Gates of Misery

A relatively recent addition in death metal, France’s Necroscum was formed by a member of another band (Gates of Misery) and other ones with no previous recording experience. Strictly independent and without a label, the band is still in promotion phase, having played mostly local dates and still pushing up imagery and new gigs with no occasion for retrospectives. The band’s style is rooted in 90’s death metal, in particular they sound like a bridge among the Scandinavian scene, mostly influenced by hardcore (Dismember, Entombed), some USA brutal acts with less rhythmic flexibility (especially Malevolent Creation, Suffocation and Cannibal Corpse) and hints at blast-beating 90’s grind/metalcore (Napalm Death, early Carcass).

After a dramatic, symphonic intro, The Faceless Reaper kicks things off with relentless blast-beating, static breakdowns alternated with modal-sounding, high-tempo guitar chugging, typical growl/scream vocals and rigid dynamics sticking to C-tuned chromaticism and rhythmic assault. There is more variation on cuts like Doctor Nazareth (which features a more inspired, droning triplet bridge around the third minute), Within Wrath, which features A#-minor licks more akin to black metal, due to certain semitone-based root-note licks, or Yersinia Pestis, whose funky slams are strongly derived from Obituary and Immolation, or Golden Ritual, which has more interrupted patterns and apparently repetitive, dizzying sections in pure Converge style: the rest sounds rather same-y and undistinguished to me, though competent.

Typical digital production results in over-trebly drums with tick-y bass drums, unrealistic hats and flat snares, while the guitars and the bass sound slightly grungy and the vocals feature plenty of definition and some scream multitracking. As a demonstration of what to expect during a concert, it’s promising, and already shows where the band is intended musically. As a collection of songs, it’s alright, possessing enough rhythmic/dynamic tricks not to sound too monotone, although, excluding of Doctor Nazareth, there’s more interest in undefined chromaticism and blast-beating than melodic strength. Hoping they will reinforce the latter in their following releases.