Disentomb – Nothing Above

· by Laurent Bellemare

Since the excellent The Decaying Light (2019), Disentomb has kept a rather low profile, certainly taking the necessary step back to prepare their next major contribution. The Nothing Above EP deftly continues the Australian band’s exploration of their signature melancholy and hypnotic atmospheres.

If the brutal death metal subgenre has not historically been associated with a very broad expressive palette, apart from its inventiveness in rhythms and guttural vocals, this is increasingly changing. Disentomb is one of those bands that have taken the gamble of retaining this uncompromising aesthetic, but expanding its means of expression. As far back as Misery (2014), the band incorporated a highly dramatic darkness reminiscent of doom metal, creating a depth of field with rhythmic instruments pounding out various tempos. Today, the Australian quartet can boast of having extrapolated a whole soundscape from these early attempts.

From the outset, we’re dealing with four compositions that are highly elaborate in their development, which relies more on variation than repetition. The vocal performance and drumming are impeccable, invigorating the music neatly. But enveloping all this brutality – and not without a fair amount of reverb – is a guitar playing rich in minor chords, semitones and minor sixths, a language immediately reminiscent of New Zealand’s Ulcerate. Far from crying plagiarism, let’s rather rejoice in the successful hybridization between this introspective aura and the bestial nature of brutal death metal.

Not every influence is so easily grafted onto a tried-and-tested musical aesthetic. On Nothing Above, however, the formula works. Knowing that the band is already working on a fourth album, one wonders what territory this opus will dare to venture into to keep things interesting.

Latest 360 Content

Ken Pomeroy – Cruel World

Ken Pomeroy – Cruel World

Art of the Line: Klangkarussell’s Euro Vision at SAT

Art of the Line: Klangkarussell’s Euro Vision at SAT

Centroamérica – a powerful docu-play about truth and connection in an age of distance and denial

Centroamérica – a powerful docu-play about truth and connection in an age of distance and denial

Lido Pimienta – La Belleza

Lido Pimienta – La Belleza

Tamir Barzilay – Phosphene Journal

Tamir Barzilay – Phosphene Journal

The best ‘’Candlelight concert‘’ ever.

The best ‘’Candlelight concert‘’ ever.

Men I Trust – Equus Caballus

Men I Trust – Equus Caballus

The Halluci Nation – Path of the Baby Face

The Halluci Nation – Path of the Baby Face

A lap steel guitar choir and an angel to end the Innovations en concert 24-25 season

A lap steel guitar choir and an angel to end the Innovations en concert 24-25 season

The OSM and Abel Selaocoe: Evenings When You’d Like to Stop Time

The OSM and Abel Selaocoe: Evenings When You’d Like to Stop Time

Reaching for the sky: Francis Choinière’s challenge to end his OPCM’s 10th season

Reaching for the sky: Francis Choinière’s challenge to end his OPCM’s 10th season

Piknic 3: A Little Bit of Everything Under the Sun

Piknic 3: A Little Bit of Everything Under the Sun

Cazzu – Latinaje

Cazzu – Latinaje

Stereolab – Instant Holograms On Metal Film

Stereolab – Instant Holograms On Metal Film

SMCQ | In memoriam Jocelyn Morlock

SMCQ | In memoriam Jocelyn Morlock

Abbey Road at Festival Classica

Abbey Road at Festival Classica

Mira Choquette – Hier encore

Mira Choquette – Hier encore

Jared Dunn; Anna Gorecka – Gorecki’s World of the Piano

Jared Dunn; Anna Gorecka – Gorecki’s World of the Piano

Cyrille Dubois; Tristan Raës – Dupont : The Complete Songs

Cyrille Dubois; Tristan Raës – Dupont : The Complete Songs

Nic Ferron Trio – Multiverse

Nic Ferron Trio – Multiverse

Hayti Lives by Vox Sambou, “Duty to Reflect His Times”.

Hayti Lives by Vox Sambou, “Duty to Reflect His Times”.

Subscribe to our newsletter