urang lebih sudah 5 tahun berlalu s

urang lebih sudah 5 tahun berlalu sejak “H.A.T.E.” yang monumental sekaligus kontroversial. Ketika FUNERAL INCEPTION, sang pentolan Death Metal dari Jakarta, mempertanyakan asumsi-asumsi yang kadung dipercayai, mempertanyakan pertanyaan yang sepertinya tidak boleh ditanyakan, ketika Doni Herdaru Tona, sang vokalis, lewat vokal growl-nya yang garang mempertanyakan ketidakmampuan kita untuk bertoleransi di tengah-tengah majemuknya masyarakat kita. Ketika Funeral Inception secara berani meneriakkan bahwa sesungguhnya kita telah menjadikan sebuah pemikiran yang penuh dengan ajaran toleransi sebagai landasan untuk malah bersikap intoleran terhadap perbedaan. Ketika Doni Herdaru Tona, yang ibarat seorang penyair dari sebuah rumah puisi, meneriakkan dengan bahasa analogi bahwa kita telah memutarbalikkan sebuah ajaran yang sangat mulia sebagai alat untuk memenuhi kepentingan-kepentingan yang berhubungan dengan kerakusan dan pemenuhan hawa nafsu, sehingga memutarbalikkan definisi ‘hina’ dan ‘mulia’ yang dideskripsikan dengan bahasa simbolis (sekali lagi, dalam bahasa simbolis, karena ‘man’s best friend’ sama sekali bukan makhluk hina).

Funeral Inception Band 2013
Funeral Inception, formasi 2013: Ai “Deadfinger” (Gitar), Aslan Musyfia (Bass), Doni Herdaru Tona (Vokal), Fadjar Ramadhan (Gitar), dan Gatot Hardiyanto (Drum).

Kemudian, mereka, dan sebagian dari kita pun marah. Tersinggung. Kemarahan yang muncul karena mereka, dan sebagian dari kita, cenderung untuk menghakimi tanpa melihat isi. Karena mereka, dan sebagian dari kita, cenderung untuk menghakimi karena melihat sosok luar saja, yang sepertinya sangat berbeda dari kita. Perbedaan seringkali menimbulkan ketakutan yang tidak beralasan (“man fears what he doesn’t understand” – anonymous). Mereka, dan sebagian dari kita, justru marah untuk sebuah narasi yang sebenarnya dapat kita gunakan untuk bercermin dan melihat jauh ke dalam diri kita sendiri sebagai makhluk yang berakal budi. Kadang-kadang sebuah karya besar justru lahir dengan penuh kontroversi karena pesan-pesan yang disampaikan masihlah terlalu maju untuk zamannya, dan seiring dengan berjalannya waktu, album Funeral Inception – “H.A.T.E.” (2008) pun mulai dipahami dengan lebih baik dan menjadi salah satu literatur klasik untuk genre-nya di tanah air.

Lima tahun adalah waktu yang relatif panjang di dalam life cycle sebuah band, dan dalam 5 tahun Funeral Inception pun tidak luput dari berbagai ujian dan cobaan yang salah satunya adalah dari sisi personil yang datang dan pergi. Doni Herdaru Tona, dalam proses yang jatuh-bangun, kemudian berhasil membangun kekuatan dengan 4 personil yang sama sekali berbeda dengan era “H.A.T.E.” dan menghasilkan “In Praise of Devastation” (2013) sebagai agresi mereka yang ke-3.

Funeral Inception-In Praise 02

“In Praise of Devastation” dibuka dengan Non Serviam, sebuah intro instrumental yang seperti memberikan pesan bahwa Funeral Inception sudah mengalami evolusi dari sisi sound dan style bermusik. Non Serviam diawali dengan permainan gitar yang melodius yang kemudian disambut dengan rhythm dan ketukan drum mid, dan kemudian masuk lead guitar yang juga relatif melodius sebelum tempo menjadi cepat dengan blast beats. Dari sini kita dapat melihat evolusi dari Funeral Inception: gitar solo yang melodius mendapatkan porsi yang relatif lebih banyak dibandingkan era “H.A.T.E.”, dengan rhythm yang terdengar lebih dry. Permainan gitar solo pada track pembuka ini sekilas mengingatkan saya pada permainan Alex Skolnick, sebuah influence yang memberikan kontribusi signifikan pada blueprint musik Funeral Inception yang baru. Barangkali bukanlah kebetulan kalau Suffocation juga mengubah arah bermusiknya ke area yang lebih teknikal dan juga dengan solo-solo yang melodius (ada penjelasan, Doni? :-)).

Doni Herdaru of Funeral Inception
Doni Herdaru Tona, sang ‘iblis’ on stage. Foto: Funeral Inception Official Facebook.

Agresi dilanjutkan dengan “Intoksifikasi Imajinasi” yang sangat straightforward dengan blast beats. Perhatikan sound gitar yang terdengar lebih ‘tipis’ akan tetapi bermain lebih cepat dari rilisan Funeral Inception yang sebelumnya kita kenal. Permainan gitar dengan clean sound pada 2:08 – 2:24 menambah suasana kelam dan tragis yang seakan-akan ikut berduka cita atas matinya logika sebagai akibat pencemaran pikiran yang berasal dari interpretasi yang salah dari janji-janji keselamatan dan penghakiman. Perenungan dilanjutkan dengan track yang berjudul sangat agresif: “Buru, Bunuh, Binasakan.” Track ini adalah kombinasi dari permainan bertempo lambat dengan permainan cepat yang diselingi oleh lead guitar yang melodius tapi tetap bernuansa tragis: “untuk apa kamu memuja langit, sementara bumi ternoda darah?” Dari 3 track pertama dari album ini kita dapat melihat sebuah alur cerita dan kesinkronan tema yang diceritakan oleh vokal growl Doni. Pertanyaan2 yang muncul pada track ke-2 dan ke-3 seperti mendapat jawabannya pada track ke-4: “The Roots of All Evil.” Sebuah track yang bertempo cepat baik rhythm dan solo yang seperti beradu cepat dengan blast beats, dengan permainan pada ketukan-ketukan drum yang menuntut presisi yang tinggi (kredit patut diberikan kepada Gatot Hardiyanto yang berada di belakang drum kit). “Promise of heaven, poisons everything, when you preach for lights, when there is nothing in sights.” Track ini secara representatif menjelaskan maksud dari album “In Praise of Devastation” secara keseluruhan: sebuah tema sensitif yang sudah menjadi penyakit masyarakat yang terlanjur kronis, yang ditampilkan dalam bahasa sarkastik namun cerdas.

“Habis Gelap Terbitlah Perang” dan “Dalam Nyala Api” melanjutkan cerita dari “The Roots of All Evil.” Permainan gitar solo yang panjang yang menutup “Habis Gelap…” seperti sebuah show off dari musikalitas di departemen gitar Funeral Inception yang dihuni Ai “Deadfinger” dan Fadjar Ramadhan. Terdengar sangat Floridian Death Metal (Trey, atau Mark English), yang menjadi sisipan yang menarik pada kerangka musik Funeral Inception yang menurut saya masih bersifat Suffocation-ism akan tetapi dengan influence2 lain yang lebih luas. Perhatikan juga permainan adu cepat antara rhythm dan blast beats pada “Dalam Nyala Api” yang seperti ingin mendefinisikan ulang kecepatan standar sebuah blast beats Death Metal.

Funeral Inception-In Praise 03

Track berikutnya adalah “Manusia (Tidak) Mulia”, sebuah judul yang seperti menampar muka kita semua bahwa status ‘mulia’ dan ‘makhluk paling sempurna’ bukanlah sesuatu yang tanpa syarat. Track ini akan membawa pembaca dan pendengar yang masih belum kenal dengan Funeral Inception dan sosok Doni ‘Iblis’ pada sebuah kesimpulan yang tidak disangka-sangka. Baca liriknya, cari informasi yang relevan dengan search engine, dan berkacalah ke diri sendiri. “Manusia (Tidak) Mulia” juga disisipi dengan permainan-permainan ‘nakal’ bass solo dari Arslan Musyfia yang merupakan anomali dari pola standar track2 di album ini. Track berikutnya adalah “Pitch Black Destiny”, sebuah track bertempo dasar cepat yang diselingi perubahan-perubahan ketukan, dengan riffing2 gitar dan melodi yang menarik perhatian. Sebuah track dengan karakter terkuat pada “In Praise of Devastation” secara keseluruhan. Menyusul “Pitch…” adalah “Opium” dimana riffing gitar pembukanya sekilas seperti perpaduan antara Max dan Andreas di “Desperate Cry” dengan Abbath di “One by One.” Sebuah track yang menarik, akan tetapi seperti tidak mempunyai karakter yang cukup kuat. Barangkali karena efek track sebelumnya (“Pitch…”) yang sangat well composed.

Agresi berikutnya adalah “Extreme Agression” yang merupakan cover version dari Kreator, sang legenda Thrash Metal dari ranah Bavaria, yang sekaligus menjadi penutup dari album ini. “Extreme Agression” dibawakan dengan baik sekali, dalam bentuk yang sangat kreatif, dengan format Death Metal ala Funeral Inception, tanpa menghilangkan kekuatan asli dari track legendaris ini. Mille Petrozza dan Ventor sepertinya akan menyetujui interpretasi Funeral Inception terhadap track klasik mereka.

Funeral Inception-In Praise 04

Perbaikan lain yang dilakukan oleh Funeral Inception dibandingkan dengan era “H.A.T.E.” adalah dari sisi artworks. Artworks di “In Praise of Devastation” digarap dengan sangat serius dan melibatkan Bahrull Marta dari Abomination Imagery (abominationimagery.com), sang seniman ‘gelap’ yang sangat fasih dalam menggarap cover dan artworks untuk album-album Extreme Metal. Masing-masing halaman dari sleeve CD ini mempunyai kesinkronan dalam hal theme termasuk foto band member yang sebenarnya biasa-biasa saja akan tetapi dengan touch yang tepat justru menjadi sangat artistik dan sinkron dengan tema artworks secara keseluruhan.

Secara keseluruhan, Funeral Inception – “In Praise of Devastation” (2013) adalah memenuhi semua persyaratan untuk berada di dalam kategori album Death Metal yang berkelas: production yang well engineered, dan musikalitas yang sangat baik dari para band member dalam memformulasikan aksi Death Metal yang brutal namun terukur, lewat permainan tempo yang bervariasi, lead guitar yang melodius yang menjadi penyeimbang agresi pada rhythm dan ketukan blast beats, sehingga dapat ‘keluar’ dari kemonotonan dan kesan repetitif yang seringkali menjadi permasalahan klasik untuk sebuah album Death Metal, terutama dari scene lokal. Dan tentu saja, agresi dari vokal growl Doni Herdaru Tona, sang penyair Death Metal, yang membuat panggung Death Metal tidak hanya penuh dengan agresi, akan tetapi juga menjadi berisi dengan lirik-liriknya yang cerdas yang mendorong para pendengar untuk merenung dan bercermin ke dalam diri sendiri.

Funeral Inception – “In Praise of Devastation” adalah sebuah rilisan Death Metal yang sangat baik dan akan menjadi sebuah milestone, stepping stone, dan bahan benchmarking bagi rilisan-rilisan Death Metal dan Extreme Metal selanjutnya dari scene Metal di tanah

結果 (英語) 1:

Urang more already 5 years have passed since "H.A.T.E." monumental at once controversial. When FUNERAL INCEPTION, the pentolan Death Metal band from Jakarta, to question the assumptions that are downloaded before cancellation is held, to question the question that seems not to be asked, when Doni Herdaru Tona, the vocalist, through vocal growl his fierce questioning of our inability to have tolerated in the Middle majemuknya of our society. When Funeral Inception boldly announcing that indeed we have made a full thought to the teaching of tolerance as the Foundation for even being intolerant towards difference. When Doni Herdaru Tona, who like a poet from a poem, shouting with the analogy that we've overturned a teaching that is very precious as a tool to meet interests related to gluttony and lust, so twist the definition of ' hina ' and ' noble ' described by symbolic language (again, in symbolic language, as ' man's best friend ' is absolutely not a despicable creature).Funeral Inception Band 2013Funeral Inception, formation of 2013: Ai "Deadfinger" (guitar), Aslan Musyfia (Bass), Doni Herdaru Tona (vocals), Dawn Ramadan (guitar), and Gatot Hardiyanto (drums).Then, they, and most of us ever angry. Offense. The anger that occurs because of them, and some of us, tend to judge without looking at the content. Because of them, and some of us, tend to judge because see figure out, that seems very different from ours. The distinction often gives rise to the fear that is unwarranted ("man fears what he does not understand" – anonymous). They, and most of us, quite angry for a narrative that in fact we can use to reflect and look deep into ourselves as sentient beings. Sometimes a great work thus born with great controversy because the messages are delivered masihlah too advanced for his time, and as time goes by, the album Funeral Inception – "H.A.T.E." (2008) began to be understood better and become one of the classic literature for its genre in the country.Five years is a relatively long time in the life cycle of a band, and in 5 years Funeral Inception did not escape any of the various examinations and trials, one of which is from the side of the personnel who come and go. Doni Herdaru Tona, in a process that is jatuh-bangun, then managed to build strength with 4 completely different personnel with era "H.A.T.E." and result in "In Praise of" Devastation (2013) as their aggression.Funeral Inception-In Praise of 02"In Praise of Devastation" Non Serviam, opened with an instrumental intro that is like giving a message that the Funeral Inception has experienced the evolution of sound and musical style. Non Serviam begins with a melodic guitar games are then greeted with rhythm and beats the drum mid-way and then enters the lead guitar are also relatively melodic before the tempo becomes faster with blast beats. From here we can see the evolution of the Funeral Inception: guitar solo song get relatively more servings compared to the era of "H.A.T.E.", with a rhythm that sounds more dry. Guitar solo on the opening track of this overview reminds me of the game Alex Skolnick, an influence which contributed significantly on the blueprint of the new Inception Funeral music. Probably is not a coincidence if Suffocation also changed the course of music into more technical areas and also with solo-solo song (there's an explanation, Doni?:-)).Doni Herdaru of Funeral InceptionDoni Herdaru Tona, the ' Satan ' on stage. Photos: Funeral Inception Official Facebook.Aggression followed by the "Intoksifikasi of the imagination" a very straightforward with blast beats. Notice the sound of the guitar that sounds more ' thin ' but will play faster than the previous release Funeral Inception we know. Guitar with clean sound at 2:08-2:24 adds a dark and tragic as if grief over the demise of the join logic is as a result of the pollution of the mind comes from the wrong interpretation of the promises of salvation and judgment. Contemplation is continued with the track titled very aggressive: "Hurry, killed, Destroyed." This track is a combination of up-tempo game is slow with fast game punctuated by a melodic lead guitar but tragic nuance: "for what you adore the sky, while the Earth tainted blood?" From the first track from the album 3 we can see a kesinkronan theme and story line told by vocal growl Doni. Pertanyaan2 that appears on track to-2 and to-3 as got the answer on the 4th track: "The Roots of All Evil." A good up-tempo tracks that rhythm and soloing like you met quickly with blast beats, with the game on the beats-drum beats that demands high precision (credit ought to be given to the Gatot Hardiyanto which is behind the drum kit). "The Promise of heaven, poisons everything, when you preach for lights, when there is nothing in sights." These tracks are representative explains the meaning of the album "In Praise of Devastation" overall: a sensitive theme has become a chronic disease community already, which is displayed in the language of the sarcastic yet smart."Dark Terbitlah runs out of the war" and "in flames" continues the story of "The Roots of All Evil." Guitar solo long shut "runs out of the dark ..." as a show off of musicality in guitar Department Funeral Inception Deadfinger Ai "inhabited" and Dawn of Ramadan. Sounds very Floridian Death Metal (Trey, or Mark the English), which became an interesting inset on the framework of music Funeral Inception which I think still are Suffocation-ism but with other influence2. Note also the game shootout quickly between rhythm and blast beats on "in flames" like want to re-define the standard speed of a blast beats Death Metal.Funeral Inception-In Praise of 03The next track is "the man of Noble (not)", a title which is like slapping the face of all of us that the status of ' noble ' and ' the most perfect creature ' is not something that is unconditionally. This track will bring readers and listeners who are still not familiar with Funeral Inception and Doni ' Satan ' on a conclusion that no provision unexpected. Read the lyrics, you can find information that is relevant to the search engines, and berkacalah to yourself. "Human (not) Noble" also disisipi with game-game ' unruly ' bass solo from Arslan Musyfia which is the anomaly of the standard pattern track2 on this album. The next track is "Pitch Black Destiny", a basic fast up-tempo track punctuated changes with riffing2 beats, guitars and melodies that draw attention. A track with the strongest character in "In Praise of Devastation" in its entirety. Following the "Pitch" is the "Opium" where dueling riffing guitars the opening looks like a cross between Max and Andreas in "Desperate Cry" by Abbath on "One by One." A track of interest, however, such as not having a strong enough character. Perhaps due to the effects of the previous track ("Pitch") a very well composed.Agresi berikutnya adalah “Extreme Agression” yang merupakan cover version dari Kreator, sang legenda Thrash Metal dari ranah Bavaria, yang sekaligus menjadi penutup dari album ini. “Extreme Agression” dibawakan dengan baik sekali, dalam bentuk yang sangat kreatif, dengan format Death Metal ala Funeral Inception, tanpa menghilangkan kekuatan asli dari track legendaris ini. Mille Petrozza dan Ventor sepertinya akan menyetujui interpretasi Funeral Inception terhadap track klasik mereka.Funeral Inception-In Praise 04Perbaikan lain yang dilakukan oleh Funeral Inception dibandingkan dengan era “H.A.T.E.” adalah dari sisi artworks. Artworks di “In Praise of Devastation” digarap dengan sangat serius dan melibatkan Bahrull Marta dari Abomination Imagery (abominationimagery.com), sang seniman ‘gelap’ yang sangat fasih dalam menggarap cover dan artworks untuk album-album Extreme Metal. Masing-masing halaman dari sleeve CD ini mempunyai kesinkronan dalam hal theme termasuk foto band member yang sebenarnya biasa-biasa saja akan tetapi dengan touch yang tepat justru menjadi sangat artistik dan sinkron dengan tema artworks secara keseluruhan.Secara keseluruhan, Funeral Inception – “In Praise of Devastation” (2013) adalah memenuhi semua persyaratan untuk berada di dalam kategori album Death Metal yang berkelas: production yang well engineered, dan musikalitas yang sangat baik dari para band member dalam memformulasikan aksi Death Metal yang brutal namun terukur, lewat permainan tempo yang bervariasi, lead guitar yang melodius yang menjadi penyeimbang agresi pada rhythm dan ketukan blast beats, sehingga dapat ‘keluar’ dari kemonotonan dan kesan repetitif yang seringkali menjadi permasalahan klasik untuk sebuah album Death Metal, terutama dari scene lokal. Dan tentu saja, agresi dari vokal growl Doni Herdaru Tona, sang penyair Death Metal, yang membuat panggung Death Metal tidak hanya penuh dengan agresi, akan tetapi juga menjadi berisi dengan lirik-liriknya yang cerdas yang mendorong para pendengar untuk merenung dan bercermin ke dalam diri sendiri.Funeral Inception – “In Praise of Devastation” adalah sebuah rilisan Death Metal yang sangat baik dan akan menjadi sebuah milestone, stepping stone, dan bahan benchmarking bagi rilisan-rilisan Death Metal dan Extreme Metal selanjutnya dari scene Metal di tanah

結果 (英語) 2:

urang is already 5 years since "HATE" monumental and controversial. When FUNERAL Inception, the Death Metal frontman of Jakarta, questioning assumptions believed to overdo, to question a question that seems not to be asked, when Doni Herdaru Tona, vocalist, vocal growl through his fierce questioning our inability to tolerate in the middle- majemuknya middle of our society. When Funeral Inception boldly shout that in fact we have made ​​a mind filled with the teachings of tolerance as a foundation for even being intolerant of differences. When Doni Herdaru Tona, which is like a poet than a house of poetry, chanting with the language analogy that we distort a teaching that is very precious as a tool to meet the interests associated with greed and fulfillment of desires, thus distorting the definition of 'despicable' and 'noble' described by the symbolic language (again, in symbolic language, as 'man's best friend' was not being despised). Funeral Inception Band 2013 Funeral Inception, formation 2013: Ai "Deadfinger" (guitar), Aslan Musyfia ( Bass), Doni Herdaru Tona (vocals), Fajar Ramadhan (guitar) and Billy Hardiyanto (Drum). Then, they were, and some of us were outraged. Offended. Anger that arise because of them, and some of us tend to judge without seeing the contents. Because of them, and some of us tend to judge because he saw a figure outside only, which seems very different from ours. The difference often creates unwarranted fears ("Fears man what he does not understand" - anonymous). They, and some of us, even angry for a narrative that could be used to reflect and look deep into ourselves as beings who understands. Sometimes a masterpiece actually born with controversy because the message conveyed is still too advanced for its time, and over time, the album Funeral Inception - "HATE" (2008) began to be better understood and became one of literature classic for the genre in the country. Five years is a relatively long time in the life cycle of a band, and in 5 years Funeral Inception was not immune from the various trials and tribulations that one of them is in terms of personnel come and go. Doni Herdaru Tona, in the process of ups and downs, then managed to build strength with 4 personnel are totally different from the era of "HATE" and result in "In Praise of Devastation" (2013) as the aggression they were 3rd. Funeral Inception-In Praise 02 "In Praise of Devastation" opened with Non serviam, an instrumental intro that as giving the message that the Funeral Inception has experienced the evolution of the sound and style of music. Non serviam begins with melodic guitar playing were then greeted with rhythm and drum beats mid, and then enter the lead guitar are also relatively melodic before becoming a fast tempo with blast beats. From here we can see the evolution of Funeral Inception: melodic guitar solo gets a share of the relatively more than the era of "HATE", with a rhythm that sounded more dry. Guitar solo on the opening track glance reminds me of the game Alex Skolnick, an influence which contributed significantly to the blueprint Funeral Inception new music. Perhaps it is no coincidence that Suffocation also change the musical direction to a more technical areas and also with melodic solos (no explanation, Doni? :-)). Doni Herdaru of Funeral Inception Doni Herdaru Tona, the 'devil' on stage. Photo: Funeral Inception Official Facebook. Aggression continued with "intoxication Imagination" very straightforward with blast beats. Note the guitar sound that sounds more 'thin' but play faster than previous releases Funeral Inception which we are familiar. Guitar with a clean sound at 2:08 to 2:24 add to the atmosphere dark and tragic as if to join in mourning the death of logic as a result of pollution of mind that comes from a wrong interpretation of the promises of salvation and judgment. Contemplation followed by a track titled very aggressive: "Hunting, Kill, destroy." This track is a combination of the game slow tempo with a quick game that is punctuated by a lead guitar melodic but still nuanced tragic: "for what you worship the sky, while the earth is stained blood? "From the first track of the album 3 we can see a storyline and theme kesinkronan told by a vocal growl Doni. Pertanyaan2 that appears on track to 2nd and 3rd as an answer to the 4th track: "The Roots of All Evil." A track that is upbeat both rhythm and solos as compete quickly with blast beats, with the game on the beat -ketukan drum which demand high precision (the credit should be given to Billy Hardiyanto who is behind the drum kit). "Promise of heaven, poisons everything, when you preach for lights, when there is nothing in the sights." This track is representative explained the purpose of the album "In Praise of Devastation" as a whole: a theme sensitive that it is a disease people are already chronically , which is displayed in the language of sarcastic but smart. "Out of Darkness War" and "In Flame" continues the story of "The Roots of All Evil." The guitar solos are long closed "After Dark ..." like a show off of musicality in the guitar department Funeral Inception inhabited Ai "Deadfinger" and Fajar Ramadhan. Sounds very Floridian Death Metal (Trey, or Mark English), which became an attractive inserts in the framework Funeral Inception music which I still Suffocation-ism but with other influence2 wider. Note also the game of racing between rhythm and blast beats on "In Flames" are such wants to redefine the standard speed of a blast beats Death Metal. Funeral Inception-In Praise 03 The next track is "Man (No) Majesty", a title like slapped us all that the status of 'noble' and 'the most perfect creature' is not something that is unconditional. This track will bring readers and listeners who are still not familiar with the Funeral Inception and figure Doni 'Devil' at a conclusion that is not unexpected. Read the lyrics, find information relevant to the search engines, and berkacalah to yourself. "Man (No) Majesty" was also inserted with the games 'naughty' bass solo from Arslan Musyfia which is an anomaly of the standard pattern Track2 in this album. The next track is "Pitch Black Destiny", a fast basic tempo track interspersed changes beats, with riffing2 guitars and melodies that attract attention. A track with the strongest character in "In Praise of Devastation" overall. Following the "Pitch ..." is "Opium" where the opening guitar riffing glance like a mix between Max and Andreas in "Desperate Cry" with Abbath in "One by One." An interesting track, but such does not have a strong enough character. Perhaps because of the effects of the previous track ("Pitch ...") are very well composed. Aggression is the next "Extreme agression" which is a cover version of the creator, the legendary thrash metal of the realm of Bavaria, which also became the cover of this album. "Extreme agression" performed very well, in the form of very creative, format Inception Funeral Death Metal style, without losing the original strength of this legendary track. Mille Petrozza and Ventor likely to approve Funeral Inception interpretation of the classic track them. Funeral Inception-In Praise 04 Other improvements made ​​by the Funeral Inception compared to the era of "HATE" is from the artworks. Artworks in "In Praise of Devastation" dealt with a very serious and involves Bahrull Marta of Abomination Imagery (abominationimagery.com), the artist 'dark' very eloquent in capturing the cover and artworks for Extreme Metal albums. Each page of the sleeve this CD has kesinkronan in terms of themes including photos band members are actually mediocre but with a touch right became very artistic and in sync with the theme of artworks as a whole. Overall, Funeral Inception - "In Praise of Devastation "(2013) is to meet all the requirements to be in the category of album Death Metal classy: production are well engineered, and musicality that is very good of the band members in formulating action Death Metal brutal but measurable, passing game tempo that varies , melodic lead guitar which to balance aggression on rhythm and beats blast beats, so it can 'exit' from the monotony and repetitive impression which is often a classic problem for a Death Metal album, especially on the local scene. And of course, the aggression of the vocal growl Doni Herdaru Tona, the poet Death Metal, which made ​​the stage Death Metal is not only filled with aggression, but also be filled with lyrics that intelligent encourage listeners to contemplate and reflect inward itself. Funeral Inception - "In Praise of Devastation" is a release of Death Metal are very good and will be a milestone, stepping stone, and benchmarking materials for releases Death Metal and Metal Extreme Metal scene in the rest of the land

結果 (英語) 3:

5年过去了城市更是“h.a.t.e.”所有的交易都kontroversial杨不朽。葬礼开始的时候，唱pentolan死亡金属从雅加达，mempertanyakan asumsi asumsi杨kadung dipercayai，mempertanyakan pertanyaan杨sepertinya不可的时候ditanyakan，多尼herdaru唐纳，唱vokalis，lewat vokal咆哮妗阳尕mempertanyakan ketidakmampuan喜多，bertoleransi堤中间majemuknya中心北。葬礼上，这是我们成立meneriakkan看哪，人一pemikiran阳了，ajaran toleransi为landasan，马拉bersikap intoleran向perbedaan。herdaru唐纳，多尼，杨ibarat一penyair达日一大puisi，meneriakkan，马来语是在一analogi喜多memutarbalikkan ajaran杨，公司为信，memenuhi kepentingan kepentingan杨berhubungan，kerakusan丹pemenuhan哈瓦nafsu，以致memutarbalikkan definisi '中国'丹'公司'阳dideskripsikan，马来语simbolis（这些了，在simbolis语，因为“人类最好的朋友”，大人一不makhluk汉能）。

葬礼以来带2013
葬礼以来，formasi 2013：艾”deadfinger”（吉他），阿斯兰（贝司），musyfia多尼herdaru唐纳（vokal），法加尔斋月（吉他），丹Gatot hardiyanto（鼓）

。，，他们，丹sebagian达日喜多双关玛拉。tersinggung。kemarahan阳则因为他们，丹sebagian达日喜多，cenderung审判，没有看见ISI。因为他们，但sebagian达日喜多，cenderung，因为我看见sosok审判外，杨sepertinya和入方式的不同，从北。perbedaan seringkali menimbulkan ketakutan阳不beralasan（”的人害怕他所不理解的“–匿名）。他们从我们sebagian，丹，justru玛拉，一narasi阳我，我们使用，bercermin丹看见jauh柯在我们自己，为makhluk阳有益布迪。卡当卡当一个公司大justru，满kontroversi因为“从新的短信息disampaikan masihlah太公司，zamannya，丹seiring，berjalannya，葬礼开始，专辑–”h.a.t.e.