1. Into The Unknown
2. Enthralled In Decimation
3. Immortals’ Warfare
4. Demonize The Old Enemy
7. The Collapse Of Religion
8. Extinction With Hatred
9. Dark Dimension
Track1,3,4,5,6,8,9 written by Yuichi Kudo
Track2,7 written by Yuichi Kudo and Yujiro Suzuki
All lyrics written by Yuichi Kudo and Yujiro Suzuki
Produced by DESECRAVITY
Recorded January 2010 in Tokyo, Japan
Mixed and Mastered at Mana Recording Studios in Florida,USA in June 2011 by Erik Rutan
Cover Artwork by Ryohei Hase
Label: Willowtip Records (USA)
Release Date: Jan 24th,2012
LABEL DESCRIPTION (Willowtip Records)
“This stuff is really crazy. It’s like death metal and twisted, insane shit; if I had to compare it to something, [I’d say it’s] in the vein of Origin as far as really technical kind of stuff.” — Erik Rutan
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Desecravity display an intelligence that belies their single-mindedness; their tempo changes are insanely fluid, allowing Implicit Obedience to maintain an electric unpredictability throughout a perfectly-packaged thirty-two minute running time. Blastbeats are abundant but never suffocate, lending a maniacal sense of velocity to the too-fast-to-headbang-so-I’ll-just-vibrate burner "Hades." (Amongst others. There’s not a lot of respite to be found here.) Contrast this flamethrower-in-a-wind-tunnel insanity with the ball-crushing groove of "Demonize the Old Enemy," and you’ve got a band that possesses a knack for knowing exactly when and fucking how to pop vertebrae like bacne.
Still, the sickest thing about this record isn’t the colossal Erik Rutan production or Yujiro Suzuki’s dead-ass bellowing. It’s the fact that Implicit Obedience pisses on conventional brutality and actually gets better as it goes on. The wild punishment of "The Collapse of Religion," the spine-peeling spirals of "Extinction With Hatred," and the somber machinegunning of "Dark Dimension" close the album violently. Desecravity takes elements of practically everything that rules about death metal right now, twists them beyond human comprehension, and delivers them with horrifying and lethal precision. It’s complete and utter death metal madness.
Take note, be warned…insert your hype-ass cliches here. Desecravity is the real fuckin’ deal. Lock in and destroy.
Unlike many of the technical groups today finding a higher production quality working to their advantage, Desecravity unleash a perilous, punishing assault via a thicker sound that does feel a little raw in the long run, but not by much. The guitars have a nice distortion that feels sharper amid the muddy, bass-driven audio. It stands as a nice contrast to the pulsing bass chords that really hook the listener into the strong grooves that happen all throughout the release, both in and outside some of the more technical elements, with the bass kicks of the drum kit thundering through as a strong, loud click that retains enough of a deeper sound you can feel inside your skull. The snares are a little higher in pitch as well, sounding just a little more hollow, and the cymbals are a little lower, but still clash loudly and clearly. The vocals are the standard guttural approach, but they simply sound intimidating, working perfectly with the audio and chaotic music to push into Brutal Death Metal territories, but also finds a little rasp in the background as an accompanying style that appears faintly once in a while.
Both the music and audio to Implicit Obedience is simply stunning and well executed. Each track shows the tight coordination among the band due to some of the random changes that constantly appear, though never violating the heavy brutality of the atmosphere and performance. There’s also a great deal of energy involved that makes some of the more slightly technical elements come off far more impressive than if the band just tried to show off their skills like many others of the style just love to do. “Immortals Warfare” easily stands as one of the more important testaments of the band’s abilities, hammering away at blazing speeds with a soul crushing atmosphere that changes between plenty of fast yet slightly grove influenced passages that make head banging essential while the music’s deeper, muddier sounds gives off a hopeless atmosphere that leaves you shackled to the group while the band suffocates the life out of you. This ends up being somewhat foretold by the instrumental introduction “Into the Unknown,” which sets a very ominous atmosphere. The chiming of a grandfather clock is followed by some haunting gothic sounding piano chords, and some rather generic female choir vocals, but it becomes as if you’re listening to an introduction score of an eighties paranormal-based Horror film, and one that is the perfect introduction to a band such as this, especially when live on stage.
It actually becomes really hard to top “Immortals Warfare” here, but there are still plenty of intense tracks that really try hard to do so. “Hades” is just a nonstop assault on the listener that is paved forward by a constant mid-tempo pace for the bass kicks and snares of the drum kit for most of the track. The guitars offer up some nice technicality, and there are plenty of nice transitions to offer up a little extra variety to the track outside the constant charging, pulsing beat already laid out. The vocals match the more commanding tone of the band well, losing much of the primal vibe that other songs have. As the song progresses, it does start to grow a little more chaotic, and some chords tend to get off-key towards the end to show a bit of a psychotic element being incorporated for a shorter time than the execution of the fitting guitar solo. On top of that you have “The Collapse of Religion” which seems to take some of the more technical aspects of the bands sound, and kind of mix it with a Grindcore attitude. The song seems to remain at a traditional pace for that style without really going into blast beat territory, and it even features some higher, gurgling screams in the background. There are some blasting moments that do go in and out of some Death Metal riffs and brutality, and it really becomes an interesting change of pace for the album. The song is far from bad, and even allows the bass to take center stage more during some riffs that have the main guitars backing down for that instrument. While not off the wall, this song’s overall foundation just seems to be a little more eccentric than anything, all the while never going into too much of a show off approach in the performance that similar bands generally would do.
The background scream that seems to appear during “The Collapse of Religion” does show itself again on “Extinction with Hatred,” but this track stays far more grounded into the Death Metal field without really feeling out towards other styles. There also is the rasp introduced back in “Immortals Warfare,” which seems like a more refined version of the back-of-the-throat higher scream from the previous track, but just sounds a lot better. This also becomes the staple for the rest of the album, closing with “Extinction with Hatred” that provides some more technical chords throughout and tight passages that seem to constantly be changing pace. While the brutality isn’t that, it definitely brings the album back to the start with both “Immortals Warfare,” and “Enthralled in Decimation” which is another heavy, pulse pounding track, though not quite as intense as the song that follows it. “Dark Dimension” ends it on the note, but doesn’t really feel as impressively technical, finding the band restraining themselves a bit instead of some of the more off-the-wall material that has been coming at the listener through much of the album. This isn’t to say there isn’t anything like that, as towards the end do crop up some tighter, intricate chords. It’s a subtle change of pace and a welcome one to close the release on.
Implicit Obedience is simply a great experience. There is plenty going on in the album to make sure you don’t get tired of it anytime soon, which speaks volumes about the band, their potential, and the variety on this release. The mixture of brutalizing material and technical performances that show up here are flawlessly intertwined, and sometimes other elements like the aforementioned Grindcore-esque touches do make their way into the mix. The thick, bass-driven audio really works in the bands favor, or just sets the stage for a crushing album that fans of the Death Metal genre simply must hear. Later tracks may not quite be as impressive as the ones that kick-start the album, but either way you’ll find the band’s stangling hold on your throat one you simply won’t be able to get yourself out of for quite some time. Then again, with an album this well executed, would you really want to?
Giving the album tremendous weight is the thick production, courtesy of Mr. Rutan, and Implicit Obedience is an immediate contender for tech/death metal album of the year. And we’re barely three weeks in!
The real stars of the show here are the guitars, they have a very technical feel going for them. Loud and immaculate riffs and some very modern sounding guitar solos, done very well and crafted splendid. The bass work is also amazing, when it appears, it has as much of an opportunity to be displayed as the dual lead guitars are. Drums are frenetic, fast paced, and don’t have a tendency to slow down, very blast beat laden with some insane double bass. And the vocals are mostly low and guttural, but are delivered extremely well with the occasional breakout into some evil high pitch screams.
And at first I couldn’t come around to digging the sort of cleanliness in the production, but for the most part the more I listened, the grimier and more heavier it got, so I love it.
Overall, aside from the fact that it could’ve went on much much longer, this is a debut from a band that has so much potential going for them. The cohesiveness of the music, the frenetic atmosphere, and the total package together is what makes a band like this worth coming back to again and again. This is as real as it gets.
Desecravity remind me of the early ’90s, when finding new death and thrash cassettes was a way of life. That’s when you took more chances, bought based on album cover and song titles and sometimes went home with a crushing new gem. The band’s approach is heavy and filthy, but they have an undercurrent of technicality that gives everything a dizzying feel. You get crushed and spun around a million miles per hour, and once you finally get your wits about you, you wonder what just hit you. The blazing riffs, total crunch and mind-altering madness are most potent on cuts such as tricky, trucking “Hades”; “Enthralled in Decimation,” where the drumming owns your ass; hellishly grinding and furious “Enthralled in Decimation”; and cavernous and face-beating “Dark Dimension.” By the way, Yujiro Suzuki’s infernal, guttural growls match this destruction perfectly. Dude’s throat has to hurt when he’s done.
“Implicit Obedience” is a mean-sounding, ill-intentioned, skin-shredding dose of death that typically isn’t conquered by such a young band. These guys have a promising future, and as long as they keep reaching elbow deep into the cesspool of humanity for inspiration, they should remain a dangerous group for years to come.
Produced by Erik Rutan (Hate Eternal, Morbid Angel, etc), Desecravity certainly have Floridian bloodlines in their sound, but inject plenty of California tech brutality that can be linked to the likes of Odious Mortem, Severed Savior and of course Decrepit Birth. However, rather than display their technical chops with sweeps or nifty solo work, Desecravity‘s chosen weapon is discordant, layered, serpentine riffage and choppy, unpredictable drum patterns. And while the constant barrage of time changes, blistering technicality and salvos of brutality could initially stun some listeners into submission, the fact is Desecravity rein it in just when you think ts getting to be too much. Also, Yujiro Suzuki keeps things grounded with a steady, deep bellow(and a few odd shrieks) that by it’s deep but constant natures, gives the music some semblance of familiarity and structure, though lyrically, he seems to remain in the school of Suffocation styled simplicity.
Atmospheric intro “Into the Unknown” lulls you into a false sense of security before “Enthralled in Hatred” explodes from the speakers and from there its a compact but brutal 32 minutes of technical fury. No slow tracks, no interludes, no samples and unlike some of their country mates who tend to add some air of eccentricity or quirkiness to an established sound, Desecravity simply don’t fuck about and you’d have no idea of their country of origin based on their music alone. All the way through “Demonize the Old Enemy”, “Condemnation” and “Extinction With Hatred”, right up until closer “Dark Dimension” Implicit Obedience it no non sense top notch technical ferocity that is always make the listener pay attention and delivers something challenging without spiraling into pure wankery, something the new Spawn of Possession is a little guilty of, or forgetful noise (Beneath the Massacre).
A great, new find for Willowtip.
A great, new find for Willowtip.
In fact, Desecravity, you do that strikingly well. So well that I am reminded of another death metal classic. Can YOU guess what it is?
Now that we mentioned the pink elephant in the room, we can look at how great Desecravity’s album is. Implicit Obedience sounds like it could have been the long lost album between the None So Vile and Whisper Supremacy that combines the best of both albums. In fact, it combines the best of all the albums of Cryptopsy.
History and comparisons aside, Desecravity brings an album that’s very fresh in its depravity. Its sickening and heavy, thick yet fleetly technical. It squeals, but instead of staying in the weedly highs or spastic mids of Psycroptic’s ilk, the album dwells in the crypts. It has all the jackhammer quick jab stops of Whisper Supremacy and …And Then You’ll Beg. It even jumps with the fierce, high pitched, sharp, springs that made None So Vile so memorable, and snaps with the bass crack of Blasphemy Made Flesh, all with the primal, guttural madness and jarringly unnerving melodies of Once Was Not.
Implicit Obedience is interesting yet scathing, like floating razor blades that have little philosophical messages written on them. Its primal, yet smartly technical, like an educated mammoth. There is no bull in the china shop ? the mammoth tramples the entire strip center, then wrote a best selling novel about it.
If you are one of the many who see None So Vile as one of the best death metal albums of all time then you owe to yourself, no, to anyone you know who likes this album, to buy Desecravity’s Implicit Obedience… you will be delightfully disgusted/disturbed.
One line veridict: The question is never “Is this album good?” only “Do you think they meant to sound like Cryptopsy?”… Either way, this is one sick set of songs not to be missed. ….the proper way to end this review, is, of course…
“Run home and cry to Mama!”
Witness to the Void
Against this background of perpetual war, the onomatopoeic brutality of the battle is lauded in the beautiful form of brutal death metal. The crushing sounds of tuned-down guitars and constant time changes akin to an artillery barrage from a tank formation. Unrelenting in its ferocity, a metaphoric assault on the senses.
Like the true battlefields of the new age, there is a plethora of warriors fighting the cause of Death Metal. Technically gifted individuals coalescing to promote a universally understood message. Desecravity are another such band wandering aural battlegrounds but they differ from the rank and file. There is a chaotic nature inherent in the music that rises them above the norm, discordant, choppy riffs and time signatures amalgamated with chaotic drumming clothed as a brutal vortex of death metal that has the modern day hint of Cannibal Corpse’s The Bleeding about its sound. The guitars are aggressive, clear in their intent from the opening main track (the opener, “Into The Unknown” is an atmospheric intro which should not have been a separate track) “Enthralled In Decimation” and from here the pace is unrelenting; no slow tracks are needed however as there is a wealth of time changes and creativity within the compositions to keep us entertained. But these changes also have a feeling of naturalness about them, weirdly discordant from the level of expectation and feeling of that expectation being satisfied.
One thing this album does particularly well is promote the brutality the clarity. Erik Rutan (yes he of Morbid Angel and Hate Eternal fame) has created a sound that doesn’t require recreation of earthquake sound levels to expose the brutal and heavy nature of the riffs. The riffs are already laced with heaviness and the choice to give the riffing a platform to speak from is certainly the best decision Desecravity and the production team could have made.
There is a lot of beautifully technical guitar work that concentrates on composition of songs as opposed to supporting the individual solo mastery of the guitarist and for this reason the album is given greater depth, although the quite wonderful solo on “Hades” is surprising when it arrives and leaves us wanting more when it ends.
“Hades” could quite possibly be the nadir of Implicit Obedience but tracks like “The Collapse Of Religion” and “Extinction With Hatred” will have fans arguing over which one is best until Desecravity grace our ears with another work of aural beauty. Hopefully they will leave the shores of their homeland, Japan, and show the rest of Europe what they are missing.
Antonio Jose Bresci