The self-titled album from Danish dark hardcore annihilators Kollapse is a release which thrills and ignites the passions just as much as it disappoints. Forging a raw and abrasive tsunami of sonic violence and heavily intense provocation, band and album sear and scar the senses with their destructive exploitation of noise and passion whilst exposing an invention and creative expertise which enslaves the appetite. Unfortunately, the vocals fail to live up to the craft and enterprise of the sounds. They are suitably coarse and ferocious and driven by unbridled passion but their presence for the main potently distracts from the sounds. To be fair taken on their own the dual deliveries do nothing wrong with their furious rage but within the songs they fail to find a strong positive union for the main.
A striking mix of doom, sludge, crust punk, and noise brought in a vehicle of hardcore viciousness, “Kollapse” wastes no second on sizing up the listener, instead from the first second of opener ‘Coffins’ it sets about gnawing on and violating the ear with premeditated and resourceful sonic manipulation. The track stalks and prowls the ear initially but already with its jaw clamped firmly on its victim before thrashing about its malicious intent through contagious riffs, punchy if restrained rhythms, and squalling vocals. A mix of slower carnivorous confrontation, with the bass especially predatory, and raucous energy lit surges, the track is a scintillating proposition with little extras emerging the more times you take on its challenge to excite.
The trio of Troels Højgaard Sørensen, Thomas Martin Hansen, and Peter Drastrup take a step back in its demands with the following ‘Man Machine’, though intensity is still fully stoked. The doom loaded encroachment is a dirty and lumbering trap with vocals scorching ear and flesh with their unbridled if still unconvincing delivery. A brief track which lacks the captivation of its predecessor, it leads into ‘Liberate’, a song which deceives with another doomy breath before opening its furnace for a shuffling gait of malevolence coated energy. Again the song lacks the potency of the opener but nevertheless holds a firm appeal to its recruitment of thoughts and emotions.
Arguably the end of the release is its strongest, with firstly ‘Grief’ unleashing its venomous and diverse offering. The track plays with pace, textures, and violence for an absorbing face to face blasting where even the vocals find a more welcome stance to erode the senses with spite drenched assaults.
The closing pair of ‘No God’ and ‘Minamata Disease’ steals the honours on the album, both inciting and thrilling extreme sonic bruising upon the ear. The first, featuring Morten Purup Andersen on guitar and vocals, is a sludge powered leviathan of intense sound and weight complete with savagery whilst the final piece of rapacious toxicity is a maelstrom of vocals, the most impressive and potent use of their undoubted vehemence, and startling invention, within uncompromising and striking invention.
Kollapse, album and band, provide more than enough to want to investigate further releases with an enriched appetite but alongside a hope that the vocals find a less dramatically distractive presence within the skilled imaginative sounds. This is a band fans of the likes of Swans, Neurosis, and Eyehategod should check out finding plenty to enthuse over.