...of the Dark Light

When I listened to this record for the first time, I thought it was worth the title of ...of the Lost Cause, due to the underwhelming material produced. After listening to it again in quite a while, I realized I was badly mistaken. They finally wrote a solid record! By far, it beats all the three predecessors, and arguably the best Suffocation release since Souls to Deny. The production is great, while the band had another change in the lineup for younger musicians, recording interestingly better songs. I also want to give a shout-out to the bass’s production, hinting the return of the technical side of the band, rather than the known brutal one. Perhaps even displaying Derek’s technicality. It’s presented better than ever on this record.

...of the Dark Light presents major changes that could follow through the band’s future. With two former members leaving after the miserable Pinnacle of Bedlam, two lucky youngsters (whom now I wish I would talk with when I had the chance, before they performed in the live show I was in) joined in their replacement. Charlie Errigo (surprisingly enough played in the exact two bands that Guy Marchais was once in: Pyrexia and Internal Bleeding), the new guitarist, and Eric Morotti, the new and official drummer, who was working for the band as a drum technician the year prior. Both dudes helped deliver the modern sound that Suffocation incorporated during their own teens; or relatively just Terrance & Frank. As for Frank, this record is his last, as he hinted retirement during that time (and officially retired like months ago to this day, writing this review).

Opening with Clarity Though Deprivation, it mesmerizes the old sound of the band, with blasted drums, good guitar work, technical and enjoyable bass, and Frank delivering his crushing death growls once again, along an awesome Suffocation-ish breakdown. Return to the Abyss, the second single, showcased the bass’s sound from the likes of Pierced from Within, which was brutally technical in that regard. The main riff and guitar solos are also excellent, not to mention the ending’s second guitar accompanying with weak chorus effect, to make for an atmospheric ending. The Violation is quite simple, yet maintained joy throughout its entirety, as well as providing melodic choruses. Perhaps one of the band’s easier songs around. The title track brings in even more dominant and crushing guitar solos and power chords, prominent bass guitar (especially in the outro), along with what I think is the band’s sickest breakdown; slow, dredging, and powerful. The song itself sounds shorter than the provided time length, but makes for a lot more in that said-felt short time. Some Things Should Be Left Alone is a very Nile-influenced song, judging by the guitar riffs; being both technical and melodic (gave me an ancient Egypt vibe), along the easy-going drums that are actually enjoyable and the strong bass, closing with a sonic guitar solo.

The rest of the songs pretty forgettable. While The Warmth Within the Dark is pretty catchy with a cool, brutal ending, and Your Last Breaths, the first single, having melodic riffs and great guitar solo, they’re just not as memorable as the rest. This includes the last original song, and, of course, and the abomination that was the re-recorded version of Epitaph of the Credulous - my second-favorite Suffocation song.

In all honesty, this record gave me the impression I would dislike it more than Blood Oath or Despise the Sun. Turns out instead, this is the true successor to Souls to Deny, and the band recapturing their sound and momentum after 13 years of three consecutive failed records. ...of the Dark Light is Frank’s farewell and a goodbye gift, delivering a fresh sound for the material it contains. Thanks for everything you’ve given for the fans, Frank, for almost 30 years of your life! You should check the opening song and the songs from 4 to 7. You’re in for a treat!