The previous dogmatic abuse of specific gallop rhythm has decreased to a dedicated but experimental addiction to triplets, like in the driving punch of “Death’s Head Mask” and “Home of the Dollmaker.” Instrumental versions of this music may sound entirely unappealing on paper, but here, they’re actually good enough to stand on their own: tracks like “Industrial Quarter” and “Old Man” certainly aren’t lacking anything from the sparse use of vocals.Sonically, Deprive hits it out of the ballpark. Imagine making sewage into an energy drink, and you’d have a rough idea of Deprive’s filthy power. The album takes the furious impact of Sleeper and blends it with the consistent songwriting of Circle of Nine for a more balanced set of grooves, tremolo, and chunk. Deprive is structured as a sort of slam “riff salad” a la Suffocation rather than gratuitously stringing breakdowns together. It’s not even slam, really the music has an aversion to the formulaic ideal of gluing power chords together. Unfortunately, the album’s brief length keeps it from reaching its maximum potential.Cam’s sense of song structure is the strongest fiber in Disfiguring The Goddess’s fabric.
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