Deceived by whispers of comfort from the dread pages, Richard Benton tarried too long among the blasphemous text of the Book Of Dead Names – and four eldritch nightmares followed him back.
Disfuneral – Blood Red Tentacle (Redefining Darkness)
Sometimes, it’s good to know what you’re getting in advance – with its classic Entombed-style artwork and dis-prefix, Disfuneral’s Blood Red Tentacle (Redefining Darkness) removes all uncertainty before play is pressed. Though this approach might seem limiting, there’s something powerful in playing a rigidly defined style with absolute confidence and mastery, and Disfuneral nail the songwriting and chops required to make this kind of material work.
Dischordia – Triptych (Transcending Obscurity)
The main reason why you won’t find much tech death recommended in this column is because of how flimsy and light-weight some of it can sound, so concerned with speed and musicality that everything else falls aside. Dischordia make the cut not only because of how rough and abrasive Triptych (Transcending Obscurity) sounds, but from the unsettling and abstract nature of its songwriting. At times the listener is reminded of Coma Cluster Void, but while they seek only to destroy, Dischordia are as interested in building a surreal atmosphere. One of the more challenging Death Metal releases from the early part of 2022, but also likely to be one of the most rewarding for those who invest in it.
Intolerance – Dark Paths Of Humanity (Memento Mori)
With a charmingly old-school logo and pencil drawn cover with lightning, corpses AND a goddamn giant snake on it, Intolerance make it pretty clear that they’re not going to be exploring the nuance and subtlety of death metal, but are absolutely going to kick your fucking teeth in. Dark Paths Of Humanity (Memento Mori) is brutal with a lower case b, eschewing slams and over-reliance on tuning in favour of a dirty sound and relentlessly bleak compositions. “Old School” Death Metal is a label somewhat over- (and mis-) used recently, and means very little when taken apart – it’s more accurate to say that Intolerance play simple, unsophisticated but utterly sincere death metal that acknowledges its roots without simply feeling like an exercise in nostalgia.
Viande – L’abime Devore les Ames (Transcending Obscurity)
Finally, Viande are summoned from the dissonant death metal abyss that is a particular favourite of mine, keeping the murk which characterises this style but filling it with surprisingly propulsive rhythms and a sense of urgency. L’abime Devore les Ames (Transcending Obscurity) isn’t afraid to sit in the abyss and dwell when it feels right, but when Viande get moving they bring a shit-kicking aggression and punishing riffs to a genre that is sometime accused of favouring style over substance, without losing the density or sense of otherness that makes this style special.
RICHARD BENTON