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Review: Necroblaspheme - Destination: Nulle Part
Destination: Nulle Part

Label: Agonia Records
Year released: 2008
Duration: 36:15
Tracks: 9
Genre: Death Metal

Rating: 2/5

Review online: May 28, 2009
Reviewed by: Jason Cominetto
Readers Rating
Destination: Nulle Part

Rated 2.71/5 (54.29%) (14 Votes)

Destination: Nulle Part is probably the most ‘meh' album I've heard in a while. That is, it's not bad, but in no way can I consider it good. It is one of those albums that I'll listen to every once in a while and hope that during one listen I'll find something that will truly grasp my attention. Sadly this did not happen throughout any of my multiple play-through, as I usually found myself getting too distracted by other more interesting things to give it a good listen. Perhaps it's me, but I honestly found the band's music going right through me: containing just enough positive elements of Death Metal to warrant it not horrible, but never doing anything outstanding. Musically, this is pretty much a completely neutral album as far as I'm concerned.

I do however feel that the music sounds inconsistent with the names of the songs. I couldn't find lyrics for the band's music online, so I had to rely on the names of the songs to give me a rough idea of the general message or sound of each song. I expected something along a futuristic/industrial sound from such odd titles as "????>1" and "2h40am," (which I consider pretentious and unnecessary) yet the music sounds like the run-of-the-mill Death Metal which would be more appropriate for murder and destruction than spaceships or industrial facilities. Either way, the music could never keep me quite interested long enough to have me care.

You may want to check out this album, as there could be some sweet riffs you enjoy, but if you're like me, you won't think twice about listening to the band again. Completely passable…

Other related information on the site
Review: Destination: Nulle Part (reviewed by Sargon the Terrible)
Review: XXVI: The Deeper, The Better (reviewed by Christopher Foley)
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