Among the earliest bands to form within the Caracas, Venezuela area death metal scene of the early 90’s alongside bands like Krueger, Necropsia, Baphometh, and Sentencia the brutally inclined Demise wouldn’t truly start their studio career until 2006. If you feel like you’re missing a big part of the puzzle their ‘XX Años de Purga’ (2015) compilation includes ‘Neverending Brutality’ (1997) a self-released live album showcasing their raw, brutal death metal sound. Digging a few years further back Asmodeo‘s ‘Emptiness of Solitude’ (1995) demo that featured past and present members of Krueger and Demise. At first glance you’d think Asmodeo had more in common with Demise‘s post-2006 output than the general style of ‘Neverending Brutality’ but this is most likely due to two key members Bernardo König (Guitars) and Alvaro Parra (Vocals) prominent roles in both projects; Their taste in brutal and melodic death metal along with various other influences would transform those ‘Neverending Brutality’ songs into modern 00’s era brutal death for the band’s full-length debut ‘Mode: Terror’ (2009). Demise‘s presence was most clear at this point as their modus builds on brutality, incorporates melody, and focuses on world politics.
Although their brutal form of death metal was always heavily influenced by hard hitting stuff like Malevolent Creation, Napalm Death and even Origin with each release Demise had increased their intentions towards the European style of melodic death/thrash on their third ‘Matanza C.A.’ (2014). This was almost the opposite of Kataklysm‘s overall career arc at that point and I see the band’s style evolving towards a mix of brutality and more prominent ‘old school’ melodic death metal style with ‘De la Manipulación a la Ignorancia’. I generally love this style of death metal and found many parallel structures between this latest Demise album and Kataklysm‘s ‘Temple of Knowledge, the brutality of early Yattering, and guitar work that often dips towards early Anata‘s (see: ‘The Infernal Depths of Hatred’) use of semi-melodic refrains. The major difference is perhaps the sort of deathcore style chugging that awkwardly punctuate a few songs (“De la Manipulación a la Ignorancia”, “Huerfanos de Petroleo”, etc.) and sound quite a bit like Divine Empire circa ‘Doomed to Inherit’.
Without looking at the tracklist and just the nearly 80 minute length you might run for the hills but Demise have done something truly odd with the digital release of ‘De la Manipulación a la Ignorancia’ as each track of the main album is followed immediately by it’s instrumental version where they’ve simply removed the vocal track. While it was entertaining at first two listen to each song twice in succession with and without vocals I quickly separated the two versions of the album. Although arranging the album as such gives some great focus on the compositional strengths and tense style of the music it is ultimately much better with Alvaro Parra‘s vocals included. At a clean 40 minutes Demise’s old school brutal/melodic death record is entirely digestible and already the best record they’ve release, at least for my own taste.
There are many highlights in the fair density of ‘De la Manipulación a la Ignorancia’ and I felt “Rostros De Gaza” provides the first as it’s brutal early 2000’s era Napalm Death riff eventually gives way to a series of mid-90’s Swedish melodic death riffs that could have fit in on ‘To Drink From the Night Itself’. My personal favorite guitar work is on “Como Se Siente el Miedo” where they tap into some powerful pulls influence from the rhythms ‘Lunar Strain’ without the sentimentality. “Regimen de Maldad” essentially reverses that formula while the aforementioned “Huerfanos del Petroleo” shows a more hardcorish side before touching upon some late 90’s Bolt Thrower style guitar work. It celebrates a certain duality that Demise are able to make some peace with throughout this album as they find clever ways to blend their brutal death history with increasing melodic ideas. None of the tracks are strikingly memorable at first but, their ability to combine influences with sense is admirable; Every moment of ‘De la Manipulación a la Ignorancia’ is professionally executed and cleverly arranged. I would recommend this as a slow grower and suggest listening to the instrumental versions separate from the full versions.
Horadan la piel del mundo. 3.75/5.0
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