Someone exists for only not to die

The bright melodious guitar solo is formed with a spectacular instrumental introduction Unraveling Existence, opening the way for the spectacular ascent of the first Silent Genocide composition of Hatchet - Dying to Exist album to its worthy and memorable level, based on the musical grandeur of such a spectacular intro.
While vortexing emotions in the guitar introductions, the Desire for Oppression vocals is blowing up emotions, but a crowd of supporters keeps thoughts close to the earth's solidity, not allowing them to flee to the sky-high distances. And the music drives the beats of a tight march, culminating in a guitar solo from the introduction.
Increasing the pace of a fast race, compacting the rhythmic component of musical drive raises guitar passages and vocal experiences up above the canvas, brightly throwing up the melody of the Illusions of Hope main motive.
Bass guitar rolls deadly whirlwinds of rotating Warsaw, winding the awesome arcs of bloody harvest. Then the vocals complement the mid-tempo verse with their phrases and roll waves with an accelerating tempo.
Music is in a fog of doubt, uncertain variations twisting flywheels of motives, the Where Futures Regressvocal again and again returns to interrogative intonations Rapid whirlwinds wreathe the mysterious streams of Back into Dust verses, enveloping them in obscure multi-layered veils, sweeping melody in the chorus to a different level. It should be noted that this song extends the stylistic framework of the album, supplementing it with notes of the metalcore, which will remain in the subsequent compositions, espessially in Final Sanctuary song - which begins with references to classical heavy metal, but continues with a clear influence of more modern stylistic shades.
The Descent into Madness main motive immediately envelops us with a whirlwind of gloomy and harsh passages, from time to time exploding with impetuous impulses of unrestrained drive. Once again, the instrumental suite Oblivious to Disorder enhances the sound of the pensive symphony, appearing as an enchanting introduction of the energetic drive of the subsequent composition Hail to the Lies, carried away by an uncontrolled flow into the unknown reaches. But at the end of each fragment, the guitar passages sum up the swift jerks with thoughtful breaks.
The album ends with a tribute to the legends of thrash metal musical style - World in a World, Vio-Lence cover. This interpretation of the song sounds lively and more energetic than the original, more rapidly developing the main motive and more rigidly supporting its rhythmic component of the musical image.