Abhorrent Deformity deal in brutal death metal. The follow up to 2015’s Entity of Malevolence, Slaughter Monolith continues its bloody, violent rampage through the death metal suburbs, taking no prisoners and sparing no civilians.
The songs contain a healthy mix of old and new, taking influence from classic USDM like Suffocation and Cannibal Corpse, while simultaneously drawing influence from some of the newer strains of slam and deathcore.
Slaughter Monolith is undoubtedly heavy and brutal, but achieves this not at the expense of decent songs and songwriting, but via the medium of these important things. This is a band that obviously have a keen grasp and understanding of death metal in all of its various incarnations, and the mix of classic, modern, slam, and technical death metal on this album is finely wrought.
There’s also a good contrast between speed and mid-paced thuggery, as well as simplicity and complexity. One moment the band can be crushing you with huge chugging riffs, while the next they can be launching into the type of ultra-brutal blast beat section that’ll leave you breathless. Although this sounds like the kind of thing that Dying Fetus do without even thinking about it, I like that Abhorrent Deformity have their own belligerent personality in this regard, and don’t simply set out to copy the big names in the style. Bands like the aforementioned ones in this review are certainly influences, but Abhorrent Deformity have fashioned them into weapons all of their own.
I very much like the singer’s voice. His growl is a very satisfying one, and he has plenty of energy and dynamic delivery. Some of his vocal patterns are very pleasing too.
The album’s recording is clean, clear, and destructively well-produced. It serves the songs well, and Abhorrent Deformity sound brutally huge.
So. Entity of Malevolence was very good. Slaughter Monolith is even better.
Very highly recommended.