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Review : Shararah - Southern Soumoum (Demo)

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Band : Shararah

Release : Southern Soumoum (Demo)

Year : 2009

Country : Tunisia

Genre : Melodic Groove Metal

Label : Independent

Note : 12/20

Playlist :
01.The Cell
02.
Liescript
03.
The Constant
04.Southern Semoum

   When it comes to Tunisia, reviewing a demo is inexorably resorting to a big bunch of vehement encouragement criticism that is incited from a deep lament as well as a hope for this scene to develop.
Scanning around and skimming what such young soil would bring us, I usually escape reviewing. Still I am quite emotionally curious to ravel what could be hidden deep down these talents which are mostly dislocated, mutant, aborted or unaware of itself. At least for my own point of view.

The whole was morosely freezing and immaturely turning into ice... until a Southern Soumoum came and spread some warmth around my local ear and ignited a Shararah (Which means a Flame) at the bottom of my chauvinist heart.
Yes people! This is something tough, fluent and Heavily Metal. And guess what? From Tunisia!

Located in Sfax, these guys are inevitably a surprise.
Let's take note; a 4 tracks demo handcrafted to be what I shall call a Melodic Groove Metal released in late 2009.

Let's jump into it and Probe the components:

A first starting song entitled "The Cell" which would bias the entity of the work, because that very song is kept in the cell of Melodic Death Metal, conversely to what to come.
While for greedy ears of mine, I swallowed it as an introductive raw demo considering it more like a parody of Melodic Death Metal Stereotypes here.
However, bands such is "As Blood Runs Black" along with actual DeathCore and MetalCore acts, still invoke such spirit
of norsk old school genesis of the extreme.
-A convincing guitar performance fragilized by production.
-A Guitar influenced Bass lines.
-Humble vocal screaming (which at its growlings may remind you of Darren J White at Anathema's youth while at its sharp performance it may remind you of Satyricon's demo tape).
-The drumming machine did its best, let’s move the core.

Liescript, a reverberation of a ternary headbanful riff flows on only to blow your mind up with perfect execution channeled to real groove that endorses the headbangfulness of the song as well as the unleashed rage within it.
The chemistry of the song lies in the presence of a flawless ritual Groove guitar riff, along with the Mathcore taint of complex guitar creation. The small guitar solo at the end of the track suffers a reverb overdose.
The sound mixing is kind of humble thus to remind you that it is handcrafted. Briefly, A song for live performance, a song for sweat...
And if you like "Pantera", "Lamb of God", "Hacride" and such vein, "Liescript" would give you the auricular erection you seek.

The Constant having nothing constant, exhibiting a free swim and a wide large song-writing horizon. With nothing to introduce, the Shararah turns into an uncontrollable fire.
A first killing riff in the vein of "Arch Enemy", the kind that sticks up to your brain's short memory and identifies the band lucidly. Explicit and smart.
That Double bass pattern develop to an incredible groove, getting more mathematically Moshpart core diverting to the first pattern again.
The feeble aspect of the song is the Alternative Rock chords which problem is not artistic at its most.
Thus, you can figure it out yourself at the starting of the clean vocals where something pushes you to notice suddenly:
"Slow down the Tempo!!!"
Unfortunately, I say if the tempo of this song was only minus 20 Bmps it would be proficient without losing the heaviness upon which the band insisted.
Clean Vocals seemed as a good idea sadly blemished by the tempo and FXs excess, for those who know about "Farmakon"
something about the arrangement may catch you here.

Southern Semoum a clean ambiance transcending to a very "Arch Enemish" Riffing at the edge of a "Carcass" Heartwork,
while drums evolve from being heavy towards helicopteric double bass and highly energetic patterns. A ritual groove is canonized right after Nordic introductions; Shararah's influences are explicit yet authentic. Reverberation while recording screwed up the Vocals timbre.
The Guitar Solo is highly melodic and catchy at a level that threatens the entity of the track, because you may find yourself forwarding the track towards the solo the next time you listen to the track.
-Marginalized Bass with a slight lack of groove and identity.
-The Album titled track is not the best to define Shararah, a bit dislocated from the ensemble along with The Cell.
The core of the track list is the core of the demo.

A work full of promises, fire and energy though some crippled structures and the undeniably mediocre artwork I should blame about.
At an end, a demo that is strong and refreshing in spite the awkwardness of production, the arid musical climate and the frailty of a newly born identity, feeds me with what I used to lack mostly in bands majority in this country: The Talent of Music Writing.
A flame fueling the torch of good bands in Tunisia; those who are full of promises and hopes, Hopefully.

12/20
By Anti-Geist

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