Costin Chioreanu's unusual and scary Alice in Wonderland-inspired cover artwork is the reason I picked up this CD for a review among the others in the pile. After a 2013 demo, this is the only album released so far by the Israeli four-piece.
The recording isn't too neat and crystal-clear but remains on far more than acceptable quality levels, while the lyrics deal with the following topics: men sinning and making useless revolutions, men being bred and taught to kill, a leader's lies, religious wars, a bloody dictator, anger-caused self-destruction, a slow death to pay the price of sins, an insane symphony of sorrow, a feast of fools in Neverland.

"Revolutions for Nothing (H.A.C)", the first of the nine tracks, is a short chip of gunning Thrash Metal without frills ranging from Annihilator to D.R.I., while "Built to Kill" possesses hammering structures alà Sepultura, mid-tempoes, a catchy refrain that takes no prisoners along with a nice interweaving of bass and guitar lines; quite interestingly there are also additional female vocals in the vein of Tantal before the guitar solo and an apocalyptic part with keyboards just a few seconds before the end.
"Magic Bullet" begins fading in, later showing complex and intricate riffage; it seems to become lighter but it's all the opposite: it becomes powerful, contains atmospheric dissonances between Techno-Thrash Metal structures, whispers and semi-distorted guitars. Decidedly one of the more Progressive songs, occasionally melancholic during the skillful guitar solo, rich in wild screams at the conclusion when the guitar players give birth to Doomy riffs.
Orchestral elements, lugubrious breakdowns, noises and an old-school Death Metal riff is what you'll find in the brilliantly wicked "Showing Teeth". There's also ample space for fast Thrash Metal riffing with vocals between Max Cavalera, Hardcore shouts and Rob Flynn. There are even brief assorted Primus-based and Punk portions in the middle of the track, and later you can find two guitar solos and then threatening Noise pieces reconnecting with the beginning of the composition.
Gifted with a Helloweenian start, "Mad Dog" veers towards 80s Thrash Metal, while the refrain is original and memorable. The guitar solo reminds me of the early Megadeth, whereas the modern parts contrast with the past canons in a nice way. Even a touch of Dark Metal has to be expected and afterwards an angry segment with an acoustic guitar. The Israelis couldn't have done more to make it more unique.
If you crave for tight Thrash Metal with arrangements that slow down or accelerate all the time, "Holy Grounds" is for you. As if the composition wasn't enough a musical tank, Sinnery have chosen to add vocals close to the latest Napalm Death's. A tehnical axe solo precedes a rhythm change with a Bay Area Thrash chorus and a Terror-like riff.
The six minutes of "Black Widow" begin symphonically in an emphatic manner before the song literally explodes. Alternated riffs and old school Thrash metal drumming vocalless lead us to an aggressive articulation not too distant from Sodom followed by one even more aggressive. This song is rich in musical variations as well as a vast assortment of Death, raspy and Thrash vocals. A melodic part, a slow riff and finally very early Megadethian vocals accompanied by tribal drums precede a propedeutical, multifarious and long guitar solo; then a more classical solo mimicking the "Rust in Peace"-era follows anticipating a wonderful rocky riff that arrives till the closure.
The only semi-ballad is the lengthy "Symphony of Sorrow", where a sublime guitar, a simple drum pattern and raw clean vocals fill the first minutes in, occasionally matched with screams; such screams go solo when the distorted guitar appears turning the song to a Depressive Metal one faithful to the title. A melodic axe solo comes before the song grows in intensity with the drums attacking continuously, and then all of a sudden a funereal time change relating to Cradle Of Filth shuffles the cards. Lastly, the bestial Thrash Metal comes back and so does a guitar solo; the song becomes close to Nuclear Assault and the vocals turn super fast before the guitar soloist pays homage to Metallica's "One" with a solo heavily similar to that present in "And Justice for All".
The gloomy title track has a great number of Symphonic Black Metal arrangements in the first installment, but suddenly it catches fire becoming Thrash Metal designed with several riffs all diverse one from another; here the bass player appears to be applying himself more than previously in delivering his lines, while the guitarists churn out riffs and solos that touch Power, Thrash, Funky and Techno-Thrash Metal, with the shouting vocals accompanying the listener until the ritualistic and obscure finale.

Shinigly cinematic and unapologetic in its defiance of genre, likewise imaginative and ingenious when they reinvent the past, the Israeli quartet make it almost impossible to be bored while listening to their "A Feast of Fools".