album, "Sounds." Don't get me wrong, B.T.'s core sound remains unmoved -- brutal, downtuned, chugging riffs, an absolutely filthy bass tone, and murderous blast beats all remain key ingredients in their arsenal. But "Sounds" is "experimental" in that it fuses in just a touch of experimental rock (as evidenced by the melodic interlude tracks). Plus, the arrangements -- is completely covered in crust punk this time around. Frontman Kevin Sharp's vocals especially are just caked in Crass/Assuck-inspired crust.
And the heck of it all is, the record leavens all of its brute force power with a little bit of brains. See, instead of bogging down in the usual death metal/grindcore clichés (which usually deal with such things as Satan, gore, and sac-religion), Brutal Truth choose to take on a bit of a politically-charged bent, lacing the lyrics in conceptual topics like mankind being its own worst enemy, and how if we don't watch it, we could be the cause of our very own demise.
But that should not imply that the band don't let the music speak for itself -- because they do, for the most part. And man, does it ever speak loudly! "Dementia" is a booming set opener; its neighbor, "K.A.P. (Kill All Politicians)" does feature some rather unnerving, sampled animal noises, but they are immediately overshadowed by the track's abundant use of pummeling grindcore blasts, bludgeoning rhythms, shredding guitar leads, and muscular, flowing bass riffs. The rest of the album pretty much goes on like this, beating the listener into a bloody pulp while very rarely allowing him or her (oh, who are we kidding, we all know it's a HIM) to catch a breath. Some songs do standout, though, like the band's knack for jackhammer-fast hyperblasts in such choice standouts as "Soft Mind" and "Pork Farm." And skins-thumper Richard Hoak also shines especially bright on tracks like "Average People (Fiend)."
But it is the bassist (Dan Lilker, who is left Nuclear Assault in order to join crossover thrash experts Stormtroopers Of Death) that gets a hold of the spotlight in some of the other material. "Die Laughing," for one, finds the four-stringer laying down some tricky, cork-screwing riffs; and he throbs in some especially hideous and chest-caving bass frequencies in "Jimenez Cricket" and "Promise." And said two cuts are also of note because, aside from featuring buzzsaw-fast bass lines, they are otherwise two mid-tempo rave-ups that evoke what the outcome might sound like if the members of Discharge started injecting `roids. Elsewhere, "Blue World" is a grimly haunting, seven-minute long epic oasis of a track; "It's After The End Of The World" is an entirely instrumental interlude; "Callous" is a seven-second long microsong; "Fudgetoy" begins by luring the listener into a false sense of security before exploding like a pipebomb; and "Machine Parts" finds Sharp adopting an almost Fear Factory-like feel (read the lyrics, and you'll see what I mean).
Now, it is very possible that you underwent a head contusion and/or brain damage while listening to this album, so I will put this as simply as I can: "Sounds Of The Animal Kingdom" is doubtlessly a watershed release, a milestone album, and an absolutely essential purchase for all of you grindfreaks out there.