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Dark artistry is overrated. - 100%

lord_ghengis, March 8th, 2013

This album is an interesting prospect to review, it's an album I've wanted to review for a very, very long time, and it's one that deserves the most utmost attention and as much love that the world can throw at it, but it's one that is extremely hard to do justice to. Not because of it's glorious artistic work, or because of how nuanced and genius it, instead it's a challenge to review because of how exceptionally simple and to the point it is. It isn't an atmospheric master work, it isn't a technical feat, it's not even intricately composed, it's simply the purest outpouring of tremolos-and-doom death metal riff work imaginable, and elaborating that point to a standard that really justifies a perfect score is a real challenge.

In the most simplistic terms, Disciples of Mockery's eight existent tracks can be described as Incantation without the midpaced atmospherics leaving nothing but uptempo tremolo riffing and doom. It's not a perfect summary of the band, and it does sell them short a little, but honestly, those thirteen words describe the entire band in a pretty acceptable manner, and really doesn't miss the mark by much. In a more elaborated from, Disciples of Mockery play extremely high tempo tremolo based death metal with a strong sense of hooks rather than twisted evil or darkness, with lengthy passages of contrasting doom, based around loud crushing riffs rather than murky gloominess, with occasional phased out out bass drones providing some texture and gloom. It's hard to really put it in much more of a complex way. This album has two modes, they're both riffy as hell, they're both rather identifiable and by the book, and 100% of the brilliance is devoted to the absolute perfection is in the delivery, rather than anything different and surprising the band actually does.

Really the only really surprising tidbit I can think of is that these guys don't actually sound that much like Incantation. I mean, yeah, every element that makes up their sound is taken straight from there, but the whole approach and mood here is totally different, and when you consider that the entire line up is made up of Incantation members who specifically set out to write a "true third Incantation album" after they found Diabolical Conquest not Incantation-y enough, the sizable differences are really quite a surprise. They are definitely close, but not as close as you'd expect, if metal was a suburb, Disciples of Mockery would live on the same street, definitely not next door, but maybe a block away on the other side of the road, and they'd probably get along alright when they crossed paths from time to time, except every now and then DoM would get drunk on moonshine and kick down Incantation's mailbox. And Incantation would just sit there and take it because they're a little tired and unfit from staying up all night enacting satanic rituals in secluded caves, whereas DoM does nothing but pushups all day and throws empty bottles at the school bus when he's in a bad mood.

The most noticeable shifts are in the song structuring, vocals, and overall tempo of the album. Disciples of Mockery more or less pass over the careful and emotionally shifting structures of their former band and pretty much stick to one major tempo shift per song. Most songs will start off fast, blast away for two to three minutes, before dropping a crushing doom bomb on you for the ending, or vice versa. There are no lurching middle points, there is no contrasting back and forth between styles, just pure savagery and pure devastation placed alongside one another. A couple of tracks take it even further, like the blistering “Our Father Who Art As Nothing" or the crawling "An Endless Pursuit for a Satisfying Pain " stick to one mode throughout, but generally, outside of the 8 minute Dogma which does have some back and forth tempo jumping, songs will consist of one major stylistic shift at a maximum. Unlike many of the bands around that have tried to distill that sort of sound down to a baser level, the whole evil ritual vibe has been sacrificed here, and oddly enough it is not missed at all, thanks to the quality of the goddamned riffing here.

With a lot of the moodiness sucked out the sound, the band has made the wise decision to use the tremolo stuff here as a weapon, rather than a mood setter. Not that these riffs are exactly testaments to the adorableness of overweight ginger cats, it's more like they've gone through Incantation's big bag of riffs, dumped out the creepy moody ones, dropped out the evil buzzing ones, dropped out the chunkier ones, and now have just got those overtly hooky yet savage ones left over, and it's as righteous sermon to the glory of death metal riffage as has ever existed. Sure, it means the album is pretty one dimensional; literally every fast part is blast beats and tremolos, and the doom is merely split into two different forms, basic thundering and more atmospheric bass drones, ala Womb, and that's it! There are exactly three ideas for half an hour, but every riff is recognisably different from one another, each one is uniformly headbangable and catchy, and there is not a single misstep on the whole album, and at least part of it is due to the simple minded nature of it. The band never tries to make it murky and evil, so every single riff is busy, with many rapid note shifts and overt, undeniable hooks, and the tempo is consistently higher than the usual tremolo based band, keeping the breakneck energy positively neck breaking, as such, every single riff wriggles it's way into the brain as a unique earworm. The approach is entirely too rocking out based to have any flat moments.

Vocally, Craig Pillard is worthy of some special note, this is something of an anomaly in his otherwise relentlessly deep, cavernous back catalogue. Here he is oddly clear, with every note clearly enunciated, and with a generally higher pitched (for Pillard) and airy aura, which is far less impenetrably thick than his usual, perfect roars. It is likely, in terms of sheer objective vocal quality at least, his weakest effort on any album, since he really is up there as one of the absolute best low ended growlers in the business, but its oddness the style is more fitting for the album. He's high enough that he never gets lost in the uptempo blast fests, dragging behind as a filthy slime left in it's wake, but he's still brutal enough that he delivers enough demented sickness for the immense doom breaks, and finally the airiness means he fits perfectly in with the more spacy doom parts too, without needing to put on a totally different voice to the rest of his performance. He may not deliver what his name usually suggests on the tin, but it works, and his unique performance is just another element that has been tweaked in just the right way to fit the album perfect.

Overall, that's it, that's all there really is to say about the album. And I feel like I've repeated myself enough to not have to go over it again to wrap up the review. This is an album that has simplified its whole niche into it's absolute base form, and has got it absolutely right; even if it did occur somewhat by accident, since this is a fair way from being the logical follow up to Mortal Throne of Nazarene than what the band openly went in with the intention of making, but honestly, the primal riff lover in me thinks it's an improvement.