Review Summary: A brave attempt at something different, but ultimately a rather monotonous heap of nothing different at all. Should appease lovers of "Brutal Death Metal".
When one hears the name "Blasphemer", one immediately thinks of something dark and Satanic, perhaps a black metal album. I was indeed expecting something with a "Beherit-esque" quality upon hearing about this album, but the violent, visceral-looking cover art gave me an impression of brutality. Specifically Brutal Death Metal. I was right to judge this book by its cover. Inside lay ridiculous levels of brutality and technicality. Now, Italy has produced some fine technical death metal, take for example, Fleshgod Apocalypse, but let me tell you that this Italian quartet didn't exactly produce the good kind, at least not overall...
The aural assault begins with a track called "Kuru-Laughing Death"; No, I don't know what it's supposed to mean either. Nonetheless, welcome to what I like to call the "Oo-ee-Oo-ee" vocals. These tremendously irritating pig squeals will punctuate much of the album, butting in where they're not wanted, and generally ruining moments where the songs are getting good, sort of like a deeply irritating friend who comes along at all the wrong moments to really spoil your lovely conversations. Indeed, they spoil the chemistry that clearly exists between the band members. Take for example the beginning of the second track, "Compulsive Obliteration"; the beginning of the song clubs you over the head (in a good way! It's possible!) and starts us off with a nice, crunchy bass fill. This is by far my favourite moment on the album, and the introductory vocal is fine, yet, within seconds, the lead vocalist, (I should note that all four members of the quartet contrinute vocals with varying results) who since I don't know his name, we'll call "Oo-ee Man", quickly slips into those monotonous pig squeals that he does best. But, amidst the sea of "Oo-ee", some vocal moments do occasionally shine through as a good kind of "Brutal".
Now, as for the guitars, they're very technical; very -very- technical. But perhaps a little bit too technical. Much like "Oo-ee Man", the guitars regularly lapse into a generic quickfire flourish of low notes and "Binary" (1-0-1-0-1) crunchy power chords. Nonetheless, like the vocals, if you listen carefully, you'll notice that some of the riffs occasionally shine through their low, chunky tones, but, also like the vocals, they then slip back into their generic, over-technical standard. almost like pressing a reset button. Some parts even remind me a little of "Beneath the Massacre"'s terrible tedium in the riff department.
However! Unlike Beneath the Massacre, Blasphemer's guitarists have at least made an attempt to mellow out their spleen-tearing assault of an album, which I appreciate. Specifically, this is done in the forms of the title track "On the Inexistence of God", and the intro to "The Killing Dogma". Both, done on acoustic guitars, are actually quite beautiful, and give the listener a break from their ear-pummelling. "The Killing Dogma"'s intro is in fact a rendition of the theme from "The Godfather", the band showing their Italian roots with this relaxing tune played on the mandolin and accordian. It's rather nice, but is of course, unfortunately, interrupted by renewed ear-pummelling.
One thing I do have to give this album, is that the bass is excellent. There are some sumptuous bass fills on the album, specifically on "Compulsive Obliteration" and "Nihilist Preachers of Death", the latter track offering some real headbanging moments. This bass is never allowed to fade out of the mix, and I like the way that it is utilised to give the songs more texture; the drums are also pounding and relentless in their blastbeats and double bass, and although just as monotonous as many of the riffs, I can't complain about the quality of the drumming in question.
In conclusion, the album is, overall, a rather mixed bag. There are some genuinely brutal moments (The good kind of brutal, remember!), and while the bass is fantastic and the production of the album crisp, bringing together its elements nicely, it is unfortunately marred and overshadowed by monotonous, over-technical riffs and the omnipresent "Oo-ee Man". The band attempted to add some variety with their brief acoustic moments, and while they are pleasant; within the context of the album their point is moot. It's a brave attempt, but at the end of day, it's just rather dull, and nothing that we haven't heard before.
Pros:
Crisp Production
Some Good Headbanging Moments
Some Brave Attempts at Mellowing the Album
Fantastic Bass
Cons:
Monotonous Vocals from the "Oo-ee Man"
Many Monotonous Guitar Riffs
Gets Very Dull After a While
Best Moments Are Often Ruined
