By all means, KORSAKOV emanate a pure Thrash aura. With the old school cover art of skulls dressed in gas masks or the typical aggressive calligraphy found on every thrash record out there, the Netherlanders plunge us into the much appreciated universe of raging and raw. With only three demos to their credit, the band has been on some sort of hiatus since the mid-90s. Now reunited and ready for slaughter, the quintet releases a compilation of these said demos. For that same reason, "Unique Remains" contains three different years of aggression and heaviness, combined into a nuclear war, doomsday universe.

Truly, KORSAKOV radiate with the spirit of classic old school but, as it has been proven to be more breakneck effective in the metal community, the band also incorporate varied elements and genres. Amongst the pure thrash themes (politics, booze and combat) or the rapid shreds, lies death metal components. Blastbeated through weighing and slow to brash and assailing, the frequent drum rolls dictate the numberless rhythm changes. From strong power chord accents to general synchronized brutality, the band creates that type of music you just need to bruise and mosh yourself to, say the not quite elegant or near uplifting kind. The profound, heavy bass distinguishes itself from the riffing guitar duet, drawing the classic high-pitch on low frequencies tone. Underpinned by the still deep, pulsating drum, the heaviness exuding from the overall sound gives a modern, death metal feel. With the growls directly discharged from the depths of hell, these find a low tone, strangely soothing, as it matches perfectly with the chaos and stabilizes it. If to this point there hadn't been any melodic influences, the artistic decision of combining low (bass, drums and growls) to strident guitars proves wrong. The tasteful blend of sounds and frequencies forges a clear result, where the few melodies present can be perceptible. For metal still aims to recreate riotous music, KORSAKOV respect the will and principles of the genre. Jerky, with staccato sections, the headbanging feeling is on its way. With tracks such as "Artificial Blasphemy", the sharp riffs merged to the neck snapping tempos result in a cutthroat, brutal product. The also galloping sections in pieces like "Sanctified Means" let off steam in a way only crushing guitars and heavy drums can. With an often screeching, whammy guitar solo towards the end, some songs draw a particular and recognizable structure, but the unpredictable blastbeats overall takeover.

When analyzing a band's music, influences always play a major role. In order to fully understand the essence behind a band's art, one must comprehend where they come from and who inspired them first. In the case of our Netherlanders, 90s death metal raging act DEATH seems to emanate from the record in more than just a way. Closer to the Spiritual Healing era, the deep, round tone crafted by both KORSAKOV and DEATH meet. While the former uses more distortion, the furious blastbeats and tempo transitions share the same spirit the 90s pioneers had, as they also share an impressive technicality. Though DEATH had a love for elaborate experimentation and progressive tendencies, KORSAKOV stay true to their old-school touch, composing with a stinging thrash sound in mind. If Chuck Schuldiner (DEATH front man and guitarist) had a more flayed-alive growl, Dustin here uses a low, no-air roar - resembling the one the powerful, ex-lead vocalist for ARCH ENEMY (Angela Gossow) has.

Still, considering these efforts, KORSAKOV's music doesn't deliver innovation or exception. As, yes, the quintet offers relentless tracks ("City at War", "Procreate Doom", "Korsakov", "Before Doom" for example), the formation still seems trapped into the sound and spirit of their genre only (or the foundations of other acts). With no daring whatsoever, "Unique Remains" surely is a great listen, just not a groundbreaking, world changing discovery. With captivating guitar works (plus occasional harmonies) and insane drumming skills, the record definitely captures attention, but with a repetitive flavor from track to track. Of course, you wouldn't believe so as the record itself is a compilation, but the band's fidelity to their roots and influences is strong. Pieces such as "Disgustor" will rather satisfy your envy for bouncy, vivacious rhythms and, if looking for something more dizzy, tracks like "Plagues of Retribution" will fulfill that round and round effect you needed - with the sharpest, most razor edged tone possible. "World War XIII", minus it's creepy children show introduction, serves excellent melodies, creative riffs and a whammy solo all held by a fuzzy and heavy foundation but, if interested in a cacophonous, mood-changing tempo break, "Ripping Silence" is the listen you've been looking for. As closure, KORSAKOV surprise and uplift us with an ever so melodic introduction, far from distortion and discord. Well, that's what they'll get you thinking before abruptly grunting out a mighty, hateful roar and going on with it's usual chaos. "Doomsday Messiah", with it's crushing riffs and unpredictable breakdowns, sums up the formation's sol core.

Harsh, ferocious, implacable and violent, the underground act rises with a more than an hour-long compilation of destructive madness. Don't let your kids approach this record, for it will damage their sanity.
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