Cataract by Cataract
|
Release date : March 2008
Reviewed by Mark Fisher
Background information
Initially a project between members of Mine, Damage I. D. and Cease, Cataract saw the light of day during the summer of 1998. Swiss Hardcore legends, the abused Metalcore genre is where Cataract's material is usually filed under. A 1999 demonstration CD, laid down in six hours and mixed in another four subsequent hours, was cut in the bedroom of vocalist Christian “Mosh” Ebert. In all, that demo notched up over two thousand purchases. Following several compilation appearances, Cataract opted to record an inaugural full length with producer Alessandro Azzali during April 2000. Dubbed Golem, the album arrived in December of that year via Ferret Records. In early 2001, Federico “Fedi” Carminitana assumed the vocalist position in place of “Mosh”. As an immediate consequence, rehearsals could be more frequent. Shortly after, Cataract nailed down five tracks in support of the Martyr's Melodies EP. Its 7" issue arrived in coincidence with the group's summer 2001 US tour, one that saw them roam up and down the East Coast. Performing at Hellfest, the outfit also played concerts alongside the likes of Poison The Well, Bane, Unearth, Nora, 18 Visions and Most Precious Blood amongst others. Martyr's Melodies witnessed a CD release in March 2002, celebrated in the form of two small headlining tours around central and eastern Europe. Honouring an appearance at July's With Full Force Festival in Löbnitz near Leipzig, Germany, 2002's subsequent months were mostly dedicating to sessions for sophomore full length Great Days of Vengeance.
Recorded at Italy's Alpha Omega with Azzali at the production helm once more, not to mention mixing duties courtesy of Eric Rachel at Trax-East in New Jersey, North America, the album came in March 2003. A sold out record release situated in Switzerland inaugurated proceedings, and Cataract continually promoted their second album throughout 2003. Performing on June 28th at the Pressure Festival at Funbox Amalie in Essen, Germany, the year's concluding note proved to be a a two week tour throughout the United Kingdom as support to Stampin' Ground. In May 2004, it was announced that Cataract had inked a record contract with Metal Blade Records. At Antfarm Studio in Aarhus, Denmark with producer Tue Madsen during March, Cataract had begun to lay down recordings for third album With Triumph Comes Loss. Released in September and witnessing a vinyl issue via Dead Serious Records, limited versions of the album came with a bonus DVD. Several European dates plugged the full length, most notably at German festivals such as Leisnig's Sucks N' Summer (August 7th), Absgmünd's Summer Breeze (August 21st), Trier's Exhaus, Ultimate October Blase (October 16th) and Hamburg's Fuck Christmas (December 18th). No Mercy Festivals 2005 paired the group with the likes of Six Feet Under, Nile, Dark Funeral, Disbelief, Dying Fetus and Wykked Witch, trekking across Europe in March 2005. A few more festival appearances occurred, such as those at Le Mans, France's Fury Fest (late June), Pressure Festival (late June), and With Full Force festival (early July).
Demo recordings for ten finished tracks were cut in January 2006 at Eversound studios, and by January's conclusion, Cataract were residents at Antfarm Studio with Tue Madsen once more. Fourth album Kingdom arrived in May, leaning heavily towards Metal stylings. Cataract opted to play the festival circuit yet again, notching up performances at the following; Amiens, France's Killerfest (April 15th), Lahr, Germany's Ancient Spirit Festival IV (May 27th), Bologna, Italy's Flame Fest (June 5th), Sankt Leonhard am Forst, Austria's Devil Days Festival (June 9th 2006), Dornbirn – Lustenau, Austria's Metalliga Open Air festival (June 16th 2006), Tolmin, Slovenia's Metalcamp festival (late July) and Denmark's Aalborg Metal Festival (October 7th). Bassist Michael Henggeler left the fold during June, and was replaced in August by Kay Brem (Tribes of Cain). From mid September to early October, Cataract were also part of the The Hell On Earth Tour 2006 package which featured Heaven Shall Burn, Maroon, God Forbid, Full Blown Chaos, Purified In Blood and Another Perfect Murder. Guitarist Simon Fullemann left in January 2007 as a result of musical differences, and his position was filled by Tom Kuzmic (Disparaged) the following month. 2007 notched up more festival dates, particularly; Gelsenkirchen, Germany's Rock Hard Festival (late May 2007), Würzburg, Germany's Rockfalls Festival (late June), and Jaromer, Czech Republic's Brutal Assault festival (early August). Nico Schläpfer (End of Suffering, Timor) joined the group's ranks in January 2008 to handle bass duties. Recording sessions for Cataract's fifth full length occurred during late 2007 at Antfarm Studio, and the group remained faithful to Madsen once again. Eponymously titled, Cataract was issued in three editions; a regular disc, a limited-edition album with a bonus disc featuring a slew of cover interpretations, and a vinyl picture-disc limited to five hundred copies. A concert celebrating both the album's release and the group's tenth anniversary happened on March 20th at Rohstofflager in Zürich, Switzerland. h3 align="center">Review
Continuing to favour a heavier, fuller sound in comparison to their initial trio of releases, Cataract have penned an angsty, pummelling release which hammers nails in the coffin of Kingdom. A frenetic, noisy affair, Cataract continually demonstrates the group's choice to adopt an unrelenting ethos. Predecessor Kingdom failed to leave a generally positive impression upon this reviewer, so the decision to critique was taken somewhat apprehensively. “The Separation of Life And Time” commits a violent assault upon your eardrums, but unfortunately that is its sole capability. The Swiss outfit conducted a flirtatious dalliance with Metalcore in penning Kingdom, and that's the genre which this specific cut is unduly preoccupied by. Until the breakdown present within sophomore track “Blackest Hour” arrives, admirers will find little reason to settle. Gradually, Cataract's more familiar chosen sonics usurps its erstwhile tone. “Deathwish” also aids this cause by deviating towards a nuance which the fond memory can pinpoint within earlier material, and opts in favour of this approach at a timely juncture. Spirits remain afloat at a lofty height, thus immediately vindicating this choice.
Once the group discovers a comfortable groove, a lively vigour emerges from its shell. A dirty crunch teams alongside pulsing breakdowns, all wrapped within an abundantly defiant Hardcore cocktail. Sporting grunt laden overtones, the destructive “Choke Down” pays respectable tribute towards the NYC Hardcore scene. Scenesters littered across the globe will feel eminently compelled to spawn circle pits when both “Burn At The Stake” and “Breeze Of The Kings” receive sufficient airing, and will also wail the latter's moniker at the peak of their very lungs. However, the epic “Tonight We Dine In Hell” is actually the number which genuinely warrants the spotlight's focus. Homicidal noises form a noxious alliance with grinding Metal, so you can actually judge a tale via its dust jacket. This fiendish noise appropriately suits the record, and lends admirers a wholly fresh aspect to listen to as Cataract's sophomore decade dawns.
Cataract verified their actual credentials quite some time ago, although admirers will discover multiple reasons to smile as concerns this eponymous album. The group continually adopt an even heavier stance, yet still kindly donates precious time towards older elements. In penning this 2008 material, Cataract even crafts something wholly fresh. Despite the fact that the act encounters initial teething problems, these issues are rapidly addressed. After each subsequent spin, numerous traits materialise that were undetected during previous listens. In comparison to some of the material which the group composed in support of past outings, the ethos “what you hear is what you get” doesn't stylistically apply. Collectively, admirers of both Hardcore and Metal can unite in tantamount support of Cataract. Each genre's individuality is adequately maintained, so that even severely jaded diehard genre fanatics will not cry foul.
