The Mortal Horizon

Finland’s Desecresy have been throwing out LPs at an impressive rate and quality in the last few years. All follow a similar structure and approach, but each one builds on the last in cautious, logical steps. Following in the footsteps of those masters of mid-paced death metal Bolt Thrower, the backbone of their music is those chugging riffs backed up by pounding double bass, overlaid with minimal yet powerful leads. Imagine Bolt Thrower circa ‘The IVth Crusade’ onwards, but with the mechanical production of ‘Realm of Chaos’, that’s pretty much what Desecresy are serving up.

‘The Mortal Horizon’ (2017) sees them focus their approach and lengthen their attention span. Desecresy on previous releases have always been victims of their own originality. The ingredients are death metal, but when mixed by these Finns they turn into something different. Micro songs all of a very similar design give rise to something akin to ambient music in structure, as the intensity builds and falls irrespective of where we are in each track. Lack of variety in the guitar leads can also induce a disorientation in the listener. But the quality of the music, combined with the sheer charisma of the cold, inhuman delivery, has always held an appeal.

On ‘The Mortal Horizon’, broadly the same techniques are utilised, but with a greater focus in the riffcraft department. The structure has a logic more in line with metal traditions than the electronica and dark ambient of previous releases. It is amazing how a little extra dynamics, tempo shifts, and through-composed riffs can completely change what is at the level of timbre, the same music. Yes, the production has been cleaned up somewhat, the reverb has been reigned in, the drums are more varied and clear, but aesthetically this is largely the same as previous Desecresy albums.

They have also dumbed down the Bolt Thrower worship, veiling it behind the renewed focus on more complex leads and how they can determine structure. One should also not under estimate the power of quiet/loud contrasts and how they can shape music to the composers will. The result is laid back, minimal death metal that aesthetically has more in common with industrial and electronica than it does anything metal. But the underlying compositions are in a simple yet imposing death metal tradition; akin to early Amorphis playing industrial music.

Desecresy’s ‘The Mortal Throne’ is the more frustrating release, because it is more unique. One can feel these familiar components twisting and morphing into new space for death metal and just falling short in the clunky, flat pacing of the album.

Originally published at Hate Meditations