Diskreet – Infernal Rise

Ah, can you smell the trendiness in the air? The unmistakable odor of a thousand wallets opening at the same time? Yeah, so can I. When nu metal passed the baton to metalcore and metalcore changed guard to tech death and tech death went home and gave it up for slam death, we all hoped that the specter of ‘tech’ would never descend fully upon the the spin-kicking masses. Well, Diskreet just decided to harpoon any possibility we had that the confluence of such popular genres would never have to be realized by any large section of the extreme music listening population. Thanks a lot, Diskreet. Now all the kids at my school are going to be listening to Terminally Your Aborted Ghost and ruining it for everyone.

A comparison to that band is accurate, except instead of a brutal death band taking note from The Dillinger Escape Plan, this is Psyopus listening to too much Behemoth and Vader. We have here a pretty even mix of brutal death metal, overwrought ‘tech’ segments (meaning unnecessary arpeggios), and metalcore-inspired breakdowns. I’m not going to say I have a problem with such a fusion on principle, but Diskreet is doing it in a manner that seems uncomfortably likely to succeed among the masses of girl-pants wearing trannies that I already have to deal with at every Despised Icon show. The production is clean, the musicianship is impeccable, and those metalcore vocals just soar over everything like a great two-stepping bird of prey, ready to snap up small animal (or dollars) from the ground below.

I’m being rather hard on ‘Infernal Rise’. I’m not going to claim that it doesn’t get my foot tapping (or my head banging, or whatever criteria suggests something of reasonable rhythmic properties). Hell, the breakdown half way through ‘Faust’ is pretty damned sweet with its overbearing quarter-note china tapping. However, all my foot tapping is done with a board expression and a distinct feeling that I’m either listening to Job For A Cowboy’s ‘Doom’ or something even more precisely and sinisterly designed to profit instead of crush. Everything on this album is way too perfect: nothing is out of place, all the tech segments are played well, all the breakdowns are nice and bass heavy, and so no room is left for you to see what the band is REALLY like before a thick sheen of Pro Tools is laid on by the fellow behind the mixing board. It feels remarkably disingenuous, which is never a feeling that I’m pleased by when it comes to music.

The last two ‘bonus tracks’ seem to be the most genuine here, with the band playing silly metalcore, but silly metalcore that you can identify with and enjoy without feeling like a sham. However, the other five are soaked in friendly moshes and drum fills, and while I have fun with them, I really want nothing to do with them. Fans of this modern breed (or bree) of deathcore will obviously want to pick this up simply as a blueprint of what the genre ‘should’ be; others who are thinking a bit more might want to avoid it, or if they must get some breakdowns, not listen to it too often.


~ by noktorn on February 10, 2007.

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