Disinter / Disinter

Album Title: 
Alliance Of Death
Release Date: 
Monday, November 14, 2022
Review Type: 

This was a nice batch – three releases in a row via Pest Records that involve Disinter. Yet then again, which one are we talking about? I think there at least seven or eight Death Metal bands with that name. Well, actually, on November 14th 2022, we had a new full-length by the Chicago-based Disinter, called Breaker Of Bones. A review will (probably) follow soon (or at least: sooner or later). January 31st 2023 was the release-date for Guerre Eterna, the fourth full album by the Peruvian act with the very same name (which will be reviewed as well, at least ‘probably’, when the deities of Space and Time offer me more time). Yet in between both of them (these ones are respectively the 28th and the 30th release via this Romanian label), Pest Records, a division of Loud Rage Music, did also release a split-album which includes both these two acts. This ‘PR 029’ story brings material that is not on both aforementioned full-lengths. Each Disinter offers us, the innocent audience, four tracks, which spawn arrogance, disgust, death, filth and intolerance. Besides the digital format, the label released a jewel-case compact-disc edition too, which is limited to three-hundred copies. It comes with a twelve-page booklet, which includes very fitting cover artwork for sure.

Alliance Of Death opens with four compositions written and performed by the South-American partner-in-crime. The trio (in the meantime, they recruited a new guitarist), being Andres Ramos (guitar), Roberto Leonardi (drums and percussions) and Leonardo Navarette (bass-guitar and voices), recorded their part with engineering assistance of Epilepsia’s Giovanni Lama (known for his studio-work for e.g. Evil Damn, Metal Crucifier, Spectral Souls and many more). For almost twenty-one minutes, these guys offer us extremely firm, intense and technical Death Metal with the necessary attention for melody, structure and balance. Their approach is not of the progressive kind, yet it focuses on a glorious old-schooled tradition. There is quite some variation in tempo, with mainly up-tempo fragments, yet also a couple of blasting outbursts at the one hand, and a few excellently executed slower passages to. The doomed passage somewhere at the beginning of Ancient Funeral, for example, is just breath-taking. The compositions are created around crafted guitar-leadwork with a perfect balance in between melody and rhythm. It comes with that beastly grunting throat, these amazing thrashing and goosebumps-causing solos, and a monumental drum / percussion section; the latter being so prominent and important for the whole sound. It’s a ‘full’ experience, showing craftsmanship, elegance, joy and suspense. Fine extras are, for example, the superb production (the mix, for instance, has a perfect equilibrium for all instruments and voices involved), the few rather blackened screams, or some ‘extras’ like that captivating string-intermezzo in aforementioned track Ancient Funeral.

Tracks five to eight are created by the North-American part of this deadly alliance. The very experienced quintet (vocalist Casey Loving, drummer Max Colunga, guitar-players Mike Martocci and Mike LeGros, and bassist Jon Billman) had their stuff recorded at the Mercenary Digital Studio with Scott Creekmore, who worked with bands and projects like Putrid Pile, Waco Jesus or Broken Hope (amongst many others) before. These guys’ stuff is radical and intolerant, maybe more than before, and it stands like an erected fist in the behind of, well, anyone. Each track out of four crashes and smashes, fast as a pyroclastic eruption, frantic like a rabid bull, merciless like a tyrant’s obsession to invade any neighboring country. Yet then again, even within less-fast pieces, such as Dead Inside, Disinter remain invincible and ruthless. The guitar-parts are overwhelming, yet they do maintain that essential hint of melodicism. The drum-patterns are brute and fast like a meteor, but they do not sound over-the-top. There is no stupid exaggeration involved, even-though the whirlwind-salvos are often devastating and uncompromising. Another element that characterizes this act’s intensity is the vocal gob of Casey, who sometimes seems to puke out his lungs through his throat. Together with the fine-tuned bass-lines and the Fingerspitzen guitar-solos, this whole experience defines the opposite of boredom or tenderness. Besides, the sound-quality is very decent; not surgically clean, yet still well-balanced in mix and satisfying in sound.