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MORBO
Addiction To Musickal Dissection

Memento Mori (2014)
Rating: 7.5/10

After having by ears clogged by the graveyard grime that was Funest, I’m not proud to say that the Memento Mori label has come up with another deranged experience; the new album from Italian madmen Morbo. The strangely titled Addiction To Musickal Dissection is the debut outing from this quartet, who are fronted by chief gravel-throat Mirko.

Mirko comes armed with the guitar noise of Andrea and Giorgio, Giorgio also providing bass strums, and the drum vomit of David. This line-up is that which began life back in 2009, the band rising from Roma. In 2010, Morbo issued a three-track demo entitled Eternal City Of The Dead.

Sadly, none of the tracks from that impressive demo have made it onto this eight-track assault, but the cuts the band has chosen to obliterate your ears with are certainly as good, if not better.

Morbo plays old school death metal with a nasty vocal delivery. The riffs are murky, the drums dense, and above all the atmosphere incredibly doomy. Fans of Autopsy will find themselves lapping up the faecal emissions of this putrid offering that starts off with the pungent odour of ‘Abominangel (Let Them Stink Of Fear)’, and then with mounting fury takes us on a twisted journey into the bowels of grisly, old school utterances.

This peaks at the miserable presence of ‘Pagan Seducer’ with its unhealthy mix of pace and doom-laden trudge, and the equally squalid fumes of ‘Dawn Of The Dying Living’, which is a pacey affair that once again thrives on that guttural, gore-soaked Autopsy-style of gurgling. Couple these heaps of bile with the equally foul ‘Kaleidoscopic Incubus’ and one of my favourite tunes of tumour ‘As Sharp As The Blade Of Blasphemy’, and we’ve got another modern day nod to the old school and one such blasphemous offering that is keen to wrench the carcasses of nostalgia from their earthen beds and into the light.

Addiction To Musickal Dissection revels in its unoriginality and remains akin to a corpse which can only survive by feasting on the blood of its festering influences. From its melancholic passages of gory gloom – which at times have a Hellhammer feel – right through to the faster routes of cancerous chaos, I have to say that alongside the Funest record (Desecrating Obscurity, 2014), this is one suffocating measure of mouldy metal I can see myself playing time and time again. The perfect accessory for a night spent in the necropolis.

Neil Arnold

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