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Colemesis  are  a  band  from  Costa  Rica  that  played  death  metal  on  this  recording  and  this  is  a  review  of  their  1992  demo  "Viviseccion"  which was re-issued  in  2016  as  a  joint  effort  between  Symbol Of  Domination  Productions  and  Cavan  Records.

Dark  sound  effects  start  off  the  demo  along  with  some  tribal  beats  and  after  the  intro  the  music  goes  for  more  of  a  thrash  style  that  also uses death  metal  growls  while  some  of  the  riffs  can  be  very  melodic  at  times  and  you  can  also  hear  all  of  the  musical  instruments  that  are  present on  this  recording.

When  guitar  solos  and  leads  are  used  they  have  a  melodic  style  to  them  that  is  even  more  closer  to  old  school  death  metal  and  when  the music  speeds  up  a  great  amount  of  blast  beats  can  be  heard  and  the  songs  also  bring  in  a  great  mixture  of  slow,  mid  paced  and  fast  parts and  there  is  also  a  brief  use  of  high  pitched  screams  and  the  last  rack  brings  in  a  brief  use  of  clean  playing  and  the  song  has  more  of  a rock  and  hardcore  style.

On  this  recording  Colemesis  played  a  style  of  death  metal  that  was  very  aggressive  and  brutal  for  its  time  and  sounds  nothing  like  the  band they  where  when  they  re-located  to  the  U.S  for  a short  time,  the  production  sounds  very  raw  and  heavy  while  the  lyrics  are  written  in  Spanish and  cover  politics  and  countercultarism  themes.

In  my  opinion  Colemesis  where  a  very  great  sounding  death  metal  band  on  this recording  and  if  you  are  a  fan  of  this  musical  genre,  you should  check  out  this  re-issue.   RECOMMENDED  TRACKS  INCLUDE  "Paralelismo  Humano"  and  "Hypergeo".  


Οι Colemesis είναι μία από τις παλαιότερες και πλέον ιστορίκες μπάντες από τη μακρινή μας Κόστα Ρίκα. Δημιουργήθηκαν το 1991 κι από τότε μας βομβαρδίζουμε το αρχέγονο thrash/death ύφος που συναντάμε στις περισσότερες χώρες της κεντρικής Αμερικής.

Το “Vivisección” δεν είναι κάποια νέα κυκλοφορία τους, πρόκειται για την επανηχογράφηση του πρώτου τους demo με τον ίδιο τίτλο που κυκλοφόρησε το μακρινό 1992. Πήραν τα τραγούδια τους και τους έδωσαν μια νέα πνοή, για να ακούγονται πιο σύγχρονα, πιο κοντά στο σημερινό ύφος του συγκροτήματος. Κι αν μετά από όλα αυτά, συνεχίζουν να ακούγονται αρχέγονοι με την καλή έννοια του όρου, τότε δε μπορώ να φανταστώ πως θα ακουγόταν το demo τους. Ευτυχώς στο youtube μπορούμε να βρούμε κομμάτια από την κυκλοφορία του 1992 και να καταλάβουμε την τεράστια διαφορά.

Έχει ενδιαφέρον σαν εγχείρημα αλλά απευθύνεται σε συγκεκριμένη κατηγορία ακροατών. Ξέρετε, εκείνους που θεωρούν τον καλύτερο δίσκο των Sepultura το Morbid Visions. Προσπαθούν να το γλυκάνουν κάπως με κάποια πιο μελωδικά solo και κάποιοες πιο groove κιθάρες αλλά η ουσία εδώ βρίσκεται μόνο όταν βαράνε αλύπητα. Παρακάτω μπορείτε να ακούσετε το ομώνυμο τραγούδι της κυκλοφορίας και στη demo έκδοση αλλά και στην επανεκτέλεσή του και να βγάλετε και τα δικά σας συμπεράσματα.


A lot of the time, death metal seems to tap into something that is primal, something that brings out the killer instinct in all of us. It’s a kind of kill or be killed type of attitude that is brought upon us. It’s like you have that murderous rage inside of you that you don’t generally tap into, but when listening to death metal that side sort of is fleshed out. With that being said, death metal heathens Colemesis bring back their 1992 demo Viviseccion for re-release. All of the primal slaughtering instincts that they had back then when recording this are still present and very prominent today. Long since buried for twenty-four years, this release is back to terrorize you and and bulldoze your city and lay waste to any living thing that dare get in the way of its sharpened cleaver.

When this demo was first recorded, Colemesis brought forth something entirely sinister and monstrous. Even though it was a demo, it still was keen on emptying every vein and letting immense amounts of blood. This is and was old school death metal, dripping with blood of each victim that was unfortunate enough to stand near. Viviseccion is brutal to say the least, and isn’t afraid of gutting you and displaying your mutilated body for all to see.

Each of the seven tracks that are presented are slaughtering and barrel through your chest only to eat your heart and revel in your demise. This is a disgusting onslaught of pure death metal. Viviseccion reeks of the dead still and has crawled out of its rotting tomb to cull the weak and massacre the masses. When listening, there is no where to escape the machete wielding monster that is this demo.

Viviseccion assaults you with lacerating riffs, pummeling drums, neck carving bass lines, and vocals that are monstrous and demonic. This demo spewed gore when first released and still does twenty-four years later. In all this time it still hasn’t taken a break from stacking cadavers and digging shallow graves. Colemesis is putrid death metal to the rotting core and this demo they put forth those years ago still stands strong and is ready to kill again with its newly found life.


Bei dieser Veröffentlichung der Costa Ricaner handelt es sich nicht um eine neue CD, sondern um die Wiederveröffentlichung ihres Demos, das 1992 das Licht der Welt erblickte.

Das Intro „Otomicosis“ hat schon was für sich, das ist ein spannungsgeladenes Stück, das mit über drei Minuten zwar etwas lang ausgefallen ist, aber seine Wirkung nicht verfehlt. Danach startet old school Death Metal in noch gemäßigter Mid Tempo Manier bei „Paralelismo Humano“, doch neben dem coolen Drive kommen immer wieder mal kurze, aber dafür um so knallendere Knüppel Parts auf, die den Härtegrad um einiges erhöhen. Das Titelstück soll es dann in sich haben, hier wird totales Vollgas gegeben, um dann im Mitteilteil über mittel schnelle Technik zum melodischen Solo zu gelangen, nach dem nach und nach wieder ein Gang nach dem anderen hoch geschaltet wird. Einen Hauch Atmosphäre lässt der Anfang von „Hypergeo“ aufkommen, doch dann rast ein Hurrikan über uns, der im Highspeed kloppend alles verwüstet und bei den Vocals sowohl Screams als auch Growls integriert sind. Nur der Mittelpart und das lupenreine Solo bremsen da mal ab, während sich in „Equilibrio Capital“ Prügelei und Technik die Klinke in die Hand geben. Das Outro hat so was wie apokalyptische Endzeitstimmung, doch das war es noch nicht, auf dem re-masterten Werk gibt es mit „La Maldicion de Malinche“ noch einen Bonus Track, der sowohl Geknüppel als auch Opern hafte Anleihen hat, an manchen Stellen sehr vertrackt auch eine Spur nach Sepultura klingt und wo auch ein Touch Melancholie nicht zu verleugnen ist.

Ist zwar nur das alte Demo neu gemastert und mit neuem Artwork versehen, aber Potential ist da mehr als genug, so dass es 7,8 von 10 Punkten ergibt.


Colemesis, who hail from Costa Rica, play death metal with weird atmospheres entangled in musical passages that conjure up images of the dead and the earth absorbed in total darkness.

The music here is surely within the old school death metal vein, but it is very hard to compare their music with that of death metal bands from the eighties and nineties. Two of the core bands, which come to mind here, are Gorefest and Deicide.

You can hear slight My Dying Bride influences in track number seven “Maldicion Malinche” , which has a very tripped out female dialogue with a male, sounding as if she is losing her mind and going insane. I had to listen to this seven track CD at least twice, before I could even begin to start plotting my review for “Viviseccion”.

From my second listening to this album, I’d definitely attach the words eclectic death metal to describe Colemesis’ style of extreme metal.

Their songs feature down tuned guitars that clamp down their bestial arms around your legs, dragging you to your shallow grave. Yes, as much as this sounds like torture, the music and vocals are an agonizing listen here, but it is death metal with ultra heaviness with hints of heavy metal, black metal and thrash.

The vocals at times remind of Glenn Benton of Deicide and the music takes on that of Deceased and Gorefest, which is an odd combination, but when you give it enough thought, it is a very rabid combination of styles combined.

Colemesis should appeal to fans of Deicide, Gorefest, Altar and even My Dying Bride due to its some doom-like elements.

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Check out the video for the killer title track "Viviseccion" from Colemesis, which is one of the highlights here due to its old school death metal influences.


COLEMESIS son una banda Costarricense de Thrash/Death  con una larga trayectoria e historia. Formados en 1991 y tras disolverse en 2002, volvieron a la carga en 2009 perdurando hasta nuestros días. Cuentan con dos largas duraciones, una editada en 1995 bajo el título Still Oppression Rules y un segundo trabajo tras su vuelta en 2013 titulado Hellritage. Además cuentan con un par de demos en sus inicios, un par de Ep´s y un directo del 1997 posterior a su primer trabajo.

En 2016 se nos presentan con la reedición de su primera Demo Vivisección. Los temas están trabajados desde su punto de vista actual, han retocado la portada de la demo también y presentan además un bonus track titulado Maldición Malinche. Esto es lo que tenemos entre manos.

Es una buena forma de adentrarse en un grupo prácticamente desconocido en Europa, descubriendo además en parte las raíces e influencias que les permitirían desarrollarse en el futuro como banda.

Como decíamos Thrash/Death es lo que nos vamos a encontrar en este trabajo, referencias musicales de los primeros Sepultura que quedan eclipsadas en cierta medida por la visión actual de los temas, pero con un toque mucho más extremo ya que una de las características de este trabajo radica en la rapidez, unida a potentes riffs de guitarra que los acercan a bandas como Criminal, sobre todo en temas como Vivisección o Equilibrio Criminal, o incluso a Brujería en algunas momentos como en Hypergeo con un toque casi grind en ocasiones y las voces dobladas, pero con pasajes posteriores donde aparecen punteos y desarrollos muy trabajados y de calidad más lentos.

En el bonus track encuentro detalles más interesantes en general que en el resto de los temas. No sé si es de composición nueva o tenían la canción guardada de la primera época y han decidido sacarla a la luz ahora, pero por el desarrollo apostaría a que es de nueva factura. Se nota más maduro en riffs, con una estructura general mejor desarrollada como decía. Sería un buen camino a seguir después de su más potente Hellritage de 2013. Es un tema con cosas de Sepultura de Chaos A.D, con algún que otro riff marca de la casa Death y sigo viendo el toque Criminal. Pero aquí todo tiene un punto original y están bien trabajadas las atmósferas y las voces.

En resumen, esperaremos el próximo larga duración de los costarricenses con impaciencia para ver qué derroteros siguen. En general esta es una buena piedra de toque para conocerlos y tenerlos en cuenta de cara al futuro.


Online magazine review: https://view.publitas.com/p222-6832/beneath-the-surface-issue-5/page/22-23

Both Satanath Records and Symbol Of Domination Productions, respectively parent label and sub-label by my dear brother-in-arms Aleksey, have some connections within the Costa Rican Metal Mafia, I guess. In the (recent) past I did write some reviews for those labels for releases by acts such as Alastor Sanguinary Embryo, Inhuman, Corpse Garden or Ancient Spheres, and pretty soon I will also upload some other, more recent chronicles, like for the split of Ubiquitous Realities and Assailant, The Eyes Of Desolation, or Black Whispers (an international project that also includes members of Lifeless and Sacrimoon). Just enter any of these bands’ / projects’ names in the ‘search’ tab to enter the, evidently, great and positively, professionally written review…

Another co-operative result in between this Russian label and the Costa Rican scene is a re-release of Vivisección, the debut of Colemesis. This band started in 1991, and Vivisección was the first (official) demonstrational release, originally done in 1992. This self-released demo was recorded during Spring 1992 at My House Studio within a line-up of which no one still is part of the band (they disbanded at the very beginning of this millennium, and reformed at the very end of last decade, with inclusion of a drastic change in approach and style). This new edition is remastered and comes with new artwork and a somewhat adapted track listing (with inclusion of some bonus material), and this in an edition of 500 copies.

It’s quite evident that this release’s Death Metal exhales the purity of the Old School, for the origins are rooted within the earliest nineties. At that time, and within the Latin-American scene, things were different from the North-American or European scene, yet actually, back then the initial try-outs were quite comparable in atmosphere: bringing bruteness at the one hand, and a certain elegance at the other. Colemesis were such a band that easily found their way in between both extremes. At the one hand you have the powerful and overwhelming heaviness. Quite forceful, pushing-forward rhythms and monstrous riffing do hammer like a bulldozer. The rhythm section is impressively massive in execution, and the truly deep, growling grunts are so overpowering, sickened, brute. The elegance, at the other hand, finds it source in different angles too: the fabulous solos and leads, for example, progressive in their execution, or the elegant twin melody lines that appear within each single composition. I’d like to come back to the first element of elegance, the leads. They act like a perfected counterbalance to the monolithic rhythms, yet without undermining these aggressive outbursts. Actually, they are sort of adding an additional surplus in order to create that little something that might be needful to overpower the ‘average’ scene. That goes as well, for example, for the additional screams, or the sharp-edged riffs, that penetrate the border with the European Deathrash scene from that very same era. Quite impressive are the technically high-skilled elements, progressing the time setting, yet without losing itself in exaggeration. Truly, at that period there were not that much European or American bands that knew how to combine ingenious riffing with powerful rhythms and maintaining honest conviction. Colemesis, however, did.

Anyway, in 1992 this release would have belonged to my top-ten within the international Death Metal scene (and believe me: that era was quite fabulous!), and that’s why I do recommend this album to everyone who likes his (or her) meat still red, even still pulsating…



Otra banda que desconocía y que aquí nos hace llegar su último trabajo de la mano del sello Symbol of Domination. Oriundos de Costa Rica, Colemesis está integrada por Fabbian Bonilla en voz y guitarra, Michael Mory en bajo, Emilio Cortes en batería, y Riki Santana en guitarra. La banda ya lleva más de 25 años de formada y cuenta con varios trabajos en su haber, entre LPs, singles y Eps.

“Vivisección”, originalmente grabado en 1992, recibe aquí una nueva reedición y regrabación por parte de la banda, donde claramente Colemesis muestra su devoción por el death metal, y particularmente por bandas como Sepultura y Deicide, de quienes la banda parece haber tomado un sinfín de influencias, tanto en la parte musical como en la vocal, haciéndose palpable en los siete tracks de este album.

La velocidad, los furiosos riffs y la agresividad son elementos que hacen al sello personal de Colemesis, una banda para seguir muy de cerca, digno exponente del metal extremo latinoamericano.





Центрально-американская металлическая сцена богата на одаренные команды, которые играли всегда мощно, уверенно, создавая ауру локального землетрясения, что им знакомо не понаслышке. Так что, вот такой экскурс в историю от Symbol Of Domination, саблейбла Satanath rec, выглядит очень завлекательно.  А ретроспективой он является от того, что это ремастированое и перезаписанное (так указано в прессухе издающего лейбла) издание демо-записи формации COLEMESIS прямиком из 1992 (!) года. Естественно, группа приготовила новое оформление, а рекорд-контора позаботилась, чтобы ВИА добавил бонус-трек. Так и случилось. В нечестивом сотрудничестве с коста-риканской фирмой Cavan Records.

Нужно заметить, что это было первое демо команды, самостоятельно реализованное для алчущей брутального железа местной волосатой публики. А ребята собрались в 1991 году. За минувшиt годо-километры они выпустили кроме этого еще два полноформата, а также усиленно вбивали в головы метал-фанов свои эпишки и синглы. Все их усилия не пропали даром, натурально, и COLEMESIS считается одной из самых олдовых групп региона. Потому есть особый смысл внимательнее ознакомиться с этой работой.  Тем более, после одного моего исследования большого количества демок и вообще ранних работ металлогруп («BLACK DEATH — 1989, Сатана в миноре») я выявил закономерность: многие демки зачастую тяжелее и иногда интереснее воспоследовавших полноформатов. Так что, как говорил ленин: «цените демки, в них настоящее железо». Будем ценить.

COLEMESIS начинает с забубенного или обубенного интро, которое при здравом размышлении тянет на нечто большее, скажем честнее, тянет прямиком на дно. Слышно, что группа с самого начала решила немного «экспериментнуть», ибо коллаж получился мультилэйерным, глубоким и обширным, — в реальности это эмбиентная компо, а не просто интро. А вот настроение ее определить непросто — скорее полет над полупустынной поверхностью, и там даже нашлось место типичному органному проигрышу. Орган проиграл, короче, гитары выиграли.

Это стало понятно, когда навалился трак номер 2. С трешевых струнных разработок и далее с детово-трешевого полива из всех желобов вагранок коста-риканского металлургического комбината  COLEMESIS. Причем надо зафиксировать, что, начав с шустрого темпа, группа потихоньку (а именно — очень громко) перепрыгивая через заборчики брейков и этапов ускорения, мигрирует к более медленному темпу. И это уже одно указывает, что скучно с этим ВИА не будет. Олдовая субстанция вообще мало приедается, она, как ни слушай, катит и катит.

Далее группа похоже рассердилась и начала рихтовать немилосердно железо, внедряя в доменное производство соляки и инфернальные фишки. Вокал в этой дислокации состоялся в совершенном виде, утверждаю, ибо ранее он был «брутальный коста-риканский гроул». А отныне он стал мощным дэтовым гроулом с подмогой боле высокого харшевого визави. Там же исследованы струнные забросы: — яркие, сочные и будто не от смертельного дэтового мира сего. Но смотрятся они так же органично, как мощные языки пламени, пожирающие деревянные строения. И далее вокалист уверенно преобразует свой голос таким образом, чтобы вызвать нервный припадок у неметаллической публики, — то форсируя рьяно, то проваливаясь в аудиальные черные воронки, заботливо созданные музыкантами  COLEMESIS. Вокаллер совершенно разнообразен  — это резюме ( в семерочке он вытворяет вообще нечто. 7 это коста-риканский региональный треш-спид метал с возбуждающими напитками и мегастранным фолк-аттачем в финале).

Думается, в студии потом такому певцу скажут: ты что делаешь, так нельзя, пой как все, или пой как Гленн Бентон, пой как Ларс Горан Петров, пой как Массе Броберг, пой как хз кто. Вот тут-то и начинается… это к теме оригинальности демок.

Ураганный альбом в итоге, насыщенный региональной энергетикой. Настоящий олд скул! Как было уже заявлено, это или ремастер демки или перезапись или и то, и другое ))(выбирайте что-то одно — по вкусу), НО демковое острое пряное звучание не потеряно — что увеличивает кайфы. Really!




This is the re-release of the 1992 demo from the Costa Rican act, but the track list is a bit different, there's a bonus and a few tracks from the original demo are missing; moreover, none of the original members appears in the 2009-reunited combo, but we can say that this EP on a limited CD pressing represents 80% what Colemesis were like in 1992.

The lyrics deal with hypocrisy, human misery and corruption mostly, and the recording is clean enough and balanced, yet lacking bottom end, and punch for that matter.


Although they're often defined simply a Death Metal quartet, the truth is that there is much more to be found in here: after the tribal acoustic intro "Otomicosis", here comes "Paralelismo Umano", Death Metal that may occasionally remind Death's "Human" with a Central/South American edge; blast-beats and mid-tempos are cleverly mixed with the bass drawing slow lines and the vocalist growling not too deep but extending his throat emissions longer than average. Extremely interesting are the closing axe solos delivering a Prog touch that elevates the quality of this song.

The title-track is faster and more brutal and may bring something from the early Sepultura to mind, although a bit more technical.

"Hypergeo" begins in an original manner, then blends growls and Black Metal screams, adding top-notch scorching Hard Rock guitar solos that all together were brave enough back then and this is a plus conforming the musicians were young but had strong personalities.

Closer to Kataklysm, "Equilibrio Capital" is opened by a crushing riff, whereas later it proposes a few Rock riffs, a couple of amazing guitar solos and Death/Doom structures with layered growls that make you understand that the Latin group had talented songwriting which went unnoticed when the time was crucial and the competitors too many to emerge; so this and the following demo just landed them to a debut album on a tiny local label, two EPs and the split in 2002.

Finally, the rotten Mortician-like "Outro" is followed by "Maldicion Malinche", a bonus track on a number of occasions straying from the rest of the previous material in a modern way, and sometimes showing a bridge to the past style. Even if more elaborate and displaying Progressive patterns, additional clean female backing vocals, this is the composition that thrilled me the least.


"Viviseccion" is a good start to get to know the four-piece for those who - like the undersigned - missed them in the golden days of Death Metal and may get interested in its second full-length, too.





Giusto pochi giorni fa mi apprestavo a recensire ben due gruppi del Costa Rica, sfoggiando una sicurezza piuttosto marcata sul fatto che probabilmente erano dei casi isolati, più unici che rari. Ecco invece che sono stato oggi prontamente smentito. Perché i Colemesis vengono giustappunto da quel piccolo cordone di terra che tiene unite le due americhe. Non so se corrisponda alla realtà, ma mi ronza in testa che lì non deve essere molto facile reperire materiale metallico. E secondo me loro, essendo un popolo ingegnoso pronto a barcamenarsi come meglio può, ha pensato che se il Metal non arrivava a loro, loro sarebbero arrivati al metal. Suonandolo. Probabilmente non tutto deve essere andato giusto per la carriera del combo, visto che si son formati all’inizio degli anni novanta per arrivare alle porte del nuovo millennio con un unico album pubblicato. Poi, un abisso di una decade per ritornate nel 2009 e far aspettare altri tre anni per un’ulteriore prova discografica. E ora questo: non una nuova release, bensì un riregistrazione professionale del primo demo del ’92. Ce n’era bisogno? Beh, diciamo che il Death di matrice sudamericana è particolare, molto vicino al Thrash e cantato con un accento talmente marcato che risulta più facile per certi gruppi cantare in lingua madre piuttosto che in inglese. E’ questo il caso dei Colemesis, classicissimo gruppo in pieno stile sudamericano appunto, con riff molto veloci ma sempre molto grezzi, una voce roca e impastata, per non parlare del reparto ritmico relegato in un sottofondo pure troppo svilente. Ma la formula è decisamente accattivante soprattutto per i nostalgici del suono anni novanta, fatto di spontaneità più che di tecnica. Non so se a conti fatti si possa parlare di un Metal costaricano, meglio parlare di metallo sudamericano, con le sue precise coordinate e canoni sonori. Perciò, se conoscete questa realtà allora sapete di cosa stiamo parlando, se invece non avete mai ascoltato questo sottogenere, i Colemesis potrebbero aprirvi gli occhi e le orecchie a nuove realtà.





The Costa Rican outfit COLEMESIS is around for respectable 25 years now. A quarter of a century, a very long time, indeed, and despite the fact that the band was on a seven year-hiatus, only three albums (one of these being a live album) and two EPs is not that much of a discography. Maybe that's a reason why I never heard of COLEMESIS before. So, I am condemned to write this review without any musical prejudice. The newest EP of the band is not as new as it seems. “Vivisección” originally was the first demo of the band, but I presume it's due to the band's anniversary that most of it was re-recorded last year. Of course I also don't know the original recordings. But I don't need to know it for my statement that this EP sounds absolutely crude. On “Vivisección”, COLEMESIS mix so many things together that it might be progressive, but also chaotic and nearly unbearable. Elements of Death Metal, US Power Metal, Prog Metal, Thrash, Speed and electronic sounds and experiments are haphazardly thrown together, no matter if it all fits, no matter if it sounds homogenous. As a result, anything here sounds like a band that just formed three weeks ago, on its way to find their style, not like it is the recording of a band around for an eternity. Somehow it is peculiar that the bonus track 'La Maldicion De Malinche', a pretty modern sounding track, sounds best here, without being good.





Uscito originariamente in cassetta nel lontano 1992, viene ora ristampato dalla Symbol of Domination Prod. il primo demo dei costaricani Colemesis, band come detto attiva dai primi anni novanta e realtà della scena del loro paese.


Solo due full length per il gruppo centroamericano (Still Oppression Rules del 1995 e Hellritage uscito tre anni fa), una carriera interrotta più volte ed una serie di ep e singoli, troppo poco per considerarli una band storica del genere, anche se Vivisección ,considerato l’anno di uscita, mostra una sufficiente vena estrema dal classico stile sudamericano, pescando dal death metal Bay Area e infarcendolo di sonorità thrash con una predisposizione evil senza compromessi.

Il gruppo all’epoca agitava le acque davanti alle coste del paese che divide il continente americano con dosi massicce di growl profondi ed assassini, e la poca tecnica veniva sostituita dall’impatto e dalla voglia di far male; la produzione non è delle migliori ovviamente, ma in giro si sente di peggio, specialmente se consideriamo l’anno di uscita e i pochi mezzi a disposizione dei quattro deathsters costaricani.

Massiccio pezzo di metal estremo che più underground di così non si può, Vivisección aggiunge poco al genere ma promette di far conoscere una realtà estrema che vive ancora oggi, pur con tutte le difficoltà che la provenienza impone.

Siamo nel death metal old school di estrazione statunitense e i Colemesis richiamavano il sound delle migliori band dei primi anni novanta come Morbid Angel e Obituary: dunque, se siete fans accaniti del genere un ascolto potrebbe riservarvi il piacere nel conoscere vecchi adepti, magari sconosciuti ai più delle sonorità estreme di scuola death metal.





Obwohl sich leblose Synthies scheinbar endlos im Intro breit machen, ist es doch staubig trockener Death Metal, den die Band aus Costa Rica spielt. Und sie legen sich damit die Karten, denn die knochigen Gitarren klingen in ihrer warmen Undergroundproduktion wie von einer Stufe tiefer, obgleich es der Oldschooler genau so mag. Tiefe Growls und Riffrasereien machen das coole Teil aus, das auch ohne abgründige Tiefen finster wirkt. Das Riff von "Equilibrio Capital" macht richtig Laune und zeigt auf, wie sie Atmosphären aufbauen, die sich im straighteren Finale, dem Bonustrack "La Maldicion De Malinche" noch besser entfalten. "Viviseccion" war ihr erstes Demo aus 1992 und ihre Single 2014. Ersteres wird nun Remastert und Re-Recorded, wie auch immer das zusammenpassen mag, neu veröffentlicht.





Fans of old Slayer and Sepultura can rejoice as a band from Costa Rica, Colemesis, retracked their demo of 1992, ‘Viviseccion‘, and launched it last February 29th 2016 via Satanath Records and Cavan Records.


‘Viviseccion‘ being and old-school heavy/thrash metal album with touches of death metal style, the album is sure to please lots of metal fans.


Colemesis is a well known band of Costa Rica and have been in the business of metal for over 25 years.




Although Costa Rican outfit Colemesis have been around since 1991 - okay, with a big break between 2002-2009 - and 'Vivisección 2016' is their third full-length, we hadn't reviewed anything by them as of yet on Lords Of Metal. And that is a shame, because the quartet do play a highly enjoyable kind of headstrong metal.


After an industrial-ish intro, the band kick things into gear with 'Paralelismo Humano' - and immediately, it is impossible not to compare this with the early '90s South American scene. For one thing, Sepultura's 'Chaos A.D.' comes to mind, especially because of the way vocalist Fabbian Bonilla delivers his vocals. His Spanish lyrics are aggressively spat or growled and stretched out, which reminds me of Max Cavalera. The fact that the lyrics have some political common ground, makes that comparison even easier: "Caos...! Social... Caos...! Urbano...". The album closer 'Maldición Malinche', which deals with 500 years of slavery, also reminds a bit of the way Sepultura blended traditional drumming with their brand of metal.


On the whole though, Colemesis opt for a different musical course. They mix up ingredients from the death, rock and thrash cook books, add some black, doom, heavy, grindcore and hints of industrial to the pastry and cook it to perfection in a DIY punk attitude oven. The overall result is a raw, energetic and varied form of politically aware death metal. Somehow, Colemesis manage to blend all kinds of recognizable style elements together, without it resulting in just a bunch of clichés thrown together, which makes 'Vivisección' both recognizable and refreshing. Neat record!




Вот не доводилось мне еще слышать метала из Коста Рики. А тут сразу и смерть-метал, правда с кучей примесей. Вокал прямиком из далёких 90-х, когда еще не было всяких гнусных примочек/питчшифтеров и прочих улучшайзеров и бруталайзеров. Даже слова различимы, отчего (из-за языка) я ловил себя на сравнениях с Sepultura - не знаю почему, общего ничего нет. Звук кристально чистый, гитары опущены настолько, что перегруз превратился в хруст. Бас местами выдает даже кое-что мелодичное и техничное. Барабаны меня, правда смутили. Дюже знакомое звучание Drumkit From Hell (или Superior Drummer), да и альты нереальные. Но в целом все звучит очень даже хорошо и сбалансировано. На основе Death Metal тут элементы техники, трэша, местами что-то от блэка, брутала и даже тупо хард-н-хеви. Не сказал бы, что мой любимый сорт музыки, однако материал легковоспринимаем - я даже не заметил как альбом пролетел и прослушал по кругу раза три. По сути, тут агрессии-то с гулькин нос, но это не умоляет очевидных плюсов – альбом могут слушать как дэтстеры, так и фанаты Voivod и Mercyful Fate.





You might have read the interview. Here’s the review. This is a rerelease. I can’t say that I am familiar with the original release. So this is like a new record to me from a band I’ve just gotten to know about. So all the ingredients for a perfect match is there. This Costa Rican band has a very basic sound, really old school. There is a touch of older Brazilian bands in their sound that makes this quite interesting. If you like old school South American metal mixed with a touch of modern thrash/death this Central American band will still that hunger.



I Colemesis hanno festeggiato i venticinque anni di attività con la ristampa del loro primissimo demo intitolato "Vivisección", lavoro originariamente rilasciato in autoproduzione nel 1992 in formato cassetta e oggi rinato in versione cd attraverso la collaborazione fra Symbol Of Domination Productions e Cavan Records. Il gruppo appartiene alla scena storica della Costa Rica e ha avuto una carriera decisamente altalenante, con due soli album ("Still Oppression Rules" del 1995 e "Hellritage" del 2013), accompagnati da una sfilza di singoli, ep e vere e proprie girandole di cambi in formazione che ne hanno segnato la costante instabilità.


"Vivisección" è un ripescaggio che offre la possibilità di confrontarsi con materiale perdutosi nel tempo. Le sonorità sono una combinazione di matrice death e thrash metal, statunitensi e sudamericane, incentrate a colpire il bersaglio con l'impatto più che tramite una prestazione tecnica di valore. L'ascolto, alle volte particolarmente eterogeneo per soluzioni, tende sin da subito a diventare dispersivo e poco interessante, così diviene difficile dare un giudizio sul tentativo di renderlo accattivante, sfruttando il lato melodico del genere con aperture, a tratti progressive nell'intreccio, ahimè poco indovinate; dico ciò, pur riconoscendo una certa buona volontà. Il disco soffre poi di una registrazione figlia di quel periodo e dei pochi mezzi a disposizione, che ne affossa il comparto ritmico.


Alla luce di quanto detto, si possono prendere in considerazione la buona attitudine che muoveva i musicisti costaricani, la discreta prova dietro al microfono impressa esclusivamente in lingua madre e sprazzi racchiusi in episodi come lo strumentale introduttivo "Otomicosis", "Paralelismo Humano" e la nuova "Maldicion Malinche".


Infine viene da domandarsi perché sia stata inserita in scaletta proprio "Maldicion Malinche", mentre ne sono invece state escluse due ("Putrefacción En Exceso" e "Acromatopsia"), che erano parte integrante di quel demo. Potremmo parlare di un recupero falsato o gambizzato, quindi una operazione che lascia un tantino perplessi...


"Vivisección" è sicuramente un pezzo di storia, non sono però sicuro vi sia il bisogno di conoscerlo né di entrarne in possesso.