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Scrolls of the Megilloth is a kick ass album, and everyone should realize that before bashing this band. Postmontary Affliction follows it up, but sadly marks a turn in style for the band, as well as the beginning of their downfall.
Generally, the musicianship is still very strong, but it become quite apparent that it is generally misguided. There are tons and tons of riffs and ideas on here, and sadly a lot of them don't really have anything to do with each other. Segues are missing, which may work for a really technical/jazzy type band, but when you want smooth flowing metal it does not. Another problem is that when the band locks into a good riff or a good groove, it disappears all too soon. The good riffs feel really undeveloped as well, as if you could have made one great album from the good riffs, then scrapped the others. It feels very frustrating, because this could have been a good album.
Most of the elements here are a bit softened, probably so that the band could get a bigger audience. Steve's vocals are no longer the death growl he used on Scrolls, but kind of a harsh bark that would not sound out of place on a thrash/hardcore hybrid. The guitar riffing is a bit more technical than on Scrolls, but most of its power is gone and none of the solos are memorable. Jason Sherlock is still flailing away mercilessly, but he sounds as though he were subdued, never really going full bore. Steve's bass performance is both commendable and laughable. Being a bass player myself, I really like the approach he takes, with a trebly, kind of clangy tone above the whole mass of metal (only makes sense, because he's the mainman of the band), similar to but different from Blacky, Steve Harris, Geezer Butler and Cliff Burton. Where he really screws up is when he tries to do a bass solo for one of the instrumentals, and it sounds like he doesn't really have a clue what he's doing. Honestly, I'm not sure if it's even musically correct, because it sounds llike he's just hitting a bunch of kind of random notes and calls it a solo. That's not too good, but other than that, I'm actually quite fond of his playing.
Too many technical riffs combined with not enough logic behind their composition make the album feel really disjointed. Then with the really dry, airy production, you get basically a death metal version of Metallica's And Justice for All, and nowhere nearly as good. Sadly, Mortification would stick to this production, and it would in fact get worse as time goes on. They would also spend less time on the actual composition of their songs and more on promoting their wholesome christian image.