Review Summary: The sole release of a now defunct label, Union Carbide was destined for obscurity
During the late 90’s and early 2000’s there was a waning interest in death metal as a whole. Black metal had taken the extreme metal world by storm with its real life crime and anti-commercial message, and death metal had already existed for some time at that point. Despite death metal’s diminished fanbase, newer bands around the globe were still outputting albums. These newer bands were prepared to maintain the integrity of the genre and continue breathing life into it for the time being. Among these newer bands, one can find Czechoslovakian brutal death metal act, Garbage Disposal. Exhibiting great promise,
Union Carbide was the band's only album before its members parted ways.
Wasting no time establishing himself as a major presence, bassist Mirek Lehký receives the honor of opening the album with a simple, yet methodical and carefully crafted bass line. Cementing his presence is the excellent treatment that Lehky’s bass playing receives. His performance is mixed at a volume close to the guitars for the majority of the album’s duration. In a genre plagued by incompetent production and even the complete omission of audible bass guitar,
Union Carbide stands high above the rest for its unreserved use of bass guitar. Alternatively, this decision could detract from an album just as easily if the playing is dismal. Assuaging any doubts about his talent, Lehký implements a fleeting, but deft bass solo just after 1:10 in the first track. His instrumentation is swift, fluid, and expertly tailored to the rest of the music. Bass playing this enjoyable and audible is an appreciated addition, albeit, the bass isn’t exceptionally technical or mindblowing. To think that this was the only major release that Lehký was featured on is a shame as such early talent is rare in the genre.
Keeping with the bass playing, the drumming exceeds the capabilities of many similar bands. This is no strange occurrence though as a 19 year old Tomáš Corn was behind the kit. Readers may recognize Corn from Czech brutal death metal group Lykathea Aflame or the mysterious black metal group Cult of Fire. Often relegated to blast beats and double bass, brutal death metal albums aren’t known for innovative drumming. In a display of superiority, Corn manages to incorporate the aforementioned styles, while also integrating his own ideas into the other sections. His fills and patterns are interesting, providing greater depth to the music than most brutal death metal drummers. Although I mentioned that Corn would later move on to Lykathea Aflame, his performance in
Union Carbide is not quite at the same level as on
Elvenefris. Consider his performance here as a late stage in evolution before his playing would metamorphose into the virtuosity heard on
Elvenefris. The rapid, yet skillfully controlled style Corn contributed to this album is worthy of praise regardless, even if his bass drum gets buried in the mix when the playing becomes particularly dense.
Providing the core of
Union Carbide, the guitar work fuses two of the most desirable brutal death metal riffing styles until they coalesce into a song. Rather than attempt to set a new standard in any one specific area and disregard others, guitarist Karel Burzinsky and guitarist/vocalist Franta "Frank" Serák deliver a more varied experience. Brisk, semi-technical riffs are supplied alongside their crushing and brutal counterparts. Fans hunting for technicality will find this album as enjoyable as those searching for brutality. Eschewing the all-too-common mistake of failing to diversify each song,
Union Carbide’s guitars ensure the time spent listening to the album will be exciting and engaging.
Backing up the instruments are Serák’s growls. In what can only be a lapse of judgement, Serák’s vocals are mixed in a way that they primarily appear in the right side of the sound-stage only. Had they not been misplaced, his deep growls could have nestled into the region between the bass and guitars. If any criticism were to be directed at the vocal performance, it would be that the style isn’t unlike legions of other death metal bands. Nothing about the vocals stands out as exceptional or unique. Wisely, Serák’s vocals are mixed at a level lower than the instruments, allowing the more dexterous facets of the album to take the spotlight.
Named after “the world’s worst industrial disaster”,
Union Carbide was perfectly set up for inevitable pot-shots had the album actually been a disaster. Astute readers may notice that there were no such jokes in this review. Garbage Disposal may have been nearly buried by time, but none of their quality has eroded over time. If you take the time to disinter the album, a finely preserved late-90’s brutal death metal album awaits.
