Ever since its late '80s inception, Death Metal has faced more creative difficulties than most styles within the realm of heavy music, and a single listen to any CANNIBAL CORPSE or MALEVOLENT CREATION album makes the reasons obvious to even the most dedicated fans of the genre. Given its extreme (and relatively single-minded) nature, there simply is not enough room for experimentation and growth by which bands can differentiate themselves from their peers. Stray too far from the blueprint, and your music becomes something else entirely, thus reinforcing boundaries and confining "true" Death Metal within its narrowly defined box. In recent years, the same creative problems have plagued the insufferable Deathcore movement to an even greater extent.

Enough negativity. Enter WITHOUT MERCY. Hailing from Vancouver, B.C., this bloodthirsty quartet is out to crack some skulls, as their inspired moniker honestly suggests. Their mission? To play hard, fast, and loud, and to have a blast doing it, pompous critics be damned. You know, kind of how METALLICA used to do it - once upon a time. The mission statement has arrived in the form of their self-titled debut full-length, which succeeds stunningly in reclaiming the raw, youthful passion that made Death Metal's early masterpieces so compelling. Is this 2010 or 1991?

Over the course of the album, the band rip through eight tracks of sheer aggressive bliss, and it is a joy to behold. Not necessarily due to originality - after all, this is Death Metal, not TOOL - but because the band stand in such stark juxtaposition to current North American trends and harken back to the heyday of the genre, when the coolest kid on the block was the one wearing a SUFFOCATION shirt. Drummer Matt Helie plays with a breezy confidence, impressing the listener without feeling the need to show off. The same applies to guitarist DJ Temple, whose rip-snorting riffs brandish their muscle through rhythmic restraint rather than psychotic overdrive. Dallas Lacey's throbbing bass practically doubles as a percussion instrument; this should quench the thirst of those with a craving for technicality. Amid a primarily guitar-driven Deathcore scene, the prominence of bass on this album is a refreshing change of pace. Overall, these lads stand out from said scene by delivering a straightforward, groove-laden blend of OBITUARY and 1994-era KORN. Laid atop this slab of Metalwork are the punishing growls of vocalist Alxs Ness. She - yes, SHE - is a standout warrior in the battle for gender equality in Metal, and her Chris Barnes-worthy performance is strong proof that it's truly an equal opportunity genre.

WITHOUT MERCY are to Death Metal what WARBRINGER are to Thrash - a young band grabbing a once-tired sound by the horns and making it their own with the passion and gusto that has kept the titans of the respective genres in business for so long. They should function as both a breath of fresh air for anyone sick and tired of JOB FOR A COWBOY and a dose of nostalgia for anyone still spinning his well-worn copy of "Blessed Are The Sick". This potentially wide appeal should be encouraging to one of Canada's most promising young acts.