(Memento Mori, 2014)
#FOR FANS OF: Primitive Death Metal, Incantation, Ignivomous, Hooded Menace
A two-man retro death metal act from Texas, Church of Disgust seem to follow the Incantation act of deathly worship that tends to make the band feel like they’re flat-out copying the band. Stripping down the style even more than McEntee and company do, this is cavernous, Lovecraft-inspired Death Metal that tends to rattle along with some noteworthy Doom-inspired riff-work and accompanying tempos along the way to go along with the darker, more ominous styles throughout the rest of the album. This is an incredibly straight-forward effort that really doesn’t offer up many surprises throughout either, tending to focus on such matters throughout the running time so this one tends to resemble primitive-sound Death Metal obsessed with the supernatural and otherworldly horrors in a barbaric cacophony of low-fi guitars, rattling drumming and deep, deep growls that are all straight from the Incantation playbook just without the originality, spirit or ability to gauge the listener the way that band goes about this bestial style of sonic death. Frankly, the band tends to thrash away in a simplistic vibe for a while filling the space with blistering drumming and unrelentingly intense vocals before slowing things down into a slower crawl with sprawling, doom-influenced patterns and chords only to repeat this throughout the song as a whole before returning to matters again on the next track where it repeats the process so it really just depends on the intro to really set the songs apart for it’s awfully difficult to really determine where you are on the album as a whole once it gets going. If there is such a thing as a stand-out track on here, the slightly faster tempos and more extended energy spent on the blistering tempos on "Writhing Dominion" do stand out somewhat from the pack for the ability to comfortably initiate a beat-down for the majority of its running time, but then it really sounds like "Immemorial Lunacy," "Rotting Above Ground" and the title track for that matter as well. "The Great Chamber" also deserves mention for its inherent ability to sound like a B-side to Hooded Menace only with the cavernous vocals being added over the sprawling Doom-tempo they employ, and that’s a sincere compliment in its purest form. Make no mistake, the band is exceedingly well-accomplished at this particular format and style, it’s just not the most original one they’re attempting which is where this one falls. Perhaps album two is where they’ll hit the mark.