Register Forgot login?

© 2002-2019
Encyclopaedia Metallum

Best viewed
without Internet Explorer,
in 1280 x 960 resolution
or higher.

Privacy Policy

Their best (And most brutal) yet - 98%

Pathological_Frolic, March 18th, 2008

It would appear that Defeated Sanity have upped the brutality of their previous efforts and crafted a work that is hailed almost universally amongst brutal death metal aficionados of the modern day as a work of genius. I, for one, am certainly among those advocates. This album is less geared towards sounding "Technical" (As in, far less of those "noodly" guitar riffs) and more towards sounding as chaotic, percussive and destructive as possible. On the subject, said “noodly” riffs have a "progressive-era" Death-ish quality to them, however, they’re played twice as quick and have a deranged jeer that the late Schuldiner never seemed to succeed at, or have interest in, making. The production is extremely bass heavy here, there being more emphasis upon drum sound that had previously been, and the guitars have a sound similar to an extremely powerful snare at times. Lille Gruber is a wonderful drummer and it shows with each song. Another rapturous thing: We finally get to hear the bass! And it fills out the sound well, even getting a few solo sections scattered throughout the album. They've stripped away the pretensions of many tech bands, instead of choosing an eclectic array of sounds and guitar patterns that will impress, the technicality here is meant only as a means to absolutely decimate the listener; to leave the listener breathless, taken aback, and maybe unaware of what the hell just happened.

Is this, then, a single-minded album? Yes, but in the best way possible. Are there still breakdowns done in traditional slam death fashion, but with an original flair? Why, yes! And they have to be the most compelling ones I've ever heard on a slam death record recently. Just have a look at around 1:20 on "Engorged With Humiliation". At about 80 BPM, they're as heavy as when they go 250. The chord sustain there seems to have no intent but to draw one into the demented little world this work has created in which sonic expression is truly unbounded by common perceptions of right and wrong both musically and moralistically. The only real qualms I have with this would be that unusual, at times monotone vocal style employed and how mundane of a read the lyrics make for. Though, a question I might pose is: Does anyone listen to this music for either lyrics or vocals? Regardless, Staschel is good at doing what this genre calls for vocally, and his performance is thankfully bereft of the much hated pig squeals, with his vocals more resembling the “toilet bowl” styling of some pitch shifted goregrind. However, I cannot discern whether or not a pitch shifter was made use of. The lyrics, well, they come off as meandering text simply put there to fit with the music. He possesses quite a vocabulary, but I don't see the lyricist surpassing Daniel Greening (Of Cryptopsy) anytime soon.

This is probably one of the most, if not the most, crushing album released in 2007, and anyone that claims to like brutal death metal has been living without an essential piece of listening until they've heard this. And, as "Artifacts of Desolation" ends in a relatively soft manner with a humming amplifier sound and some snare hits, I sit and wonder at what is to come next of these German musicians.