When first listening to Cleveland’s Insurrect I noticed an attribute which the band also considers to be their primary asset – work ethic. Per their personal admission, these guys worked their collective assess off playing countless shows all over Cleveland underground circuit. Good things happen to those who work hard. Insurrect’s guitar driven music needs a heaping level of skill, which the band was able to hone over three years between its inception and Fucking Infinity release. This vinyl only full-length sounds cohesive, when it had all kinds of chances to drown in chaos amidst unrelenting fury.

If only given the opener Celestial Message, one could indeed think that the band is a Swedish transplant, borne from the fruits of the At The Gates tree at the same time when that formidable structure also spawned Sacrilege and The Everdawn. Shredding riffs at times shifting into mid-pace gallop, harmonious leads, self-indulgent scales used as a lengthy solo, tuneful and melodic, Celestial Message may hint at The Gallery without fancy or Lothlorien without keyboards. Yet, reminiscing about the early Gothenburg days is not what Fucking Infinity is all about.

Insurrect’s central intent is to let loose with their thrash, laying down crusty grasshopper quick D-beat in the songs like Widowmaker and New Jack City. The band’s punky material can also get rather quirky, Filtheater engaged in some crazy rhythm shifting. Most of the songs after Celestial Message are blazing fast and are tailor-made to be played live, Hunted being a typical crowd raiser, the cause for group circling moshpit and individual headbanging workout. Such music does not give a rat’s ass about production, Fucking Infinity having a feel of being practically a one-take live recording. For example, Insurrect’s cymbal crush is one continuous rustling.

Aside from distorted noise and feedback section in Deep Search, the whole of the album could have blended together in the whirlwind of the blinding intensity, but Insurrect, displaying maturity beyond their perceived lack of experience, infuse the songs with NWOBHM melodies from Iron Maiden (Widowmaker) to Angelwitch (Callin’ It Quits). The band’s slight melodic edge is what holds the whole concoction together.

If I had one thing I would subtract from the overall Insurrect sound, it would be Bear Trap’s vocals. He does an almost too familiar high-low attack, and in an effort to differentiate himself, his high sounds too deranged, while his low is way too much a tough neighborhood ‘core guy with chains hanging from his ripped jeans hung way below the waist. Using the vocals as just another instrument would have blended them in better, rather than have them sounding way too deliberately in-your-face.

Cleveland is only a quick 2-hour car ride away from where I am at. Next time I am seeing Insurrect as a local supporting act on some bigger bill, I’d make sure I be there to witness these dudes slay their guitars in person. It would be well worth it.