But then came the corruption. A major label free-for-all that snatched up most of the bands and with it much of the identity and integrity that defined the scene, one-time metal warriors suddenly relegated to the role of flavor-of-the-month posterboys. Yet what was spawned in the wake of this exploitative gang-bang were the ugly sounds of Bay Area Metal rebuilding itself from the ground up. Fueled by the fervent politicism for which the region is renowned, the DIY ethos of early hardcore and the urgency of the burgeoning grindcore movement, a new breed of metal evolved. One that made intentional efforts to avoid mainstream consumption. It was christened Power-Violence.

Emerging from the pack as a leader of this aural onslaught was Benumb, who – six years after its inception – has delivered a musical mailbomb dubbed Withering Strands of Hope, an album that begs a description more figurative than literal. It’s the equivalent of getting punched in the nuts – repeatedly. The soundtrack to a particularly spiteful grudgefuck. Or an urban riot replete with well-armed cops and an angry mob wielding molotov cocktails. I must admit that this last metaphor is a more than apt one, considering Relapse Records touts the band as performing with an “activist’s aggressiveness.” But do not expect to garner a political stance from the lyrics, however, considering that I am able to understand an average of one word per every four songs (for a grand total of eight decipherable words on the whole album). For those of a more political persuasion who give a shit about such matters, I suppose a bit of insight into the opinions motivating the band can be gleaned by reading between the lines of the album’s 32 song titles. If you wish to unearth a thematic thread connecting a song’s title with the song itself, however, don’t waste your time – you won’t have time. Most of the songs remind me of some  small towns in which I was raised in Arkansas – don’t blink or you’ll miss them. Confused? The length of the entire album is approximately 24 minutes. You do the math.

I do not intend to sound critical of these enigmatic qualities – it is merely the nature of the beast, popular parameters that define the style of music Benumb play so well. Keep this in mind when I state that Withering Strands of Hope is one of those releases that should be ingested as a whole instead of for its “singles” – and I use the term loosely in this case. Not that the album is devoid of highlights, offering a handful of tunes that rise above the fray of the chaos. Take the album opener, “Synopsis of Ignorance within the Society at Large,” a spoken word intro that escalates to a cacophonous crescendo that drowns the sparring voices in a sea of noise. “Father to the Fatherless” achieves a momentary groove, while “Dissection of Grace,” in a similar fashion, hooks the listener with quite possibly the album’s catchiest riff before disintegrating into yet another abrasive blur. Those of weak constitutions who have weathered the storm up until this point do finally earn a reprieve of sorts on track 26, “Years of Unjust,” a slower-paced instrumental that clocks in at almost four minutes, earning it the distinction of the album’s lengthiest track. And it all comes to a screeching halt with “Closing Argument,” a subtle flirtation with experimentation consisting of a barely audible voice droned out beneath a sea of electronically infused feedback.

Benumb exists as a stark reminder that metal can still be dangerous. A volatile wake up call to the apathetic masses that remains refreshingly irretrievable by the mainstream. And Withering Strands of Hope is the band’s most pronounced soundtrack for violence to date. Prepare to be bludgeoned.
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