|Now that I speak Russian much better than 7 years ago when I was sent the CD I've updated and enriched the review, so much that it can be considered a brand-new one.
The Belarussian act deals with Death Metal in a traditional way, both as to the music, the awesome rotting artwork, and the lyrics. The latter cover the following topics:
-a venomous hellish animal devouring corpses and souls of the dead in an abandoned village.
-sin, pain, fears, tortures, lies, death, desperation, a charred body after a practice of torture, moral torment, madness, a corpse turned to food for worms, a ground full of blood and an abyss.
-an unsatisfying and tiring life led the opposite one wanted, preparation to suicide, pain, society similar to a weeping herd, hell, a suffering soul.
-somebody drinking a panacea drug after physical pain, inhumanity, self-murder.
-deep darkness, crosses cutting human flesh, no help, rain and rivers of blood on earth, vices, cold, a sombre light, bites and taste of blood, darkness drawing towards nothingness, a psychological wall, cremation stench, death's scythe, eternal night.
-an incurable pathology from birth, death coming closer, a walk toward a precipice.
-a black cage, the end becoming near, false and useless rituals, perseverance in evil, absurdity.
-blood and demise, bullets, trenches, corpses, artillery, armies, killing.
-dying to save someone else, atheism, faith in oneself, wickedness, unfair play, greed, reciprocal hate, cruelty, ritualistic sacrifices, ending of a life when it's young and pure. (the most interesting topics are actually eviscerated in this song).
Musically speaking, the beginning of the hostilities is entrusted with "Адский зверь ", Death/Grind with groovy riffs and disquieting keyboards lines intervening once in a while in order to give the composition more depth. From Six Feet Underesque moments to a piercing guitar solo, Brodequin-fired up blastbeats and agonizing screams in the background, the song arrives at the end, followed by "Наоборот ", a sort of Grindcore and Death Metal blend fit for slamdancing thanks to abrupt interruptions, fast riffing and tough guy guitarwork; there's even place for guitar breaks in the vein of Soulfly and other unexpected guitar sounds.
"Чёрная клетка " starts Dark/Death Metal, later adding Thrash/Death Metal variations, elaborate drumwork, a melodic riff with the second guitar, and sudden Cannibal Corpse-induced blastbeats respectively. Loads of rotten vocals are layered upon, the drumming is sometimes rocky and sometimes very fast, whereas the guitars and the drums turn Black Metal while the vocals remain Death growling.
A crushing riff opens "Патология ", ensued by a break with a palm-muted riff before a martial assault arrives violently. The bass assumes the main actor's role in this song until the guitar reappears and delivers a solo. The pattern is repeated until another blastbeat shows and a melancholic Doom Metal riff interrupts everything with its elegant beauty, till the crescendo finalè occupies the ultimate section.
Death/Grind alà Deeds Of Flesh then mid-tempo Death Metal riffing constitute the onset of "Смерть во спасение"; worthy of mention are the effected vocals siding the growls, the riffs, the sounds used here and the performance variety, as well as an axe solo paying tribute to mid-career Deicide.
"Тьмища " is classic Death/Grind paired with stunning bass work, along with Cannibal Corpse-like structures, slamming bits, 90s Floridian Death Metal rifferama, but also original riffs in the last fragment. In my opinion it's actually the less fast and ferocious moments the ones in which Deadly Carrion gives its best.
Slow guitars contrasting with fast drums walking the typical path of Vader and the likes, then Black/Death Metal elements and a dissonant second guitar: these are the exact ingredients you will find in "Панацея".
Longer than the other compositions, " " contains the most rotten vocals and the tightest blast-beat of the album. There's also a Deicide-influenced guitar solo and the ending is rendered with a guitar sound that fades away.
Comparatively short, "Грех " lively enlightens the listener especially thanks to a Slayerian riff (the main one), while the Apophis-inspired breakdown elevates the quality together with the European Death Metal school riff plot opposed to the US-styled solo. The kickdrums in this song are slightly sharper, as it seems a more pungent effect was meant for during the sound research, making this conclusive piece a sheer meatgrinder.
|MARKUS GANZHERRLICH - 10 May, 2019|