Limb Terminal on Limited Edition Colored 180g LP + Download
First Pressing on Colored Vinyl
Colored Copies Are Limited / Call To Confirm Colored Copies Are Still Available
Terminal follows hot on the heels of Limb's self-titled debut of 2014, but takes an enormous leap forward. Perhaps it's the result of playing across the UK on tour with labelmates Black Moth, and the introduction of new drummer Tom Mowforth (ex Uncle Acid) but Limb are now more explosive than ever before. Where the debut showcased their thick, loping, and stripped-down sound, Terminal cranks up the sonics, mashes the grooves, and ups the filth quotient to truly corrosive levels.
In their quest to take things to the next planet, Limb hooked up with legendary extreme metal producer Russ Russell (Napalm Death, Dimmu Borgir, Evile). A bold move, but together they've created a monolithic statement of intent. Terminal is a down-tuned and dirty barrage of monumental riffs, in fact it sounds like worlds exploding. Keeping all the mammoth groove that is Limb's trademark, Terminal ups the tempos and infuses it all with a thick, stoner vibe.
The guitars are all roiling fuzz. The bass is low, warm and weighty. The drums pound, and vocalist Rob Hoey's roar resounds through it all, guttural but articulate. This album is guaranteed to blow your ears, speakers, and minds. Recognizing Limb's love of both stoner dirge and glam stomp, Russ Russell has described the band's sound as GoatSlade, and we can see why. Buried in the dirt is a cosmic boogie, which pays more than a nod to the decade of stacked platform boots without ever feeling retro.
Right from the opening double whammy of "Three Snake Leaves" and "Ghost Dance," you're propelled into a maelstrom that never lets up. The riffs come layered, thick, and fast, from the fuzzy throb of "Dawn Raiders" to the off-kilter groove of "Spoils of a Portrait King," marking the halfway point with its monstrous, doomy outro. The second half of the album contains Limb's take on a traditional murder ballad, "Down by the Banks," as well as the chaotic hardcore of "Mortuary Teeth." The whole thing ends with "Cocytus," the soundtrack to a voyage across the eponymous river of dead souls that encircles Hell, complete with a hypnotic riff ending.
It's an album which can easily hold it's own against Yob's, Conan's The Swords' of this world at the same time as plowing its own singular furrow. Thematically the album addresses the prospect of absolute destruction and the possibility of life thereafter, which is echoed in the album's artwork, a startling retro-futuristic collage by Cur3es (responsible for the art of FuManchu's ‘Gigantoid'). It conveys the album's mood perfectly: the familiar juxtaposed with the unknown, a world where nothing is quite as it should be.