A couple of weeks ago, I received a promo package in the mail from the beloved head of staff at Scene Point Blank. The description for this recently released album on Rome Plow Records mentioned Seattle, Washington's late Botch. Needless to say, I jumped at the opportunity to listen to a free, Botch-influenced album, and review it.
The Assailant is also a product of Seattle's prolific music scene. Colera is one of only six albums that Rome Plow has released since its genesis in late 2005. Although founders Adam Paysse and Jared Sletager created the label just over a year ago, they've been able to ensure that their albums feature impressive artwork and packaging.
If you're familiar with Botch, you'll recognize similarities as soon as you hear the first couple seconds of Colera. The first track, entitled "26," cudgels you with distorted bass, sporadic, talented drum fills, and even some white noise. As soon as I heard the intro to "26," Botch's "Micaragua," from An Anthology of Dead Ends, came to mind.
Colera features nine number-named tracks: "26," "23," "21," "27," "00," "25," "00," "24," and "20." The hammer-ons/ pull-offs that made Botch such a unique band are apparent on "25" and "24." Botch's noise/ insane drumming aspects can be found on "20." "00," the first one, is a droning instrumental track that once again reminds me of Botch.
If you're a Botch fan, I'd suggest Colera to you. Essentially, The Assailant is Botch with a case of the blast-beats. Actually, it sounds like Botch reformed and wrote a new album with a few instances of tech-metal and a high-pitched back-up vocalist. I'm sincerely sorry for referencing Botch throughout this review, but The Assailant brought it upon themselves. To end on a positive note, this is the best attempt I've heard to imitate Botch. It's not bad music by any means, I'd just rather listen to We are the Romans. Botchitty-botch-botch.
See also
Botch
