Intense, fast paced, relentless, abrasive, the adjectives to describe MASSIVE CHARGE's latest release are endless. A rip-roaring Grindcore descent into madness, charging at you headfirst with rapid drums; punchy, throaty guitars and a combative vocal performance. In classic Grindcore fashion, the seventeen song long track list only amounts to about thirty-eight minutes, and not a second of those is wasted as the band refuse to let up.

Having formed in 2003, MASSIVE CHARGE releases have been few and far between, with" For Those We Hate" being their third full length album, all this really means is that the French Metal band always deliver a solid venture into the extremities of music. There is no end to the arrangements of crazy riffs and speed drumming throughout the album. Opening with the instructional "Listen or Get the Fuck Out" the song unleashes the first building screams of vocalist Jérémy Mathieu, under a backing track of rising guitars and violent, crashing drums. The triggered bass drums layer up the overwhelming sound whilst a mesh of noise from the crashes and snare that elicits a lot of sympathy from me because I know that kit got beat to hell.

"Teeth Breaking" gives us a taste of Hardcore with its thrashy drums and shouted layered vocals, the riffing and the straight snare and tom build up is heavily reminiscent of bands like GORILLA BISCUITS, encapsulating that awesome 80s and 90s sound. Further demonstrating the prevailing hardcore influence, the slow chugging heaviness of "I'm Obscene" mixes nicely with the Blast Beats in the last half of that song to make it a perfect poster boy for the Grindcore sound. Tracks like "Awful Swine," and "G.R.I.N.D" push the heaviness with unbroken extreme instrumentation and ghastly vocals that are always trying to one-up the previous track in how chaotic it can be, giving us some awesome musical sections.

The songs of "For Those We Hate" all flow nicely together to weave a grandiose tapestry of face melting heaviness that never lets up for more than a few seconds. The technicality of the instrumentation and the range of vocals provide a decent amount of variation, and the great production and mix keeps it concise as opposed to a raw abrasive mess, although it does occasionally cross that thin line.