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DISEMBOWEL
Echoes Of Terror

Maggot Stomp (2020)
Rating: 8/10

The record label name is certainly better than the band name, but don’t let another unoriginal group moniker deter you from its contents because Echoes Of Terror is a top-notch death metal opus; the debut platter from this Portland, Oregon bunch that formed just four years ago in 2016.

The sloppy cover art is bizarrely effective and seems to match the old school vibe stored within. Echoes Of Terror is not a remarkable album and it’s not original or mind-boggling in any way shape or form, but for old school, mid-paced drudgery I’m right there, shaking the pus out of my ears and stomping maggots under foot.

Vocally, Sergio, who also plays drums, is very much of the deep, booming and guttural design; his chesty coughs must surely vibrate his ribs as he booms his way through nine standard yet engrossing death metal blasts which combine faster paced segments alongside hefty, catchy rumbles. This is evidenced with one of my favourite tunes ‘Immolation’, which trudges with abominable class before picking up the pace. And credit must also go to guitarist Gage and bassist Abram for providing such a dense wall of horror.

The whole record is a rather infectious and accessible morgue of old school stylings that would not seem out of place back in the early 90s, and just makes me wanna slap on all manner of old gems ranging from Massacre to Morbid Angel, and from Malevolent Creation to Cannibal Corpse and old Benediction.

Some may argue that Disembowel do nothing out of the ordinary and this is just bog-standard pummelling. After all, a track such as ‘Sadistic Pleasure’ is rather predictable in its slow-quick-slow-quick bludgeoning. But somehow there’s an archetypal charm as the trio quickens its pace to a deathly trudge and then gallop.

The title track displays pace and purpose in another of those no frills and almost predictable hammering equations. But damn, I’m enjoying this time and time again, reminding me of that classic era when the scene was swamped with same-sounding bands, all of which I adored.

‘Ripping Christ From The Cross’ and ‘Overwhelming Suicide’ are two further bouts of heavyweight violence that ooze like some bursting rupture; steadily climbing in severity but very much harmful in its weight before any sort of pace is applied.

Echoes Of Terror certainly is death metal by numbers yet wondrously aggressive and easy on the ears, which the band might not thank me for saying, but such a description is testament to Disembowel’s almost timeless bludgeoning as the album worms its way through the ear canal like a deadly infection. And as Sergio lets out another gasp of growling air, I find myself back at the start, eager once again to let this solid opus chomp away at my flesh as I succumb to its odour.

Neil Arnold

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