Reviews : Anathema (2019)

Willowtip Records

From the “Land of the Rising Sun” Japanese technical brutal death metal DESECRAVITY have returned with their newest and arguably most devastating album ANATHEMA. The record was mixed and mastered at Unisound Studio by the mighty Dan Swanö and shows the band returning to their filthy, pulverizing, classic and ultra-technical sound; a pure whirlwind of musical ferocity and auditory savagery that cannot be missed!

Metal Injection (USA)

Tech-Death Tuesday: Early Stream of Anathema From Tokyo-based Speed Demons DESECRAVITY.

Hey there tech fiends, it’s that time of the week again. Before we dive into today’s focus, here’s the usual weekly reminder that if you’re looking for even more sick bands, all prior editions of this series can be perused here.I’ve been a huge fan of Tokyo natives Desecravity ever since they dropped their debut album, Implicit Obedience, in 2012 through the always fantastic Willowtip Records. Then album number two, Orphic Signs, that was released in 2014 saw the band advance further and reaching new heights against all odds. The group’s third full-length, Anathema, will see release through Willowtip Records this Friday, January 25th. We’ve got a few days early exclusive stream of the album for you to check out below. This is one hell of an album and one I suspect many of you will enjoy.

For those new to the group. Desecravity plays a very extreme form of technical brutal death metal which blends the best and most insane aspects of Hate Eternal and Origin together to create the foundation of their sound. The band then incorporates in a lot of old school influence from acts such as Cannibal Corpse, Immolation, and early endlessly blasting frenetic Cryptopsy styled ideas among others.

So, what you get throughout Anathema is insane sweeps and bonkers level tapping fretwork spliced with meaty visceral death metal inspired by numerous old school gods. The end result is, as it’s always been with Desecravity, over-the-top and incredibly intense material not for the faint of heart. Too often, bands who play this form of extreme and speed focused technical brutal death metal are often quite boring and one note, both in the riff department and in the songwriting department. To be blunt, a lot of the bands who play this stuff don’t seem to have a lot of creativity, just a desire for extreme speed with brutality at the heart of things.

Fortunately, Desecravity has never fallen prey to those amateur pitfalls, sure Desecravity blast and sweep their hearts out but the more normal death metal within what they do and the well-crafted songwriting makes Anathema a standout effort. Truthfully, those are twin traits they’ve always had, but, Anathema sees the band for the third time, somehow further pushing their own limits and the scene at large with a truly memorable offering of crushing brutal minded technical death metal. Fans of Archspire would probably dig this one big time for similar reasons.

To describe it succinctly, Anathema is rabid, chaotic, and extended blast heavy insanity much of the time. Hearing their songs is the equivalent of being pulverized to death a thousand times per track. In spite of that sounding rather “normal” per se, the material on Anathema can get real quirky and unconventional at a moments notice in a way that reminds me of Gigan which is awesome. For the first time for Desecravity, a bit of black metal makes it’s way into their music in a few songs too. And some sped up sounding Vektor-ish oddball proggy thrash tinged riffs also add a new element to what Desecravity has to offer this go around. While it’s always been a part of their sound, it’s a big plus as always that the prominent noodily bass playing adds much to the experience similar to all Mike Flore’s adds to Origins similarly extreme form of technical death metal.

This album is one of the most insane things I’ve heard in some time, and I’m happy to report it’s consistently brilliant and headbang-inducing from start to finish. It’s not for everyone, but for those who enjoy this kind of style, Anathema is going to be one of the most memorable releases of 2019 for you as far as technical brutal death metal goes. It’s that damn jaw-dropping consistently, while infused with plenty of original death metal roots and driven by well-crafted compositions that stand out from their peers. To put it simply, Desecravity are just better riff writers and stronger songwriters than 99% of the technical brutal death metal bands around. So jam our early stream of Anathema below, and if you’re digging it, pre-orders are available here and here. You can follow the group over on the Desecravity Facebook page.


Echoes and Dust (UK)

Technical death metal is one of the more maligned and ignored subsets of heavy music. It is frequently ugly, atonal and… too darn technical for its own good. At its worst it is like grindcore for people who think they are clever, or prog for over-caffeinated misanthropes.
But when it is done well, it can be breathtaking. And Desecravity do technical death metal very, very well indeed. They do it as it should be done: dizzyingly, quickly, furiously – but with the musicianship and songwriting to make it monstrously heavy and yet still listenable. This is the Japanese quartet’s third album and it is billed as the band returning to their “filthy, pulverising, classic and ultra technical sound”. I will have to take their word for it, as I have never heard their previous records.


It begins with an ominous violin-led intro to the opening song ‘Aeons and Ashes’, an instrumental which is dominated by a martial chug-chug-chug of guitar. It gets messy – and stays that way for the rest of the album – with the next song, ‘Impure Confrontation’. It begins like a free jazz song, but if Ornette Coleman chose flying-V guitars instead of a saxophone, before smashing us over the head with blast beats and throaty roars. However, among the hurricane of noise, there is some semblance of groove hidden within. And the extremely brief interludes of clean guitar (blink and you’ll miss it!) release the tension just enough to enable the listener to dive back into the maelstrom.

This theme is repeated throughout the album, which is barely half an hour long. Such as in ‘Ominous Harbinger’, which begins with Krisiun-style uncut death, before lurching over to a level of ferocity that approaches powerviolence, then back to regular death. And the musicians somehow not only manage to keep up with each other, but also throw in flourishes like bass player Daisuke Ichiboshi’s impossible arpeggios on his five-string instrument, or drummer Yuichi Kudo’s zillion-beat fills.

Then there is the guitar work, performed by Yujiro Suzuki (who also roars) and Yuya Takeda. Make no mistake, these guys can play. But as we have seen from the days of Frank Zappa to whoever played the piano on that ghastly song I heard on the radio last week, it doesn’t matter if you have the best musicians in the world if you ain’t got the songs for them to play.

And Desecravity do. Goodness knows what Suzuki is roaring about (it could be a dissertation on the merits of Tonkotsu ramen, for all we know – but with titles like ‘Bloodthirsty Brutes’, it is not likely), but he spews out his words in a rich bark. Yes, as odd as it may seem, vocals are important in death metal.

And tempo changes are frequent enough to keep you on your toes but not so often that your brain splits in fragments – and every so often the band break down into a groove that Gojira would be proud of, like in ‘Devoured the Psyche’, where the bassline could almost be funky. Almost.

A word should be said about the production, by Dan Swanö, the former Edge of Sanity vocalist. It is crisp and allows every note of every instrument to be heard – a necessity when there is this much going on in the record.

There will be those who shun anything with the label of technical death metal slapped on it – understandable, in the main, because there is a lot of noise out there – but you would be missing out if you overlooked Desecravity. If it helps, think of it as a really, really loud, super-angry, from-the-pits-of-Hades jazz record.


Cadaver Garden

Having begun their terrorizing venture in 2007, Desecravity have been pushing the boundaries of technical brutal death metal. With two full length releases under their belt and a third on the way by the name of Anathema, Desecravity show no signs of slowing down as this offering may be their most devastating and wicked to date. Anathema is an eight track onslaught from beginning to end as it gifts you with nothing but incredibly top notch technical brutal death for your blood draining and spine severing consumption. This record is a twisted mass of metal and flesh as Desecravity devastate and eviscerate leaving your lifeless carcass in a shallow grave at the end of it all.


During the brief intro Aeon and Ashes, Desecravity give you a little taste of what is yet to come. Once the intro fades away, Desecravity kick everything in to incredibly high gear presenting you with sickening technicality and gut bursting brutality throughout the remaining seven tracks. Through and through Anathema is a wicked and ever skull sanding release, one that is as relentless as you would wish it to be and as chaotic and mind melting as you would imagine. From the onset, Desecravity usher forth a brutalizing sonic onslaught that tears you limb from limb with each passing minute, leaving your veins bled dry at the sound of the final note.

The technicality that Desecravity displays within this record is nothing short of mind warping and impressive. Through each track you are treated to mind bending tempo changes, insane fret work and mind boggling drumming leaving you completely stupefied. Anathema does a great job of turning your brain to nothing more than mush as it shovels out insane track after track that warps and contorts your for eight straight wicked cuts. The musicianship within this release is impressive to say the least, and with unearthly throat shredding vocals to add to the mix, you are presented with an overall slaughtering sound.

Anathema is the sound of impending doom. This is a spine twisting offering, one that shovels out track after track of nothing but top tier technical brutal death metal. Desecravity have created something malevolent and violent here with Anathema as it is a relentless onslaught from beginning to end. This is an excellent release through and through and one hell of a way to nearly end the earth before the new year barely has a chance to get started.


Brutalism (Netherland)

Holy Shit!!!!! Who gave Rush all the meth and rage? Tokyo’s Desecravity, is about to drop a killer follow up to “Organic Signs” by name of “Anathema”. With every album, they evolve in every sense of the word.

I’ll start by saying, I’m not a huge tech fan. As a matter of fact, “Erosion Of Sanity” would be about as tech as my normal listening day goes. But DAMN, these dudes know how to blow your mind with supreme technicality and throw in some solid DM grooves. You don’t get the “man, they rip but I gotta change it after 3 songs cuz it’s just too much” effect. Which is the outcome of my listening to many offerings from the tech side of death metal.

“Anathema” begins with an epic orchestral prelude entitled ‘Aeon And Ashes’. It gets you pumped like you’re slaying a dragon. Then ‘Impure Confrontation’ fades into a roller coaster of riffs riffs riffs, mind blowing drums, Glen Benton style lows/highs and time changes that’ll leave your head spinning.

I honestly don’t know how they do it. I had a hard time studying for tests in school. Desecravity, somehow, remembers and lays down hundreds of riffs (encompassing 5K notes) and a slew of time changes. All with spot on precision.

The stand out tracks for me are the final 3. ‘Secret Disloyalty’, being my favorite, begins with the OG DM chunk style riff that would lead many heads to tear down the bars like they’re in a Scorpions video. Then, BAM, the blastastic familiarity we’ve become addicted to. At 1:09, there’s almost Cynic(y) type guitar work layered with a beautifully hypnotic bass line and incredible high hat work. Once you’re in a trance, you’re (again) thrown into an aural hail of gunfire. Always keeping you guessing, the dudes, then reenter the Cynic section and up the ante with summoning a demonic version of Dream Theater that would leave Portnoy with a dropped jaw. After the song ending with more speedy tech onslaught, it left me skipping back in the track to soak it all in again and again.

‘Devoured The Psyche’ continues on with the formula that Desecravity has most likely made the listener a fan, if they already weren’t. Being smacked in the center of my two favorite songs, it’s still a massive massive tune.

“Anathema” comes to a close with ‘Beheaded White Queen’. To say the least, they go out with a bang. This track could possibly take over my #1 spot with more listens. Shit, it might be taking that spot as I’m typing. It’s got it all. Death metal chunk, tech, jazz, speed, grooves and vocals that I hope get the praise they deserve. Dare I say, right around 1:26, there’s a Timeghoul esque section tossed in the mix too???? Yep, I think this will take the favorite song throne, eventually. This track ends with the “Timeghoul” riff but at a slower nastier pace. WOH, what an ending!

For those weary of over the top tech death metal, listen to me (as someone who definitely prefers the traditional death metal style)….. “Anathema” is NOT an album by guys that want to out-tech the next band. It comes off as musicians that are top shelf with their instruments and want to offer a solid listen that will leave you in awe and wanting more.

I have one last thing to say: “Desecravity, if you are reading this, come to VA. I MUST see this live!


Wonderbox Metal

Desecravity are a Japanese death metal band and this is their third album.Desecravity play technical death metal that’s ultra-brutal and exceedingly violent, and that’s putting it mildly.


This is the type of devastating death metal that thunders by in a whirlwind of serrated riffs, jaw-dropping time changes, and barbarous brutality. The band’s relentless aggression and twisting technicality is warped and insane, seemingly kept in check only by the bloodthirsty carnage of the song structures employed.

Desecravity’s music manages to hit that oft-neglected sweet spot between an extremely technical approach and a direct, brutal one. Anathema definitely veers closer to the former than the latter, but it’s the balance between these aspects, rather than their equality, which is important here. Add to this songs that don’t allow the technicality to disappear up its own behind, as well as a singer with an impressive throaty roar, and you have a thoroughly enjoyable collection of tracks.

There’s a lot going on in these songs. Unless you’re a hardened connoisseur of the extreme metal arts it might be too much, but I urge you to stick with it regardless, as there are some real gems to be discovered here.

Anathema is a complete assault on the listener, combining head-spinning technicality with brutal savagery to great effect. I was looking forward to hearing this, and it hasn’t disappointed.

Highly recommended.


Zephyrs Odem (Germany)

Heute als schwermetallisches Tagesgericht: „Anathema“ – Japanische Hausmannskost der etwas anderen Art, zubereitet mit Gyuto und Fleischklopfer.Der Opener „Aeon and Ashes“ stellt gleich anfänglich die erste und letzte Verschnaufpause des Albums dar: Tief einatmen, jetzt wird es sportlich!


„Impure Confrontation“ eröffnet in NECROPHAGIST´scher Manier mit viel Frickelei und Fingerspitzengefühl. Jetzt schon ein Soli-Manifest, das sich gewaschen hat. Sänger und Klampfenakrobat Yujiro schreddert und brüllt sich martialisch von Riff zu Riff, dass die Funken nur so fliegen. Gelegentliche kurze Breaks runden die Songstrukturen regelmäßig ab und fügen sich gut ins Gesamtbild.

„Ominous Harbinger“ birgt fast schon Ohrwurmpotential, startet mit infernalischem Getöse, lässt es sich aber zwischendurch nicht nehmen, dem stark befeuerten Ohr kurz Luft zu lassen, nur um anschließend den mit Salz geschmückten Finger noch Tiefer in die Wunde zu drücken.

„Deprivation of Liberty“ lässt mit seinem Eröffnungsriff sogar kurzweilig so etwas wie Melodie erkennen, was dem bis dato relativ straighten Fingerkrampf-Geballer einen netten Anstrich verleiht – zwischendurch mal was Anderes. Auch hier kommen die Soli nicht zu kurz. Allerdings nimmt die Gitarrenfraktion nun, wenn auch nicht durchgängig, den Fuß etwas vom Gas und lässt dem Tieftöner mehr Spielraum. Insgesamt der vermeintlich abwechslungsreichste Track auf „Anathema“.

Während „Bloodthirsty Brutes“ in gewohnter Manier weiter erheiternd vor sich hinwalzt, fährt „Devoured the Psyche“ den Stoffwechsel allmählich runter, bäumt sich aber immer wieder auf, ohne dabei Intensität einzubüßen.

„Beheaded White Queen“ läutet das Ende der Reise ein und nimmt das Tempo gekonnt heraus; das Ziel wurde ohnehin längst erreicht – quasi ein formelles Fazit des Albums. An dieser Stelle ist das dann auch gut so, hat „Anathema“ dem Otto-Normalmetaller doch Einiges abverlangt. Ein letztes Aufbrausen, bevor man den Hörer, komplett unter Strom stehend, in den wohlverdienten Feierabend entlässt.

DESECRAVITY suggerieren den Eindruck, man hätte es mit einem ADHS-Metallarbeiter auf Speed zu tun, der seinen Entspannungskaffee mit Red Bull verfeinert. „Anathema“ stellt hier quasi das musikalische Äquivalent zur Synapsenbildung im Hirn dar: Feuer frei aus allen Rohren! Das japanische Quartett hat hier ein imposantes Riffgewitter kreiert, das dem wohlgesonnenen Fan technisch-brutaler Metallkunst viel Freude bereiten wird. Freunde der Kategorie ORIGIN, NECROPHAGIST und Co. dürften sich hier vor einem reichhaltigen „All-you-can-eat“-Buffet wiederfinden. Neulingen dieses „Wir-pflücken-gemeinsam-Blumen-im-Park“-Genres sei daher vorsichtiges Herantasten geraten, denn hier wird harte Kost serviert.

Anspieltipps: Impure Confrontation, Ominous Harbinger, Devoured the Psyche


Rock ‘N’ Load

Formed in Tokyo in 2007, Japanese band Desecravity began playing shows in 2008 and have shared stages with bands such as Exodus, Aborted, Megadeth, The Black Dahlia Murder and Dying Fetus to name just a few. These heavyweights of Technical Brutal Death Metal are now back, ready to lay waste with their new release.The album builds from the start with some atmospheric string work, before the guitars kick in and then the devastation begins as the chaotic brutality starts with its technicality that is just ridiculous. The finger work is simply flawless as we are taken on a journey around what feels like every inch of the guitars neck, with pummelling drums keeping up with the note changes and then a deep gruff vocal that finishes of this incredible sound perfectly.


The intensity and quality flow through this album constantly as the unpredictability continues to blow your mind with breakneck speed and pinpoint accuracy, this is by no means a relaxing listen and is so complex that you cannot appreciate it with a single listen. The first listen blows your mind, whilst subsequent experiences allow the full intricacies to be heard and appreciated.

The vocal is as brutal as the music is technical and the drumming is so pummelling and precise that it will rattle your brain and laugh as you try and recover.

This is an early contender for album of the year and certainly sets the bar for all releases that are to come throughout 2019 and also gives notice to all other Technical bands, this is the level you need to try and reach.

It is difficult to pick stand out tracks as the album is flawless from start to finish and the intensity and brutality is incredible and oppressive as Desecravity have created an album that simply crushes.


Son of Flies (Italy)

Terzo album per la formazione giapponese formatasi a Tokyo nel 2007, un lavoro maturo e impreziosito da pregevoli parti strumentali che seguono le regole del death metal tecnico e feroce.Aspettarsi qualcosa di diverso dai DESECRAVITY vorrebbe dire sperare in qualcosa che non avverà mai, infatti “Anathema” non si discosta dai precedenti dischi in studio. Allo stesso tempo, bisogna riconoscere loro una crescita compositiva non indifferente. Lo stile è ricercato e bruciante come abbiamo già avuto modo di ascoltare fin da “Implicit Obedience” (2012), ma pure dinamico e abbondantemente dissonante. Anche la produzione si dimostra azzeccata (da manuale in tal senso il mixaggio e il mastering ad opera del guru Dan Swanö nei suoi Unisound Studio). “Anathema” legge uno schema ben definito, dandoci la possibilità di gustare otto composizioni assolutamente perfette: tutto sembra eccellentemente dosato e calibrato, perciò nessun ripiego o riempitivo per questa band che prosegue a vele spiegate il proprio cammino nell’attuale scena death metal. Il pregio maggiore dei quattro musicisti del Sol Levante è il loro agire sicuro e convincente. E vi assicuro che non è cosa da poco. Per gli amanti del genere, sarà un vero toccasana.



Ghost Cult

Underground Metal Roundup – ft. Desecravity, Ars Magna Umbrae, Dødsfall and more…There is so much going on in the underground worlds of Black and Death Metal, be it brutal, kvlt, heavy, introspective, or just generally interesting. Last year saw a raft of stellar releases, and the trend is set to continue at the onset of new year. Both genres seem to be experiencing a renaissance at the same time, and the result is genuinely exciting for underground Extreme Metal, with everything from standouts in each genre to amazing crossover projects. In our second underground spotlight of 2019, we here at Ghost Cult we have highlighted a few releases you should definitely have your eye on as we head through the winter months.
Recorded at Unisound Studio by the master of the clinical production, Dan Swanö, Desecravity have made a name for themselves for meshing the type chaotic of fretboard gymnastics that only the truly proficient can achieve with effective Death Metal churn – the chug two-minutes into ‘Impure Confrontation’ is grimace-inducing satisfaction.


There is a thin dividing line between hot mess of narcissistic widdle and effective technicality that impresses, and Desecravity know how to retain both brutality and hook and stay the right side of sensory overload, while not ignoring the need for a good headbanging groove, ‘Deprivation of Liberty’ in particular delivering on that front. ‘Ominous Harbinger’ is the album highlight, showcases their complete arsenal from the machete Melodeath introduction, via the bazooka of the grooving, sprawling middle-eight, to the shrapnel burst of pinching, slicing, speeding guitar scythery.

Who said Technical Death Metal is dead? This Japanese powerhouse knows how to churn out the heavy, technical fury, and they hold nothing back. While Tech Death is a somewhat niche genre because not everyone is into the heaviness mixed with the noodling, Desecravity will hold the attention of even those who don’t normally dig the genre. 8 / 10


The Metal Gamer

Japan’s very own answer to Origin are back with their third full-length album! After a change in the line-up since their last critically acclaimed album Orphic Signs I was interested to hear what that would do to Desecravity’s sound. I mean not only is Shogo Tokita a great guitarist, he also did vocals in the band so it’s not an easy member to replace. Now the growling duty falls solely on Yujiro Suzuki (who plays guitar as well), while they’ve added Yuya Takeda (Deadly Spawn) on guitar to the band.

After a beautiful intro on the epic side in Aeon and Ashes the technical brutality is unleashed on Impure Confrontation, the single I’d heard many times before but still haven’t got tired of. The utter chaos is created with such a technical precision it’s almost silly. Bands like Defeated Sanity, Origin and Cryptopsy will be proud to know there are bands like Desecravity out there that keeps the legacy going for years to come. If you think Impure Confrontation left you breathless then wait for Ominous Harbinger and Bloodthirsty Brutes which are two of the heaviest tracks I’ve heard in a long time and an instant favorites of mine. Anathema never lets you breath either, track after track it hits you with fast, technical and skull splitting tunes for you to devour and after the ride is over you will need to sit back, relax and take in just what the hell just happened to your now blown mind. It isn’t an easy feat to create such well crafted, well balanced, brutal techdeath that Desecravity has done. While their previous efforts were good in their own rights they weren’t finding that sweet spot between chaos and order. Now they have and we as metal fans can only be joyful that Japan gives us a band that can challenge any 2019 best of the year list in January already.

This is Desecravity’s best album yet, a band that keeps exploring and striving for improvements, and I only wish they can keep this lineup intact so that we can get even more of this insanity for years to come! A must have for any fan of the technical death metal scene.

Written by J.B.



*Click the above name.

Technical Music Review

Desecravity released an absolute awesome album today called “Anathema” an the technical death metal masters have graced us with their greatness yet again.Asian bands tend to get passed over for a multitude of reasons, and I’ve been paying attention to this wildly talented band since their second offering “Orphic Signs” (from 2014). They were still playing shows and showing signs of activity with 2 full lengths under their belt, I got worried recently they may be tanking. But since they released a single from “Anathema” and preorder information went up, my concerns went away. I have a terrible bout of luck when it comes to great bands I get into, and within a handful of months to maybe a half year they split up. Well, I’m glad I was dead wrong and the Japanese 4 piece has released an AMAZING album that is their best offering to date!


Yeah well their guitar playing is well…..flawless. The clean arpeggios, sweep picking, tapping and very precise rhythms from all the string players. The band is just mind boggling, almost to the point where if they got around more I surely think they could claim the throne genre greats Necrophagist and Spawn Of Possession have left empty. Yuichi Kudo’s drum work is just absolutely perfect. The guy is always changing speeds, keeping up with the wild fretboard work and adding lots of fills while playing his own style. “Anathema” isn’t for your average metalhead, and someone that can’t appreciate the true talents of a wild band like Desecravity. The record is available now through their label Willowtip Records and can purchase their other albums as well. Enjoy this wild ride metalheads!


Broken Tomb Magazine

En la última mitad del año 2007 se formó la banda de Death Metal técnico, Desecravity, en la ciudad de Tokyo, Japón. En el año 2010 comenzaron a grabar su primer álbum de larga duración “Implicit Obedience”, y tras firmar con el sello Willowtip Records, fue lanzado en el año 2012. Dos años más tarde vio la luz su segundo trabajo “Orphic Sings”. Seguidamente, colaboraron con una parte de la música del videojuego Let It Die y en 2017 estuvieron girando por toda Asia, incluyendo la participación en el Hammersonic Fest, Kolkata Deathfest y muchos otros festivales. Finalmente, el pasado año 2018 anunciaron la fecha de salida de su nuevo trabajo, titulado “Anathema”, el cual fue lanzado ayer día 25 de enero, a través de Willowtip Records.

La formación de Desecravity está compuesta por Yujiro Suzuki (voz, guitarra), Yuya Takeda (guitarra), Daisuke Ichiboshi (bajo) y Yuichi Kudo (batería).

Simplemente sorprendente, no se me ocurre otro adjetivo para resumir un trabajo tan intensamente rico en matices y con una calidad que sobresale sobre cualquier otra banda de similares características a día de hoy. “Anathema” es un disco sumamente intrincado y opresivo, los riffs cuentan con un nivel de técnica que es imposible apreciar en su totalidad en una primera escucha, estos son tan precisos como caóticos, y no dejan un solo espacio para el descanso en los 32 minutos que dura el álbum al completo. Además, también encontraremos algún que otro solo de guitarra que simplemente te dejarán con la boca abierta, intentando asimilar como es posible tal nivel de capacidad para tocar un instrumento. El bajo, por otra parte, también adquiere un protagonismo inusual, ya que además de llevar las riendas de la sección rítmica junto a la batería, brilla en cada compás por sí solo, añadiendo una capa extra de los matices que comentaba anteriormente.

La batería es espectacular en todos los sentidos; por supuesto aquí no encontraremos mid-tempos ni slow-tempos, tan solo velocidad y precisión a partes iguales sin ayuda de baterías programadas.

El registro vocal, mayoritariamente es un growl cavernoso, el cual se alterna en ocasiones con screams de corte más agudo.

En definitiva, aún queda mucho año por delante, pero ya os aseguro que “Anathema” va a estar en los primeros puestos de lo mejor del año en cuanto a Death Metal técnico se refiere. Ni se os ocurra perder de vista semejante obra de arte.

Nota: 9,5
Autor: Ramón


MetalEyes IYE (Italy)

La tecnica al servizio di un metal estremo di matrice death devastante: dal Sol Levante, terra di grandi musicisti attivi nella scena metal classica e power, arrivano i Desecravity, band nata a Tokio nel 2007 ed arrivata al terzo lavoro sulla lunga distanza.Si tratta di un gruppo molto rispettato nella scena estrema mondiale, con live in compagnia di gruppi leggendari come Exodus, Dying Fetus e Aborted ed il primo lavoro lasciato per il mixaggio e la masterizzazione nelle mani di Erik Rutan.
Tre album all’attivo per i Desecravity, con il debutto Implicit Obedience licenziato nel 2010, il successore Orphic Signs uscito un paio di anni dopo e questo nuovo Anathema, mandato a distruggere padiglioni auricolari in questo inizio 2019.
Technical death metal di qualità con la forza di mille tempeste si abbatte senza soluzione di continuità, possente, dalla velocità inumana e con un songwriting che comunque mantiene una sua linea, ben saldo nel marasma di note estreme che il gruppo giapponese scaraventa senza pietà sull’ascoltatore.
Ma non aspettatevi trame progressive o cali di tensione, in Anathema si viaggia al limite del consentito senza mai frenare, una corsa all’impazzata su scale musicali e spartiti che trova in brani pazzeschi come Ominous Harbinger e Devoured The Psyche la sua massima espressione.
Un lavoro notevole ed una band tecnicamente sopra le righe che non mancheranno di portare ad una sorprendente esaltazione gli amanti del genere.



Metal Purgatory Media

Combining influences from Origin, Hate Eternal, Dying Fetus, Wormed, Deeds Of Flesh and Murder Made God, Desecravity are a Japanese technical brutal death metal band formed in 2007 with three full-lengths and are back once again with 2019’s Willowtip Records release of Anathema.

Musically speaking, Desecravity exemplifies extreme metal with unreal, brutalized, unrelenting, crushed and dissonance style of technical brutal death metal borrows elements from Spawn Of Possession and Beneath The Massacre with a punishing production reminiscent of Suffocation will make fans come in for a nice treat. From their passionate musical directions, compromising contributions and visceral instrumentations this album features tempo melodies and a individualize sophisticated harmonics that surely brings out natural technicality and predominant memorable instrumentals.

Perhaps the best highly-rated album from this Japanese extreme metal is the overall old school death metal chaotic atmosphere as the tracks are not necessitate with triggered variations but what makes this album so spectacular and triumphantly brutalized is the unique rhythm guitars and insanely jaw-dropping to the floor chemistries allow these passages a destructive force. But from the technicality, blistering wormholes of contemplating components this is perhaps, if not, Desecravity’s Best release to date. If you’re fans of Hate Eternal, Origin, Dying Fetus, Wormed, Deeds Of Flesh and Murder Made God with a modernized, punishing, dynamically driven song selections with dismembered relationships of extraordinaire extreme metal satires, you’ll be finding something at home.

Overall Score: 8.5/10

Review by Jake Butler


No Clean Singing

It’s been quite a bit since my last small review here at NCS. Nonetheless, I now have the opportunity to write about one of my favorite acts from Japan. That band is Desecravity, and they released their third album entitled Anathema via Willowtip Records this past 25th of January.

This band was formed back in 2007 but it was not until 2012 that they released their debut effort, Implicit Obedience. I was fortunate to discover that release the same year thanks to a review that popped up in my newsfeed (my apologies, I don’t recall from where), and the cover art and name caught my attention.

So after listening to the debut, right then I became a fan of their music. It was a fine example of BDM with Technical influences that fit perfectly into 8 songs (minus the intro). It gained them a large fanbase, and some comparisons to Cryptopsy’s early sound (about which I have some mixed opinions). Regardless, it was a very straightforward record with complex time changes and song structures, performed with speed and precision.

After 2 years they released their sophomore effort, Orphic Signs. For me it showcased their musical abilities even more and expanded their sound further, while maintaining the original elements from their first album. It was not as fast and in-your-face as its predecessor, but it was vicious and the execution in each of the songs was merciless.

The intermingling of melodies with the BDM/Tech delivery made it even made complex. These musicians knew what they wanted, and the best part was that they put their ideas into the songs in a way that would make you think, are they human?? This album has a special place in my heart to this day, and at that point it became clear this band would be among my favorites from Japan, and I hoped for more recognition for their work.

After two years I was expecting a new release, but nothing arrived, and I was afraid the band was done — but nope, this year we got their new opus, Anathema, with a cover that suits the album title. That’s another thing about them — the album titles and cover art are spot-on and match the songs as well.

As I said, these guys think about everything. The first single got me excited, so I ordered the album, and when the release date came, OHHHHH BOY!!!!!!!! I love the album from start to finish. It’s true to their sound, but it’s also different from their previous work. There are more melodies in the songs, yet they’ve maintained their core sound with the fast and precise delivery that fans like me feel in love with.

One thing that all their releases have in common is that they are in the low 30 minutes of run-time, and that is a perfect range for their songs. It keeps one engaged, and before you know it, it’s time to start again (that’s how good their music is). The production is natural and so fitting that you can listen to all the instruments and how they interact with each other.

Another element that stands out is the prominence of the bass, and the fact that it has its own solo moments in some sections of the songs, which was a great touch and for me made that element the unsung hero. Another favorite aspect, of this and all three albums, is the utmost precision of the drumming, while the guitars and vocals are so addictive — top-notch, and an integral part what makes the eight chapters of this story so excellent.


Deadly Storm (Czech)

for english please scroll down


Možná jsem to mohl jako vášnivý čtenář sci-fi knih vědět. Už jsou tady! Roboti z budoucnosti, kteří nás přiletěli zkoumat, dělat na nás pokusy, případně nás vyhladit. Koneckonců, nic jiného si stejně nezasloužíme. Tak proč to neurychlit. Jakoby zemi zahalila temnota. Nejdřív byly strženy veškeré modly, zesměšněni všichni svatí. Potom začala apokalypsa.

Místo výstražné sirény zazněla všude nová deska japonských technických death metalistů DESECRAVITY. Nutno říci, že jejich hudba byla ke konci lidského rodu zvolena velmi dobře. Je totiž neskutečným způsobem destruktivní, energická, šílená, zběsilá, násilná, masakrující. Posluchače vyděsil nekompromisní a masakrující zvuk, démonický obal a hlavně, totální brutální smrtící metalové vyhlazení našich mozků. Nejdřív jsme si mysleli, že nám dali do jídla kyselinu. Ne, to jenom někdo přidal volume na přehrávači.

“Anathema” asi nejvíce připomíná vlnu tsunami, která smete vše živé i neživé v okruhu několika kilometrů. Osobně se mi hodně líbí, že není deska jen obyčejným předváděním technických dovedností. Skladby mají jasný řád, účel, jsou přesně zacílené. Bolí, pálí, šokují tlakem a silou, ale neztrácím se v nich. Mají na mě potřebný zničující účinek. DESECRAVITY jdou na samou hranici bolesti a je to jen a jen dobře. Pokud si rádi hlavu proplachujete kapelami jako SUFFOCATION, HATE ETERNAL, WORMED, DEEDS OF FLESH, ORIGIN, tak by neměla novinka těchto šílenců ujít vaší pozornosti. Možná už apokalypsa opravdu nastala, zachraň se kdo můžeš! Pokud mi k ní bude hrát album “Anathema”, nevadí mi ani konec světa. Tohle album totiž v sobě obsahuje vše potřebné pro krutou smrt! Absolutně devastující brutální death metal té nejvyšší kvality! Vynikající soundtrack ke konci světa!

Asphyx says:

Perhaps as a passionate sci-fi reader, I could have known this. They’re here! Robots from the future, which have come to investigate us, do experiments with us or perhaps exterminate us. After all, we do not deserve anything else. So why not make it quick. As if the darkness covers the earth. At first, all the idols were overthrown, all the saints were exposed to mocking. Then the apocalypse began.

Instead of a warning siren, a new record of Japanese technical death metalists DESECRAVITY was sounded everywhere. It has to be said that their music was chosen very well for the end of the human race. It is an incredibly destructive, energetic, insane, powerful, violent, massacring record. The listeners were scared by the uncompromising and massacring sound, the demonic cover art and total brutal, deadly metal extermination of our brains. At first, we thought they gave us the acid into the meal. No, it’s just someone has added the volume on the player.

“Anathema” mostly evokes the tsunami wave that sweeps away all living and dead within a few miles. Personally, I like the fact that the record is not just a simple demonstration of technical skills. Tracks have clear rules, purpose; they are precisely targeted. They hurt, burn, shock with pressure and force, but I am not losing in them. They have a devastating effect on me. DESECRAVITY goes to the limit of pain, and it’s just fine. If you like to flush your heads by bands like SUFFOCATION, HATE ETERNAL, WORMED, DEEDS OF FLESH, ORIGIN, you should not miss the new record of these madmen. Maybe the apocalypse already occurred. Save your life if you can! If the album “Anathema” will play in that time, I do not care the end of the world is coming. This album contains everything necessary for a cruel death! Absolutely devastating brutal death metal of the highest quality! The outstanding soundtrack to the end of the world!



Mark my words: Willoptip Records is one of the most underrated labels in metal today. Their brand of unrelenting, uncompromising, and often weird death metal is unequaled today in its quality. Case in point, Desecravity, a technical death metal band from Japan who has now released Anathema through the aforementioned label, their first album in five years. These guys deal in the fastest, most absolutely jaw-dropping kind of death metal, effortlessly weaving between sweep, blast-beats and guttural vocals, dishing out track after track of punishing brutality.

It’s really hard to choose a standout track from this excellent album but I chose “Ominous Harbinger” for it’s amazing bass lines. They start off backing the main riff, sticking close to the guitars and adding their own little flourishes to the track’s structure. Further down the track, they go off on their own, exploring many different directions in the slightly more ambient middle section of the track before returning to unison with the guitars for the blistering last act of it. Their tone, the production, and, most importantly of all, their composition and execution are a joy to listen to and go a long ways towards generating the appeal of this album.

The thing is, everything is up to the same standard; the vocals never falter, consistently delivering their mix of low guttural and high-pitched backing screams to great effect. The guitars aren’t just fast, they’re interesting to boot, effortlessly dipping from technically astounding lines to emotive riffing and a more direct onslaught. The drums follow suit, going fast but also providing plenty of punch and staying power. This is simply technical death metal done exceptionally well, releasing on a label that’s made it its mission to find that kind of music.