For no real reason other than the foolish human yearning for order and symmetry, we have often thought of the ‘Big Three’ of German thrash – Sodom, Destruction, and Kreator – as having a cross-hemispheric counterpart in the ‘Big Three’ (for us, at least) of Brazilian metal: Sarcofago, Sepultura, and KRISIUN. Though the analogy is inexact in many ways, both countries seem to have imparted a specific regional character to their bands, though KRISIUN hews most closely to the comparison of the Brazilian lot due to its status as a reliable bulwark of death metal righteousness. That righteousness is evident in the fact that Krisiun’s career to date has been devoted, in large part, to answering the question: What would happen if, after releasing Altars of Madness, Morbid Angel guzzled a barrelful of amphetamines, stayed awake for a week, and recorded an album of merciless death using jackhammers, downed power lines, and salmon-starved grizzly bears in lieu of traditional musical instruments? In short: KRISIUN kicks fucking ass.