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Cadaver Disposal - Transformatio Mundi Award winner

Cadaver Disposal
Transformatio Mundi
by Anna Chase at 24 July 2017, 5:18 AM

I was incredibly excited when I heard that I was reviewing the newest masterpiece of CADAVER DISPOSAL. One of my all-time favorite genres is classic 80’s and 90’s Death Metal: MORBID ANGEL, OBITUARY, SIX FEET UNDER. When I need something to head bang to, traditional Death Metal is always my first choice. It’s an ambitious feat to break onto this scene, however, especially as a new band, and that’s why CADAVER DISPOSAL’s courage stands out. Most Death Metal fans are purists, and prefer to stick to the names they know and love. That’s not to say that CADAVER DISPOSAL is amateurish, though, for example, drummer Torturer has played before in both BELPHEGOR and BETHLEHEM and the band as a whole shares decades of experience in the music industry. They started in 2010 and released their first full-length album, “May All Be Dead”. For their first time on the Death Metal scene, the album received glowing reviews and their second full-length album has been a mystery four years in the making. In the band’s homeland of Germany (and all over Europe), they’ve been recruited for high-profile live shows like NRW Deathfest and the Night of Divine Delectation with DEPRESSION and MEATKNIFE. The band has an impressive list of accomplishments, and with my high hopes and love for Death Metal I couldn’t wait to dive into this album.

The first song, “De Pulchritudine et de Ruinam”, is a cinematic suspense-fest full of eerie guitar riffs and a muted, slightly dangerous drumbeat. When the rest of the instruments kick in, they bring the classic Death Metal feel by introducing a sweeping distorted lick before leaving the listener with amp feedback and a desire to hear more. “Congregation” is five minutes of sheer power, and arguably the best song on the album. The song blasts right from the beginning with a chugging mass of guitars and bass, and Meyerhoff’s absolutely brutal and evil-sounding vocals more than do the track justice. My favorite part about the song is how the group brings in traditional Death Metal elements (like gutturals and blast beats) while playing rhythms and using techniques that are completely fresh and new. If you’re looking for a song to head bang to, this is definitely the one.

In “The Ancient Order”, the drawn-out notes of the intro almost seem like they could be influenced by Melo-Death, at least until the vocals cut in. The combination of Torturer’s maniacal hyper-speed drumming and the almost inhuman growls Meyerhoff manages to produce blew me away with the amount of crushing brutality they produced. The breakdown in the middle with the somewhat Middle-Eastern guitar riffs was rhythmically perfect, and added another layer to a technically complex track. I have to say, “Seven Seals Unveiled” was another one of my absolute favorite tracks. I don’t know how CADAVER DISPOSAL manages to establish such an explosive, dynamic rhythm in every one of their songs, but they do it, and do it well. The drums, guitar riffs, and bass all blended together into one cohesive instrumental track that wove around the vocals flawlessly. The pulsing beat in this song was one of its best elements, in fact, and was physically impossible to not head bang to. Try it, I dare you.

“A Fateful Gathering” was a whirling, nightmarishly intense ride in which Voß’s bass playing was a vital part. The rumble of his riffs behind the guitars added an extra layer of depth to the song as a whole, and mirrored the baritone roar of the vocals. The isolated classic guitar solo was a refreshing juxtaposition to the ground-shaking brutality of the rest of the track, as well. “Divine Delectation” starts out with the delicious combination of the shockwave of Torturer’s drums and the growling bass riff below the instrumentals. Meyerhoff definitely brings the aggression here in his gutturals, but also joins them with a threatening spoken element which sneaks underneath the guitar riffs. The riffs here create a frenzy of brutality which fits seamlessly into the ever-increasing energy the band brings in their songs.

In “What Must Never Be Forgotten”, the speed kicks up a notch as the song opens with a barrage of rapid-fire blast beats and tremolo picking from the guitars. While I still thought this song was solid musically (and absolutely ear-shatteringly brutal), I was hoping for something a little more unique. It was a good song, however, the sense of déja vú I got was a little too strong. Like the style was based a little too much on the 90’s Death Metal bands they were seeking to emulate. However, I loved “An Infinite Dream Ascends”. The ghostly, rippling guitar tracks were a brand new style for the group, and they cut their album’s regular sound of savage Death Metal with a two minute intermission of sorts to showcase the musical talents of CADAVER DISPOSAL’s two experienced guitarists, Hadamovsky and Baron.

In the next song, “Transformatio Mundi”, (which coincidentally happens to be the title track), the band pours their energy into an impressive nine minutes of Death Metal. The depth and grittiness Meyerhoff achieves with his vocals is truly awe-inspiring, and the fact that he maintains the same level of power for such an extended period of time is something to be commended. The drums and guitar here seem as though they’re in a constant, bloody struggle to be in the spotlight, but simultaneously meld into one pure, crushing rhythm which ebbs and flows for the entire duration of the piece. This one did seem a bit unnecessarily long, however, everything about it was technically flawless so I’m willing to overlook the length. “Failure of Man” has a totally dynamic and polarizing sound which is created by twin guitar riffs and a strong central drum riff. Compared to many Death Metal songs, which can seem haphazard, this one has an established structure and rhythm. In my opinion, this song is another one of the best on this album, mostly due to the advanced technical guitar playing and multi-dimensional riffs which are highlighted here.

In “Saddening Nothingness”, the bass and drums mix together in order to inject the track with a powerful shot of deep tones. Meyerhoff’s choppy, blasting vocals fit the style of this song perfectly, and personally, I think one of the things that makes CADAVER DISPOSAL stand out is how cohesive their songs are. The band members work together like a machine, and none of them ever seem to miss a beat or even a single note. An impressive feat in the realm of Death Metal. “Return From Exile” harkens back in places to that subtle Melo-Death vibe I got from the riffs in “The Ancient Order”, especially in terms of the guitar that again, draws the listener in with a thumping, heavy rhythm. In this track, Torturer’s drumming is a vital element which seems to bring all the instruments together and unite them in a constantly shifting melody. The guitar work here is absolutely insane, as well. These guys have true talent, and that’s something I don’t say often.

In the last song, “Conclusio: Quantum Restat”, the band seems to be finishing off their album with a bang. There’s definitely a lot of extra power and Death Metal hostility here, and while the track isn’t their most musically complex, it has a nice pounding beat and extra-heavy vocals and riffs: pretty much everything that’s required to craft a hit. In conclusion (or should I say in Conclusio?), I was blown away by this album. It’s definitely one of the best new Death Metal releases I’ve heard this year, and I would absolutely recommend it to anyone who’s a fan of classics like MORBID ANGEL or SUFFOCATION. You won’t regret giving CADAVER DISPOSAL a listen.

Songwriting: 9
Originality: 8
Memorability: 9
Production: 9

4 Star Rating

Tracklist:
1. De Pulchritudine et de Ruinam
2. Congregation
3. The Ancient Order
4. Seven Seals Unveiled
5. A Fateful Gathering
6. Divine Delectation
7. What Must Never Be Forgotten
8. An Infinite Dream Ascends
9. Transformatio Mundi
10. Failure of Man
11. Saddening Nothingness
12. Return From Exile
13. Conclusio: Quantum Restat
Lineup:
Stefan Meyerhoff- Vocals
Dennis “Blaze” Baron- Guitar
Robin Hadamovsky- Guitar
Alex Voß- Bass
Torturer- Drums
Record Label: Nihilistic Empire Records
     


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Edited 30 November 2022
 

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