Through years of tireless touring and continually improving studio output, including a level jump in songwriting coinciding with the leap to Century Media several years ago, KRISIUN has gone from reliable death metal underdog to one of the premier acts of the genre. The trio's visceral approach is recognizably Brazilian, yet uniquely translated from early death metal and dark/brutal thrash into something that is precise, vicious, and super tight. All of these elements are brought to the front on "The Great Execution" and given a warmer, more organic sound with the use of analog equipment and instruments, as expertly harnessed by a producer in Andy Classen who knows well the KRISIUN way.
"The Great Execution" at its core amplifies KRISIUN's unique blend of the primal, the meticulous, and the violent through a series of lengthy tracks (several in the six to eight minute range) whose impacts are felt at a level that is as complex as it is in tune with man's primitive essence. The album is the manifestation of a sound that could only be produced through the telepathic communication that occurs between brothers Max Kolesne (drums), Moyses Kolesne (guitar), and Alex Carmago (bass/vocals). Replacement of any one member with an outsider would cause the whole thing to collapse. That's why when one hears the percussive forcefulness of Max's drumming, the textured riffing and surgical-strike solos of Moyses, and Alex's bass rumble and halting, VADER-like gutturals on "Blood of Lions", the title track, and the grand work of carnage that is "The Will Potency", it is unmistakably KRISIUN performing at a level all its own.
The success of an album like "The Great Execution" is defined largely through a delivery characterized by all three members attacking in simultaneous fashion. Most impressive is how the stuttering rhythms, staccato runs, and music equivalent of a derailing locomotive come together to form a whole that is greater than the sum of its parts. Right after the disc sinks its talons deep into the flesh is when you'll really start to appreciate all compositional nuances and spotlight moments, such as the surging main riff — a sped up, frenetic version of which occurs later in the song — and tempo variations of "Violentia Gladiatore"; the flamenco guitar parts wound into the multi-dimensionality of an eight-minute earthquake called "The Sword of Orion" (and also appearing at various points across the album); and a cadence and lyrical patterning on "Rise and Confront" that is reminiscent of classic SEPULTURA, purposeful or otherwise. Then nine tracks into the album comes a ravenous beast called "Extinção em Massa" that charges with speed and murderous intent for six minutes. Sung entirely in Portuguese, the song has a certain throwback feel made suitably psychotic with guest vocals from RATOS DE PORAO's João Gordo. It is nuts, just friggin' nuts! Also worth mentioning is that the limited-edition digipak's inclusion of a rerecorded version of oldie "Black Force Domain". It's the icing on one bad-ass cake.
The KRISIUN of "The Great Execution" is demonstrative of a tricky, rough 'n rippled sort-of-formula that steadily seeps into the bloodstreams until the host organism submits. The genius this time can be found in the band pulling off a spreading of its technical wings in ways that never overshadow the song's essence. The feat is accomplished by packing the material with so damn many jaw-dropping performances from Moyses and by grooving out in a way that is identifiable only as KRISIUN. This is precision brutality with a touch of class and an incredible amount of heart. Put more simply, this is KRISIUN on steroids. You've not experienced 'roid rage like this. That you'll keep coming back for more will further attest to your gluttonous desire for glorious punishment.