Review by Fernando on September 14, 2022.

There’s certainly no shortage of death metal nowadays, and I for one, despite eventually coming across some mediocre bands, still enjoy finding new or overlooked acts. One such case is NYC based international all female death metal band, Castrator and their debut full length Defiled In Oblivion.

The band was originally formed in 2013 and after a demo and EP, they finally unleashed their debut record. The most striking aspect and what will also create discourse is the band’s unapologetic and empowered lyrics. With this being an all-women act, and their chosen style of death metal leaning hard into pure aggression, it feels like a perfect match, every growl, every riff and every blast beat feels pissed off. The band do not mess around and make their statement pretty clear, and while I’m not a woman, the band’s sound and lyrics make a pretty compelling case through sheer sonic violence. And indeed, this is a nasty and violent death metal fare, complete with a bass-heavy and murky production, and appropriately snarling growls, courtesy of the band’s frontwoman Clarissa Badini (who is the one of the two major standouts). Her bandmate Kimberly Orellana is the other major standout. Her riffs and breakdowns are what sold me on this record, and indeed, these two flex their chops with defiant style. However, that’s not to discredit founding members Robin Mazen and Carolina Perez, whose command of the rhythm section on the bass and drum kit respectively is what completes the band’s utterly violent sound.

And what is exactly this sound? Castrator’s sound as a whole combines the rawness and grit of New York death metal, akin to acts like Suffocation, Immolation and Incantation, but with the technicality and flair of early Death with some thrash driven leanings. This is noticeable through the soloing of Kenny Andrews of Obituary and Moyses Kolesne of Krisiun, their solos combined with Kimberly Orellana’s superb riffing is how the band perfectly blend brutal death metal with more old school death metal, and without ever feeling like mimicry of the death metal of yesteryear. Outside the rough production, this is still very much a modern day death metal record. Lastly, even their cover of Venom’s 'Countess Bathory' is given a new meaning with the band’s style, and that is of itself commendable, because I usually dislike it when band’s close albums with a cover.

The only real issue with this record is the fact that it’s a straightforward death metal record. By 2022 we’ve had way too much death metal to spare, and even modern bands are starting to breakup, but beyond the circumstances, this is still a kickass record that stands on its own and I highly recommend to any death metal fanatics to check out.

Best tracks: 'Tormented By Atrocities', 'Voices Of Evirato', 'Tyrant's Verdict'

Rating: 8 out of 10

Review by Death8699 on October 15, 2019.

These are tracks that weren't featured on The Holographic Principle. They're still simply awesome, with intelligent lyrics and beautiful orchestrations. If you don't like synthesizers, you won't like this band. Hands down. This EP is rather invigorating and noteworthy. It's incredibly diverse with Simone's epic vocals mixed with harsh voice. The rhythms on here are HEAVY, but there's one song that's entirely acoustic. Simply amazing riffs and vocals. Simone is one of the best female vocalists in METAL today. Some critics may argue that and say maybe Tarja is but I don't think so.

All of the tracks on here are well thought out and meticulous. I like the back and forth clean (Simone) to harsh vocals. My favorite track on here has to be "Wheel of Destiny." But I liked every song on here. They really put their heart and soul into their releases. I don't mind the synthesizers because they seem to augment the vocals quite nicely. They've got an even longer career out there in the METAL scene. If you don't like their music, that's alright. I enjoy their symphonic power metal. They really have a huge part to offer in the metal realm.

Simone's vocals fit perfect with the heavy, but magical music. This is one EP that I overlooked before I checked my collection. I absolutely loved the acoustic track. It's so serene. It fits well with the release. I think they just wanted something to offer than just brutality. Clean vocals galore. Their music is what brings me in about them. They're really a diverse band. The harsh vocals give the music a little more variety to them it isn't all clean. They seem to have it down musically and are able to create leads as well as rhythms that just plain kick ass. Simone's vocals are my favorite though, close to Cristina Scabbia's voice, that's a second one in the female vocal department.

I liked this whole EP, so if you like metal and you're looking for something that isn't too long in length and are willing to try out some symphonic stuff, The Solace System is for you. Keep an open mind when listening to it. They're very intelligent in their lyrics and their music. They hit home here and I'm glad that they were able to roll this over from The Holographic Principle. These songs are totally amazing kind of like how the album is that was previously released. The Solace System is where it’s at! Get this, NOW!

Rating: 8.5 out of 10

Review by Jack on June 10, 2003.

Doesn't really strike you as terribly funny any more does it? One used to wonder just exactly how Children of Bodom were so apt at appealing to every metal fan and his iron canine, however after four solid records, the novelty and hype surrounding the Bodom lads has died down somewhat and at last these five brash young men can go about what they do best.

Record number four, "Hate Crew Deathroll," sees Children of Bodom continuing on with their addictive mixture of power metal laced with Alexi's banshee screams. Essentially "Hate Crew Deathroll" will find it hard to win over new people if they weren't hooked by what was going down on the past three records. Don't get me wrong though, all the killer hooks and gnarly choruses of past records are again making a name for themselves on "Hate Crew Deathroll" (after lying dormant on "Follow the Reaper"). In fact, I could go out on a limb and suggest that "Hate Crew Deathroll" may just contain some of the catchiest Children of Bodom tracks ever, such as 'Needled 24/7' and 'Chokehold (Cocked 'n' Loaded).' Thankfully these guys aren't showing any real signs of slowing down.

One aspect of "Hate Crew Deathroll" that really needs to be mentioned are the awful song titles. I expect this kind of thing from full on power metal bands, but I at least thought Children of Bodom had some sort of integrity. Can you think of worse titles than 'Bodom Beach Terror' and 'Lil' Bloodred Ridin' Hood'? I racked my brains for god knows how long in an effort to match the cheesiness of "Hate Crew Deathroll" but was left severely wanting. 'Triple Corpse Hammerblow' is the sort of track one would expect Children of Bodom to have sliced out of Cannibal Corpse's thesaurus on album titles (yes, pun intended). Clearly the album concepts needs some work, but aside from that minor quibble, "Hate Crew Deathroll" is a pretty enjoyable listen.

Bottom Line: Certainly not an audacious record, anything but, however Children of Bodom has successfully matched "Follow the Reaper" in almost every facet, not to mention upping the production values. This one is tighter than a virgin's asshole. In my opinion this is their second best effort (I don't see anything topping "Hatebreeder"), and worth checking out. The apprehensive need not fear!

Categorical Rating Breakdown

Musicianship: 8
Atmosphere: 6
Production: 9
Originality: 7
Overall: 8

Rating:7.6 out of 10