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Japanese technical brutal act Desecravity’s debut, Implicit Obedience, is certainly responsible for many snapped necks and liquefied cranial contents during 2012. The dynamic slaughtering of the angel by some skeletal oni on the cover artwork is a reliable graphic manifestation of the sonic contents within. And just like said artwork, a sleek and modern production enables the listener to fully appreciate the collective chaos the members of this band are capable of. And boy (or girl), this is bloody chaotic indeed! Hailed by some as the “new big thing” in the brutal/technical death scene, this Japanese band literally made some noise last year. I’ve only been able to experience this quite recently, but it has been an interesting experience for sure.
So yes, the production it’s loud and clear. For a band displaying a great deal of technicality it’s a suitable choice of a sound, as all the instruments are noticeable and given their fare share of presence. Perhaps it is a bit too clear for me, and I wonder if this album would have been more gruesomely attractive with a dirtier, more primitive and obscure resonance. Not that I suggest them to become another Autopsy/Incantation flavorless clone, but maybe experiment with grittier aesthetics. In the end, the result is generally balanced and you can enjoy Toshihiro Inagaki’s bass plucking along the gutturals, drums and guitars. Sometimes it gets a bit buried beneath the sonic massacre the rest of the instruments partake, as it usually happens with other bands and albums of this style. Not a big deal, as the best performers here are the guitars and vocals by far.
Let’s talk about Yuichi Kudo’s now. Kudos to him! His drumming is definitely impressive during some passages; becoming an incessant bombardment of rhythmic punishment, inhumanly fast at some points. However, they constitute one of the flaws I perceive here. Just like the latest Fleshgod Apocalypse or the first Decrepit Birth album, Desecravity sometimes delves into pure pummeling without substance. For the most part this is a balanced onslaught, but the majority of songs boast a few over-the-top moments, t00 br00tal, but ultimately innocuous. Instead of my reaction being a “hellyeah!” its more of an “oh, c’mon!” And the same can be applied to a few overtly technical moments in which the band becomes too indulgent. I know most fans of the genre won’t complain, but to me it deducts some points to the overall quality of this debut.
But there’s also plenty of good, nasty stuff here. Keisuke Takagi and Yujiro Suzuki’s riffs are fairly solid most of the time, though not groundbreaking stuff. The solos are blindingly fast, middle ground between Kerry King on-steroids dissonance and outbursts of melody. The shifts in tempo and mood, and the breakdowns are well placed throughout the record. The band maintains an even style for all songs, save the orchestral instrumental intro, but they inject a few eyebrow-raising elements into their insalubrious musical concoction that help break monotony. Sometimes the band adopts a djent-ish style I’m not too fond of, most evidently during some sequences of “The Collapse of Religion”. You might like or dislike that, but it’s a different approach nonetheless. A more fulfilling feature would be the raspier deranged screams that Suzuki sporadically employs in contrast to his Frank Mullen impersonation. They’re particularly predominant during the last minute of “Extinction with Hatred”.
Merciless and punishing, this is a good and solid inaugural effort by these gentlemen from the land of the rising sun. Implicit Obedience might not bring much innovation to the genre, but is a fine companion to your Decapitated, Severed Savior, and Spawn of Possession records. I don’t have undisputed favorite tunes here, but the proper opener “Enthralled in Decimation” and the longer, winding “Demonize the Old Enemy” are the ones I recall the most. Also, the solo on “Hades” sounds like demonic living barbwire tearing bodies apart at horrendous speed, but the rest of the song is not that special. Recommended for fans of the style mostly.