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Gorefest β€” Rise to Ruin

  • intothewellsabyss
  • Aug 3, 2023
  • 2 min read

π…π‘πŽπŒ 𝐓𝐇𝐄 π‚π‘π˜ππ“π’ - π‚π„π‹π„ππ‘π€π“πˆππ† 𝐏𝐀𝐒𝐓 π€π‹ππ”πŒ 𝐑𝐄𝐋𝐄𝐀𝐒𝐄𝐒 𝐒𝐧 𝐭𝐑𝐞 π‡πˆπ’π“πŽπ‘π˜ 𝐨𝐟  𝐇𝐀𝐑𝐃 π‘πŽπ‚πŠ & π‡π„π€π•π˜ πŒπ„π“π€π‹β€¦



August 3, 2007 β€” Gorefest released their seventh and final full-length studio album, Rise to Ruin in Europe on August 3, 2007 via Nuclear Blast. (Apple Music or Spotify)



The album was released on September 25, 2007 in the US via Candlelight Records. The CD was mixed by Danish producer Tue Madsen at his Antfarm studios in Γ…rhus, Denmark.



The Wells Perspective:

When Gorefest announced their breakup in 1998, we all assumed that it was the end of the band, with each respective member moving on to new endeavors. In 2004, Gorefest proved momentarily, that these thoughts were premature. After a six-year absence, Gorefest reunited, releasing their comeback album La Muerte, which was well received by fans and critics alike.



Longtime fans were frothing at the mouth by the time Gorefest released the follow-up in 2007's Rise to Ruin. The Dutch Metallers seventh release was brimming with menacingly overwrought Death Metal, yet it was somewhat penetrable. Albeit, Rise to Ruin was not approachable in the way that Soul Survivor was, with its 70’s Rock influences.



Furthermore, the album did not take on any nuance of the more popular Melodic Death scene of the time. But, Rise to Ruin was chock-full of catchy, hook-laden goodness that many listeners could, and would latch on to. This blend of heaviness and hook-savvy charm was a winning combination for old-school fans of the band, who ultimately praised Rise to Ruin as a return to form. β€” E.N. Wells



Another Hasty Exit:

Unfortunately, following the release of Rise to Ruin, Gorefest once more called it quits with the following statement;

β€œπ™Άπš˜πš›πšŽπšπšŽπšœπš πšπš’πšœπšŒπš˜πšŸπšŽπš› π™Έπš—πšπšŽπš›πš—πšŽπš πš™πš˜πš›πš—, πššπšžπš’πš. 𝙾𝙺, πšπš‘πšŠπšβ€˜πšœ πš—πš˜πš πšŽπš—πšπš’πš›πšŽπš•πš’ πšπš›πšžπšŽ, πš πšŽπš”πš—πšŽπš  πšŠπš‹πš˜πšžπš πšπš‘πšŽ πš™πš˜πš›πš— πšŠπš•πš• πšŠπš•πš˜πš—πš. π™±πšžπš, πšŠπšπšπšŽπš› 𝚝𝚠𝚘 πšŠπš•πš‹πšžπš–πšœ, πš‹πš˜πšπš‘ 𝚘𝚏 πš πš‘πš’πšŒπš‘ πš πšŽβ€™πš›πšŽ πš‘πšžπšπšŽπš•πš’ πš™πš›πš˜πšžπš 𝚘𝚏, πšŠπš—πšπšŠπš‹πš˜πšžπš 𝚊 πš‘πšžπš—πšπš›πšŽπš πšœπš‘πš˜πš πšœ, πšŠπš•πš• 𝚘𝚏 πšπš‘πšŽπš– πš–πšŽπš–πš˜πš›πšŠπš‹πš•πšŽ πš’πš— πšπš‘πšŽπš’πš› πš˜πš πš— 𝚠𝚊𝚒, πšπš‘πšŽ πššπšžπšŽπšœπšπš’πš˜πš— πšπš‘πšŠπš πš›πšŽπš–πšŠπš’πš—πšŽπš πšπš˜πš›πšžπšœ 𝚠𝚊𝚜: πš πš‘πšŠπšβ€˜πšœ πš—πšŽπš‘πš? πšƒπš‘πšŽ πšŠπš—πšœπš πšŽπš› πšŒπšŠπš— πš‹πšŽ πšœπš‘πš˜πš›πš: πš—πš˜πšπš‘πš’πš—πš. π™»πšŠ π™ΌπšžπšŽπš›πšπšŽ πšŠπš—πš πšπš’πšœπšŽ πšƒπš˜ πšπšžπš’πš— πšŠπš›πšŽ 𝚝𝚠𝚘 πšŠπš•πš‹πšžπš–πšœ πš πš’πšπš‘ πš πš‘πš’πšŒπš‘ πš πšŽβ€˜πšŸπšŽ πšŽπš‘πš™πšŠπš—πšπšŽπš, πšŠπš—πš πš’πš—πšπšŽπšŽπš πšŒπš˜πš–πš™πš•πšŽπšπšŽπš πš˜πšžπš› πš‹πš˜πšπš’ 𝚘𝚏 πš πš˜πš›πš” 𝚝𝚘 πš˜πšžπš› πšπšžπš•πš• πšœπšŠπšπš’πšœπšπšŠπšŒπšπš’πš˜πš—. π™±πšŠπš›πš›πš’πš—πš πš˜πš—πšŽ πš˜πš› 𝚝𝚠𝚘 πšŽπš‘πšŒπšŽπš™πšπš’πš˜πš—πšœ, πšŠπš•πš• πšπš‘πšŽ πšœπš‘πš˜πš πšœ πš πšŽβ€™πšŸπšŽ πšπš˜πš—πšŽ πšœπš’πš—πšŒπšŽ 𝚠𝚎 πšπšŽπšŒπš’πšπšŽπš 𝚝𝚘 πš›πšŽπšπš˜πš›πš– πšœπš˜πš–πšŽπšπš’πš–πšŽ πš’πš— 𝟸𝟢𝟢𝟺 πš‘πšŠπšŸπšŽ πš‹πšŽπšŽπš— πšπš›πšŽπš–πšŽπš—πšπš˜πšžπšœπš•πš’ πšŽπš—πš“πš˜πš’πšŠπš‹πš•πšŽ. πš‚πš˜ πš πš‘πš’ πššπšžπš’πš? πšƒπš‘πš’πšœ πš’πšœ πš˜πšžπš›πšœ."

Once more, fans are left wondering… is this truly the end? Only time will tell!



Performance & Critical Reception:

Rise to Ruin entered the Dutch chart at position No. 61 in August 2007.



In a retrospective review for AllMusic, Alex Henderson writes;

"πšπš’πšœπšŽ 𝚝𝚘 πšπšžπš’πš— πš’πšœπš—β€˜πš πš“πšžπšœπš πšŠπš‹πš˜πšžπš πš‹πš˜πš—πšŽπšŒπš›πšžπšœπš‘πš’πš—πš πš‘πšŽπšŠπšŸπš’πš—πšŽπšœπšœ πšŠπš—πš πš‘πš’πšπš‘ πšŸπš˜πš•πšžπš–πšŽ; πš’πš πš’πšœ πšŠπš‹πš˜πšžπš πš‘πš˜πš˜πš”πšœ πšŠπš—πšπš’πš—πšπšŽπšŒπšπš’πš˜πšžπšœπš—πšŽπšœπšœ. πš‚πš˜ πš™πšžπš πšŠπš•πš• 𝚘𝚏 πšπš‘πš˜πšœπšŽ πšπš‘πš’πš—πšπšœ πšπš˜πšπšŽπšπš‘πšŽπš›, πšŠπš—πš 𝚒𝚘𝚞 πš‘πšŠπšŸπšŽ 𝚊 πš πšŽπš•πš• 𝚎𝚑𝚎𝚌𝚞𝚝𝚎𝚍 πšŠπš•πš‹πšžπš– πšπš‘πšŠπš β€” πšŠπš•πšπš‘πš˜πšžπšπš‘ πšŒπšŽπš›πšπšŠπš’πš—πš•πš’ 𝚊 πš•πš˜πš πš–πš˜πš›πšŽ πšŸπš’πšŒπš’πš˜πšžπšœ πšπš‘πšŠπš— πš‚πš˜πšžπš• πš‚πšžπš›πšŸπš’πšŸπš˜πš› β€” πš πš’πš•πš• πšŠπš™πš™πšŽπšŠπš• 𝚝𝚘 πšπš’πšŽ-πš‘πšŠπš›πš π™Άπš˜πš›πšŽπšπšŽπšœπš πšπšŠπš—πšœ 𝚊𝚜 πš πšŽπš•πš• 𝚊𝚜 πš‘πšŽπšŠπšπš‹πšŠπš—πšπšŽπš›πšœ πš πš‘πš˜ πšŒπšŠπš— πšŽπš’πšπš‘πšŽπš› πšπšŠπš”πšŽ π™³πšŽπšŠπšπš‘ π™ΌπšŽπšπšŠπš• πš˜πš› πš•πšŽπšŠπšŸπšŽ πš’πš. πšπš’πšœπšŽ 𝚝𝚘 πšπšžπš’πš— πš’πšœ 𝚊 πšœπšπš›πš˜πš—πš πšŠπšπšπš’πšπš’πš˜πš— 𝚝𝚘 π™Άπš˜πš›πšŽπšπšŽπšœπšβ€˜πšœ πšŒπšŠπšπšŠπš•πš˜πš πšŠπš—πš πš’πšœ πšŠπš–πš˜πš—πš πšπš‘πšŽ πš–πš˜πšœπš πš–πšŽπš–πš˜πš›πšŠπš‹πš•πšŽ π™³πšŽπšŠπšπš‘ π™ΌπšŽπšπšŠπš• πš›πšŽπšŒπš˜πš›πšπš’πš—πšπšœ 𝚘𝚏 𝟸𝟢𝟢𝟽.

Notice: Any reviews shared here are for historical reference. The views and opinions expressed within are not always supported (in full or in part) by Into the Wells. β€” E.N. Wells



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