Album Review: Chaos by Hateworks – A Brutal Journey Through Death Metal Fury
Released in 2007, Chaos by French death metal outfit Hateworks is a relentless sonic assault that cements its place within the underground metal scene. Backed by labels like Maltkross Productions, Death Metal Mania Prod., and Sound Of Charge, this album delivers exactly what its title promises—organized anarchy dripping with rage and technical precision. It’s raw, unapologetic, and hits harder than most modern productions dare to.
The tracklist reads like a manifesto of despair: "Dying Alone (With No God)," "Raped Soul," "Weak," and "Never Ending Hate" are just some examples of the lyrical bleakness woven into these ten tracks. But don’t mistake this for mere shock value—Hateworks channels their fury into tightly constructed riffs, guttural vocals, and drumming so fast it feels like your heart might explode.
One standout track is “Hate Divine.” This song grabs you from the first riff—a chugging, dissonant beast that refuses to let go. The interplay between blast beats and melodic undertones creates a hypnotic tension, making it one of those rare moments where aggression meets artistry. You can almost picture the band members losing themselves onstage while playing this live; it’s chaotic yet controlled, if that makes sense.
Another unforgettable cut is “Raped Soul.” If there was ever a track designed to purge inner demons, this would be it. The opening riff slams into you like a freight train, followed by vocals so visceral they sound spat out rather than sung. Lyrically, it delves deep into themes of betrayal and existential pain, but it’s the breakdown midway through that really sticks—it slows things down just enough to make you feel every ounce of anguish before ramping back up to full throttle. Honestly, after hearing this once, I couldn’t shake it off for days.
While not perfect (the production has a slightly muddy quality typical of DIY death metal releases), Chaos thrives on authenticity. There’s no pandering here, no attempts to soften edges for mainstream appeal. What you get instead is pure, unfiltered emotion wrapped in blistering instrumentation. Tracks like “Ominous Pride” and “Decomposition” further reinforce why Hateworks deserves recognition beyond France’s borders.
Reflecting on Chaos, it strikes me how timeless this kind of music can feel. Sure, trends come and go, but albums like this remind us why death metal remains relevant decades later—it taps into something primal, something raw and untamed. And honestly? Listening to this record feels less like entertainment and more like therapy. Who knew screaming about hate could feel so cathartic?
Final thought: If you’re looking for background music for your next dinner party, maybe skip this one. But if you want to lose yourself in a maelstrom of sound and fury, signifying plenty, Chaos won’t disappoint. Just don’t blame me if your neighbors start complaining.
