DYSENTERY - DEJECTION CHRYSALIS (BRUTAL DEATH/SLAM, REVIEW, RELEASED NOV 7TH, COMATOSE MUSIC)
Introduction
Ten years have passed since ‘Fragments’ was released
and Dysentery have returned with forthcoming album ‘Dejection Chrysalis’,
which is due for release through Comatose Music on November 7th.
Dysentery are back to present a no filler album that is up there with all
previous releases. Sometimes, we hear albums/Eps from bands, and you wish there was more time taken in recording the album, as a particular part feels
missing. None of that here with Dejection Chrysalis. This a piece
of music that has been worked on incredibly hard, and if you enjoy all things
heavy, then this isn't to be passed by.
There are guest vocal appearances from Josh Welshman
(Defeated Sanity), Jared Weed (Concrete, Futility) and JT Knight (Invoke Thy
Wrath). For those interested I in the artwork for the album cover it was done
by Hidris (Anhedonic, Reign Of Erebus, Snakepit etc).
Dejection Chrysalis made Bog relive his memory of the 4th
Bog War, a bloody conflict between Bog creatures and our evil foes; ‘The Golf
Appreciation Club’. Golf should never be considered a sport in any universe, so
Bog and the Bogs felt it was of a moral imperative to stand against those who
wished to subject creatures to 195 rounds of never-ending boredom with commentators
sounding like they are narrating a wine commercial.
A soundtrack for Ogres & Tanks
Imagine you are transported to a world ruled by warring clans, all battling for control of minimal resources. War leaders commanding gargantuan tanks that are driven by giant ogres who drink oil for breakfast. The ground shakes and cracks as the war tanks roll across the landscape, sands swirl viciously around the tracks whilst the brigades of Brutal Slamming Death Corps destroy all in their path. Oh, by all that is sacredly Bog, we have been given such an ideal soundtrack, so we can really visualise how sick, nasty, and uncompromising Dejection Chrysalis is.
Dejection Chrysalis (track breakdown &
eccentric stimulation)
Transference is the calm before the storm, designed and played to excite the pallet. Bog could hardly sit still. He shook with excitement and anticipation for what would follow. Transference has a classic slam breakdown, which would easily flow as the intro for a beatdown hardcore album. This is the where you take position in the pit, or in the backyard, if you are feeling angry enough to spend some time shouting at the sky.
The brutal drumming comes in around 50 seconds ish; it already
feels like a f off assault cannon strapped on the side of the battle tanks that
maybe mentioned throughout this review. Bog hasn't been kicked in the balls
this hard for a few centuries. It’s nice to be thankful for that sheer emotion
Dejection Chrysalis brings, and appreciating it hits just as hard, ‘oooof’.
Time wise we have a 1.58 introduction, but if like Bog, it will succeed in making you jump around pointing and shouting. It really is a call to mosh. Timing, drums, riffs, a patient pace, teasing in parts with some interjected speed, and nastier brutality.
Enslavement for
the Obedient, Agony for the Wayward follows on
from the introductory track with a seriously angry breakdown to really pop this
off. If you haven't been thrown into a pit, or started to move around as
suggested earlier, there is something wrong. This is high adrenalin music; Bog's
blood is flowing. Enslavement for the Obedient, Agony for the Wayward
beckons the tank crews to hit the gears, they can feel the engines growing louder,
the tracks are rotating, moving forward and back, the gathered steel lions roll
across the sands in formation crushing everything beneath them as the music
rages.
Vocally, a strong performance, the time and effort invested
in them are clear to hear. Brutal vocals aren't easy despite what many humans
would assume. You have to maintain fitness and throat health, and much more,
which is the same for playing instruments for this nature of music. Bog senses
that Scott Savaria has wanted to deliver for all us ogres, giants, and
human allies. His vocals are fierce, dominant, growling is distinguishable, and
not lost behind the music. Functioning like the forementioned assault cannon on
the side of the tanks. A supporting component, which is vital in presenting the
sheer brutality contained on Dejection Chrysalis. Everything has been
arranged, so the world of Dysentery functions accordingly. No clutter, nor any
bad transitions.
Eric Taranto’s drumming
is fierce, pounding the ears with round after round of artillery accompanied by
such a nasty breakdown that has never stopped since the introduction. The riffs
are loud, they are like chain guns going off, adding a layer of filth that is
like gliding across a dirt track on your belly whilst flying turbo antique bathtubs
follow above, showering down rust laden tainted urine water upon you. The
perfect loud sonic audio bombardment to state unapologetically, you are in for
one brutal ride.
Pit worthy through and through.
Indignation Unravels
begins with another ascent to revolting delicacies. The breakdown and riffing
are especially catchy, and grabbed Bog ears. There is a consistent pace and
signature riff repeated, which is almost like a conductor orchestrating the
carnage. The vocals and drums often follow just after, then intertwine to move
forward together presenting utter steel carnage. Think of those tanks smashing
into each other close quarters style, this is uncompromising. Vocally, it's on
point again. Well timed growls and gutturals to complement the music. When you
hear brutal music played and performed well, there is nothing else like it. A
symphony, a feeling, it has something that commands you with authority to stand
up and jump over fences.
Exhausted Bliss of Self Loathing features
guest battle vocals from Josh Welshman (Defeated Sanity). Flaming
galahs! It’s one of Bog favorites from the album. Heavy on the beatdown, heavy
on the slam, heavy on the brutal death, heavy! The intro after the first riff
quickly transforms into a furious onslaught that is speedy, an instant head
banger. Swing your head round, circle pit, or nod graciously like your best
dinner is served up for you. Bog does appreciate and recognises how this track
was arranged with those elements mentioned at the start. Whether you like
racing forward in an armored column, or head banging on the spot with your
fellow foot soldiers, this is the appropriate anthem. A mix of brutal fast pace,
and slower slamming beatdown gutter parts akin to being dragged through a pool
of diarrhoea. Emphasis on the mosh, pits, and utter destruction. The battle
tanks have smashed their way through close quarters and are excitedly
manoeuvring in formation to the next target, which brings us to A Bestial
Omen.
A Bestial Omen has a
brief furious introduction with a raging breakdown and angry gutturals, and are
perfectly synchronised with the riffs. The drums are also placed accordingly,
starting and stopping in parts to emphasise the meanness of A Bestial
Omen. It feels like another headbanging and windmill classic. Towards
the end of the track, the breakdown is longer to intensify the outro. Audio and
production are really good. All cleanly presented with no filler. The album
doesn’t disappoint, it’s as nasty as the one-time Bog had to bend over, asking
his girlfriend to burst a zit on his big ass that he couldn't quite reach
around to manage with his grubby hands. Exceedingly vile, it's rather splendid.
Let's turn our attention to Shackled by Idolatry.
Shackled by Idolatry features
another guest vocalist in Jared Weed (Concrete, Futility) and is a
bastion of fury. An enjoyable mosh track built for the pit. This would be a
good slam into each other and circle pit song. There is the gutter breakdown, fast
brutal parts, some nice extended growls, and the drums move from fast to slower
sections, signalling when it’s time to run around, or if you prefer skipping,
then take out your skips, and do some focused disciplined skipping like never
before. Audio quality is exceptional, which does stand out with the album
thanks to Randy LeBoeuf who mixed and mastered Dejection Chrysalis
at Graphic Nature Audio (Kublai Khan TX, The Acacia Strain, Vomit Forth etc).
The signature riffs don't disappoint when transitioning to faster parts, they
don't lose the feel of the song.
Bog was so amped up with his adrenalin pumping, he wanted to drive his favorite tractor, circling around, and spraying manure everywhere. It's brutally beautiful, when your ears hear it, you will recognise that fact. It's one of the heavier tracks on an already heavy album, which is designed for smashing asteroids into pieces with flying reinforced killer space trollies. Destructive mosh capacity to the max.
Transposed Benevolence is
one of the faster tracks and is infused with faster brutality for the first 30
seconds. It purposefully takes hold of the ears, ramming tank shells in them,
sonically direct, and hits like an ogre walking through a cliff. A very hard-hitting
ogre who had just received a call from a butt bum asking how his morning was
going at 5am.
The vocal range is good on Transposed Benevolence
with deep gutturals and extended snarls, demonstrating again the effort invested
to ensure Dejection Chrysalis hits all the correct areas to satisfy the appetite.
On the instrumental side, the riffs are consistent with good timing once more,
and the drums do the same. There is another nice fading outro on the vocals and
instruments, giving us a good atmosphere to take us into the next song. Transposed
Benevolence is an ideal candidate for a score to part continents and bog
fart in oceans to cause doom waves. A very enjoyable composed song ticking all
the right boxes with a good use of heavy mosh breakdowns and fast parts.
Fratricidium features
JT Knight (Invoke Thy Wrath) on guest vocals. All of the concerned
vocals are indeed particularly powerful and menacingly angry. They run in time
with the music, extending with the instruments, matching the song, and help manage
the whole track as one essence. Almost like a sharp cannon of mosh in one
shell. Bog enjoyed Fratricidium a lot, and was impressed with the
direct, fast, straight to the point approach. It felt much more punishing and
brutal, like the forementioned tanks from earlier are about to blow a gasket,
because one of the tracks is falling off and needs repairing. The riffs, drums,
and composition partner the imposing atmosphere of the vocals, and present Fratridicdium
as a heavy, brutal song, which is further stressed by the excellent audio
mastering from Randy LeBoeuf.
Obsidian Womb is a
brutal penultimate track, intending to hit us hard with vicious drumming,
frenetic speed, and vocals running in the vein of the previous song. Obsidian
Womb is very good Brutal US Death with Slam. Direct and punishing with a
stand and deliver approach, and it certainly does.
Ascend This Harrowing Dream is
the finale and is the longest running track on Dejection Chrysalis. We
have a strong finish, encompassing all elements detailed outside of Bog's
misadventures, but digressions aside, think fast, heavy, and breakdown sections
to pit. The brutal drums shine along with the vocal range again, which are
complemented by the signature riffing, and sheer aggression to induce pure mosh
stimulation. Ascend This Harrowing Dream feels like it’s been built to
remind you of what you have been listening to, and just how heavy, and good it
is. Bog had the sensation he was commanded to listen to the album again, so he
strapped on his sweat bands, and assumed the position. All in all, an excellent
way to close the album, done justice by the subtle fade out.
Bog's Bogging’s (shining qualities throughout
the album):
Before Bog gets to final ratings, he would like to share some ramblings with you to remind you of the selling points with Dejection Chrysalis, and areas noticed by his wax ridden ears.
The track lengths are balanced, after first listen, you will want to take another journey, so it leaves the listener craving more.
1. Mosh anthems for pits and ballet dancing.
2. Vocal range (outside of the guest vocals, who are also obviously good!) Scott Savaria displays a solid range with an intensity that shone.
3. Audio quality is clean, yet retains the gutter brutal. The
album was mixed and mastered by Randy LeBoeuf at Graphic Nature Audio
(Kublai Khan TX, The Acacia Strain, Vomit Forth etc), and it clearly shows.
4. Signature riffs and bass. Mentioned in the Bog scribes, but
the riffs/bass are as nasty as hell. Shouts to Peter Spinazola (Guitar)
and John Cook (Bass).
5. Eric Taranto on drums has definitely
put a shift in. His style and playing accentuate the brutality.
6. Structure, presentation, arrangement, and fade outs to
increase mood, tone, and atmosphere.
7. The obvious level of time, work, and patience in delivering
an album to be savoured. If it can make you want to hear more, anticipate the
next release, then you know it was mission accomplished.
A closing Bog rating: So, painting this visually, Bog enjoys doing such things, the music is as brutal
and revolting as waking up in a giant's nostril, and realising you are a
booger, you are forced out with one brutal sneeze, 1 nostril style, but
unfortunately landing in another ogre's mouth who was sat below. He was half
asleep with his mouth open. He then proceeds to almost puke, and spits you out
with disgust, resulting in you flying through the air, and splattering on the
backside of a tank. Thank you.
Sounds like: Dejection Chrysalis
sounds like planetary bombardment via ion cannons, deep striking space marines,
tanks, chain guns, space tennis with asteroids, and utter devastation via a
thousand bricks carrying sachets of mosh attached to them.
For further information, pre-orders, links to support Comatose Music
and Dysentery, please see below. We highly recommend Dejection Chrysalis
for the brutality inclined.
DYSENTERY: https://www.facebook.com/dysenterygrind
COMATOSE MUSIC: https://www.comatosemusic.com/
