|Review: Repulsive Dissection - Cut Open the Aberration|
|Cut Open the Aberration|
Label: Sevared Records
Year released: 2009
Genre: Death Metal
Review online: December 21, 2009
Reviewed by: Nahsil
for:Cut Open the Aberration
Repulsive Dissection play a "technical" brand of Brutal Death Metal not dissimilar at times to Origin, though less distinctive and suffering from (or benefitting, depending on the listener) a guttural frog-bear-pig vocalist, who belches incessantly over the jarring assortment of chugging riffs and consistent double bass. I can stomach the Brutal Death vocals of Beheaded and Wormed, but Tom Bradfield's growls are a mixture of Demilich's bellowing subterranean quality and the more orthodox (for the genre) gutturals of Devourment. I think they worked for Demilich, because Demilich weren't playing anything that could be called "standard" Death Metal – in other words, the vocals were a precise fit, but the same can't be said for Repulsive Dissection.
The music isn't terribly original, but I don't think it's bad, relative to what fans of this kind of thing expect. The guitar work owes a little to Origin, as mentioned, especially with the dexterous riffing inter-spliced with discordant strands of lead guitar. Leads erupt from riffs and create a sense of disarray, which is to say, this sounds like a lot of modern Brutal Tech Death. Cut Open the Aberration isn't as self-indulgent (or should I say "attempting of progressivisms") as new Decrepit Birth, nor is it as melodically-inclined as new Severed Saviour, but it does take cues from peers in its scene. Various influences come together here, and the end result is not unlistenable. The album has time on its side, clocking in at a manageable twenty-three minutes. Were it longer, the tracks – which already run together somewhat – would become burdened by monotony. As it stands, skipping ahead is only an infrequent temptation.
Current Soils of Fate drummer Fredrik Widigs supplies an unending amount of double bass, blasts and fills to set the scene. His presence draws comparisons to Origin once more, though Repulsive Dissection's percussion is not as propulsive or as significant to the song structure as that of James King on Echoes of Decimation. Still, complaints are hard to come by.
Fans of Brutal Death Metal with technical leanings could get something out of this release. If Origin and Insidious Decrepancy haven't filled your cup, maybe Repulsive Dissection will get you closer to overflowing.
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