Segression - Painted In Blood (Murder Machine Records)

Crank it up, baby...
Release Date: 
10 Oct 2014 - 12:30am

Segression are back, touting a brand new slab of riffage and bellowing courtesy of Painted In Blood, and it goes off. Opening with Painted In Blood, I initially thought there was a whiff of Motorhead in the intro but then the drums kick in and the shit hits the fan. Indeed, Segression have returned. New drummer Adam Bunnell abso-fucking-lutely punishes his kit on here and bassist/vocalist Chris Rand lays down his signature throat tearing vocals - though he does offer us some clean singing too, as a counterpoint to the roaring that he does so well. Sven Sellin and Michael Katselos bust the shit out of their guitars and as an opening track, it tick alls the boxes. Refuse To React keeps up the pace and the guitars put out big riffs decorated with luscious flourishes of melody. Good stuff, I say.

Things slow down a tad with Killing Kingdom before building up to another suitably mental section, with the track rising and falling with the (relatively) mellow to the more up-tempo sections. I can't stop praising the six string wizardry. Rand bellows like a pissed off bull too before launching into a lyric spitting frenzy on the funkish Grounded which is head-bobbingly good. These are superbly crafted tunes with a splash of feedback here or a sample/spoken word thrown in there, as shown off by Pale Beneath. The guitars are, quite literally, howling on War Cry with Rand busting out that roar against an almost lazily delivered backing section - so far there hasn't been a weak spot on here.

Oof! Maybe I spoke too soon? The disjointed arrangements go a bit too far (for me) on Scar Me Now but there's still plenty to like on this one - yet Song 28, which is as equally disjointed with its weird, heavy riff, works well and comes across with a strange beauty. Higher shows off the commercial viability of the band while Picture That Feeling takes possession of your neck, forcing you to bob along. Rand holds some spectacular notes and delivers the lyrics with a joyful level of vehemence. Blimey, it's a long album but it doesn't seem it.

After the strange (and delicious) fruit that was the last few tracks, we return to more familiar ground with Pacenzja before finishing on the semi-restrained Burn This Ending (the restraint is soon kicked out of bed by fat chords and heaviness) which closes the album on a gorgeous note with some clean sections to soothe the listener. My only gripe is that Chris doesn't have huge fat bass solos but I can live with that. A sterling return for Wollongong's finest.