Dim Mak
Enter The Dragon
[Dies Irae]
I am proud to report that Ayong and Nasir’s DIES IRAE productions have yet
to disappoint, and how they got their claws on this amazing, obscure gem is
testament to the stable of good taste gathering in their corner. Let’s start this
review of by stating that ¾ of this incredible band is made up of former members
of Ripping Corpse (yes *that* Ripping Corpse) whose seminal work Dreaming
With The Dead still stands in the annals of metallic history as THE best example
of discordant deathcore ever, and whose ranks once featured guitar magus Erik
Rutan.
It would be nice to know that the Ripping Corpse sound features greatly in this effort, and the same rampant, unrelenting fury meshes itself with cross-eyed technicality and masterful musicianship. However, where Ripping Corpse indulged in occultic soliloquy and more macabre metaphoric subject matter, Dim Mak (as can be inferred from their name) is the Bruce Lee fanatic’s wet dream, speaking of honour, trust and the ethics of kung fu. Also, it seems as though the occasional moments of doom/stoner/leaf rock moments in Ripping Corpse’s previous sonority has been dropped completely for this new incarnation, as all we have here is prime aggressive, yet thoughtful dissonance and more discordant rhythmic invention. Otherwise, its business as usual.
Fabulously complex and technical guitars duel with each other while a bass rumbles and gnarls with the sublime rhythmic invention ( the bass is equal in the mix here, giving it a fantastic low end sound that is oh so rare in today’s extreme metal releases) and Scott Ruth’s angst-ridden hardcore snarling. Admittedly, Scott Ruth’s vocals do take some time to get accustomed to, and is not what is usually expected from a deathcore/metalcore frontman, but eventually it reveals itself to be some of the most tortured and furious performances in recent times, adding itself to the already sophisticated musicianship on show.
Another noteworthy footnote is the near flawless performance of the skinsman. Never one to employ the conventional blastbeat, he is constantly pulling out new crash accents, strange double bass accentuations and jawdropping fills to thunderous effect, while keeping in time with the band’s often complex rhythms, and he does this in such a subdued way without exhausting himself and the listener. Technical music that doesn’t sound self-indulgent is always a plus.
In the end, ENTER THE DRAGON is a slinky, yet ball-bustingly brutal, inventive, thoroughly enjoyable piece of furious artistry. Word is that they’ve blown Morbid Angel and Today Is The Day off stages Statewide. I only hope that they will receive the recognition they are so sorely due.
[8]
© 2000 equimanthorn
It would be nice to know that the Ripping Corpse sound features greatly in this effort, and the same rampant, unrelenting fury meshes itself with cross-eyed technicality and masterful musicianship. However, where Ripping Corpse indulged in occultic soliloquy and more macabre metaphoric subject matter, Dim Mak (as can be inferred from their name) is the Bruce Lee fanatic’s wet dream, speaking of honour, trust and the ethics of kung fu. Also, it seems as though the occasional moments of doom/stoner/leaf rock moments in Ripping Corpse’s previous sonority has been dropped completely for this new incarnation, as all we have here is prime aggressive, yet thoughtful dissonance and more discordant rhythmic invention. Otherwise, its business as usual.
Fabulously complex and technical guitars duel with each other while a bass rumbles and gnarls with the sublime rhythmic invention ( the bass is equal in the mix here, giving it a fantastic low end sound that is oh so rare in today’s extreme metal releases) and Scott Ruth’s angst-ridden hardcore snarling. Admittedly, Scott Ruth’s vocals do take some time to get accustomed to, and is not what is usually expected from a deathcore/metalcore frontman, but eventually it reveals itself to be some of the most tortured and furious performances in recent times, adding itself to the already sophisticated musicianship on show.
Another noteworthy footnote is the near flawless performance of the skinsman. Never one to employ the conventional blastbeat, he is constantly pulling out new crash accents, strange double bass accentuations and jawdropping fills to thunderous effect, while keeping in time with the band’s often complex rhythms, and he does this in such a subdued way without exhausting himself and the listener. Technical music that doesn’t sound self-indulgent is always a plus.
In the end, ENTER THE DRAGON is a slinky, yet ball-bustingly brutal, inventive, thoroughly enjoyable piece of furious artistry. Word is that they’ve blown Morbid Angel and Today Is The Day off stages Statewide. I only hope that they will receive the recognition they are so sorely due.
[8]
© 2000 equimanthorn