The Dead, Ritual Executions (2010)
Australia’s The Dead self-released their sophomore album Ritual Executions last year. 2010, however, sees them freshly signed to India’s newly-launched Diabolical Conquest Records, with Ritual Executions getting a remastering job, updated artwork, and seeing a proper label release. A murky hybrid and death metal and doom is the order of business for this Australian trio, but we’re not talking the doom/death of early Peaceville mopesters Anathema, Katatonia, Paradise Lost et al; instead, this is more like the dank, doomy, crypt-like death metal of early Incantation, or the quicker moments of legendary gut-wrenchers Disembowelment (though, in all fairness, if Incantation worship is your cup of righteous tea, the new Father Befouled album out on Relapse ought to be destination one).
The album starts off with a slow dirge of a song in “Burn Your Dead,” with a pleasantly thick, skull-rattling bass tone on the arpeggio riffs. Vocalist Mike Yee demonstrates some abominably deep, guttural death tones, which are mixed in such a way as not to overpower the music, but still somewhat higher in the mix than many similarly-pitched vocalists, in a manner which verges on the comprehensible. The closing sections of “Burn Your Dead” utilize an effective rhythmic compositional style to drone out with – a measure of 4/4 time followed by a measure of 3/4 time. It’s a fairly simple tool, but it demonstrates that some deliberate thought has gone into the crafting of these tomes of death.
If you’ve picked up on that, though, later track “Centurian” is a bit of a let-down, since it, too, boasts that same meter (though in a somewhat more straight-forward 7/4 attack) for pretty much its entire duration. The vocals also become somewhat monotonous as the album wears on, although not so much that they detract terribly from the masterful display of grooving, doom-tinged death metal.
The production isn’t quite gritty or fuzzed-out enough to push this album into sludge territory, but some of the songwriting veers in the direction of booze-drenched misanthropy. There are a few frustrating quirks to the drum production, though. The hi-hat has got a weird buzz to it, and the kick drum could stand to be mixed a little higher. Still, it’s not overly clean, and although it rings somewhat hollow, the drum production still sounds like a real person pounding away on a real kit.
The album works effectively as a whole because of the band’s strong compositional skills, and the smart sequencing of tracks to alternate between trudging epics and more in-your-face, aggressive death metal blasts. Some of the quicker tunes like “Cannibal Abattoir” show a very sprightly, almost jittery style of drumming (particularly in the snare drum work), which is occasionally reminiscent of a slightly less-busy Brann Dailor from Mastodon’s early work (think Remission or even Lifesblood). I’m also not sure if it’s just because I’ve been listening to too much Kylesa lately, but I swear that some of these faster moments have a similar psychedelic feeling in the riffing. At any rate, if the prospect of this type of doomy, well-composed death metal with non-obtrusive psychedelic touches gets your blackened heart all a-flutter, then you would do well to check this album out.
The funk drumming breaks in “Born In a Grave” are a bit jarring, but ultimately provide an interesting contrast to the more standard death metal signifiers used throughout. The latter sections of this song, however, have some great, cavernous echoing effects to match the atmosphere of patient, plodding doom, and actually turn this track into one of the album’s highlights. The build-up and eventual release around the five-minute mark (“BOOOOOORRRRRN…IN A GRAAAAVE”) is absolutely fantastic, and leads me into a near-apoplectic fit of wanting to smash furiously anything within reach. Hide the china.
Other excellent moments include the groovy riff and breakdown around 1:30 into the title track, which is seriously crushing. Think of the bulldozing momentum of Bolt Thrower or Asphyx, and you’re well on your way to grasping the effect of concrete slabs dropped repeatedly on your head. The closing track “Death Metal Suicide” is a quite interesting change of pace, offering up another set of pretty funky grooves, especially in the drumming. Whatever else you may think of it, it’s an extremely bold choice, playing a ten-minute long, funk-influenced instrumental jam to close out one’s album in a genre as frequently myopic and orthodox as death metal.
Some of the more avant-garde moments on this disc recall queasy death metal savants Gorguts (circa Obscura, primarily) and Portal, the latter of which may be more than a coincidence, as Ritual Executions was remastered by Aphotic, one of the guitarists from Portal. The Dead don’t ever quite reach the same level of otherness (or what-the-fuck-ness) as either of the aforementioned bands, but it’s clear that they are drinking some of the same fetid water.
In general, the mélange of styles offered on this record ends up meshing rather well into a unique death metal whole. Fans of the already-mentioned unsettled death metal acts Portal and Gorguts may find much to enjoy here, as will fans of the more strictly deathly side of doom/death metal. One of the primary references which continues lurching into mind is Lasse Pyykkö (of Profound Lore’s Hooded Menace, as well as Phlegethon, Vacant Coffin, Claws, etc.), fans of whose should flock to this Australian cult with morbid glee. Diabolical Conquest Records have found themselves a real winner of an album here, and I will be eagerly following future releases from this grimly determined band. If Tom G. Warrior is to be believed, and only death is real, then get yourself a copy of Ritual Executions for a sledgehammer dose of heavy fucking metal reality.
Overall rating: 80%. “BOOOOOOORRRRN…IN A GRAAAAAVE!!!” Doesn’t get much better than that, friends.