The Divine Art of Torture

Say what you want about whether Necrophagia was ever putting out top of the line albums for the genre, but one thing I can assure the viewer is that of all death metal gurus, Killjoy was one most committed to the actual ugliness of the medium. Whether that's a virtue or a vice is up to everyone to decide for him or herself; this was never a band that was going to release polished, wanky tech death albums, or melodic death metal, but instead appeal to the most primitive and then plaster on the usual suspect horror tropes like samples, narrative and synthesizers which fulfill the themes of gore, giallo, and cinematic camp. The Divine Art of Torture, the band's fourth full-length, is certainly one of its most ugly creations, if lacking stylistic refinement or many truly memorable tracks.

Does that matter here? Yes and no...there's a primal hideousness coursing through the ten cuts of this album which is certainly engaging and abusive. Like a lot of bands out of the NOLA scene, or Cali's cult crushers Autopsy, there's quite a chunk of punk or hardcore influence, only rather than cultivate a crust, sludge or doom center, Necrophagia channels it directly into a raw, pummeling death metal. Riffs are meaty and atrocious, with a raw, thrashy and crunchy tone to the rhythm guitars that does get a bit noisy in the recording. They do delve into some slower, groovier, doomy riffs at points, and there are also some really minimalist, bottom of the barrel sorts groove/nu metal riffs that they clog up some of the choruses with. Really, though, while a lot of the riffs can feel creatively bankrupt or flat-out predictable, they do suffice at least as a basis from which to launch the keyboards or other effects, not to mention they are angry, violent and abusive enough to compete with Killjoy's savage, tortured barking, forever the hallmark of this project.

It's kind of an odd sound because apart from maybe something like Autopsy, Impetigo, Slaughter or Sarcofago, it doesn't really wedge itself easy into other classifications of death metal. It's 'brutal' by its own standards, but the riffs feel more based in thrash and punk than the influence of the Swedish, British or Florida scenes. You don't get the feeling that there are any 'rules' in motion, or any real ambition, other than pounding the guitars into your skull like nails. The basslines and drums provided by the international rhythm section of Iscariah and Titta Tani, are very barebones and rock & roll in prowess, which also stands out like a sore thumb among the more technical and brutal inclined acts, but then again serving the style on this disc pretty well. Unlike a lot of the faceless hordes of bands that fit snugly into some category, when I hear a Necrophagia tune in a radio lineup I'm going to be pretty sure of who it is, and that's not a bad position to be in.

Mirai of the godlike Sigh provides the keyboards on the album, and he retains his penchant for choosing lines and tones that sound like they're somewhere between carnival music, giallo scores and prototypical New Age. I did not quite like how they were mixed here, feeling a bit too acidic or grating especially when coupled up with that brash guitar tone. Occasionally, as in "Rue Morgue Disciple", the band will break away into some simpler chugging and melodic guitars, where Mirai offers a more fulfilling, symphonic background, and these were some of my favorite parts. Overall though, with all the special effects coming and going through the music, Killjoy's lung puncturing roars, and anything else going on, I do feel like it can all devolve into quite a clamor, and isn't really mixed very well, a flaw that I think could prove a deal breaker for many listeners.

A horror guru like few others, Killjoy picks some interesting subjects here, like a tune about the Parasite Eve video game, or the "Flowers of Flesh and Blood" episode of the Guinea Pig torture-porn series. Not the sort of stuff you expect on your average horror-inspired death metal album which will mine the same old slashers from the 80s, and that much is appreciated here. The Divine Art of Torture is certainly one of the Necrophagia records with the most potential and cool concepts, but the lack of really sticky riff passages, as well as the production hold it back a step.

-autothrall
http://www.fromthedustreturned.com

With the departure of the second line-up of Necrophagia, Killjoy assembled a new team this time with foreign-nationals numbering the line-up. They would bring varied abilities to the band's coined horror persona. Since the previous song writers left and only Killjoy remains, there is quite a different take on Necrophagia's third full length release. One that I can't stomach and not for the obvious reasons.

The recordings still have that dirty, obscured production that was similar to the last couple of releases. It has elements that I should like: filthy instruments and horror-inspired lyrical concepts combined with more of a mid-pace of death metal. Let me say, that I think the prior Necrophagia balanced an abstract side, an almost unguessable horror, and also a heavy inclination. Where both halves would share the stage and you would be able to nod your head at the same time as having a fear-driven side that lingers in shadowed, dark crevices. Well, the biggest gripe here is the riffs. There is a domino effect that leads the first dropping piece and takes all of the rest with them, till they all fall nearly flat without awe, and we're left with an 'oh crap' expression of: "What just happened?"

Nearly the best possible word I can come up with here to explain myself and I'm sure you've heard it before is "bouncy." This release has so many bouncy, jumpy riffing sections that I have to sit here and pout like the musicians are going to feel my negative vibes and change themselves. The music is carried by an over-chugging, and unfortunately a following along of this over-chugging. The kind, but less drastic, that later Fear Factory would do where the guitars, bass and drums would hit almost synchronized music. This is done with more of a mid-pace death metal style and with double bass likewise matching these riffs sometimes as well. And that generic technique of rapidly hitting a cymbal and using more of a spaced snare wallop that some groove bands promote. There aren't any blasts and they might only use a thrash-paced beat during a few areas.

Granted and with all of that said, there are a few songs that do it right. The bouncy sections are to a minimum with keyboards added by Mirai from the Japanese band Sigh and a few horror sound-bites implemented as well. Mirai doesn't seem to sport the same keyboard samples. Typically just picking a section to add a certain piece or a quick noise to pick up the song. Like choirs, strange sounding whistling and other background sounds that are hard to speculate what they are likened to. Killjoy's vocals are very similar to the last smatch of recordings done by Necrophagia: with a screechy, wail and fluctuated growls. Although, with them of course having to follow the guitars, it ruins it for me. I can't imagine him picking up the pieces here. Since on a few tracks he'll pause in between the jumpy riffing, or go along with them and it doesn't come across as heavy or even characteristic of life-like, fear-compelling sounds.

The horror themes are still here. Oddly having a track about Canada's currently running horror magazine Rue Morgue; even though I like the magazine for some years now, there's something that I can't place my finger on why that isn't right. There is another track about the Japanese horror movie 'Flowers for Flesh and Blood' that was in a series called 'Guinea Pig' that apparently got the authorities involved for being too realistic looking when it came out. Track 10 is about macabre filmmaker 'Coffin Joe' from Brazil. So, Necrophagia is still mixing their prior horror ideologies with death metal. The biggest problem I have on The Divine Art of Torture is the two newest guitarists at that point, who would add a bouncy element to Necrophagia that I think takes away from a lot of potential. Having the drummer and Killjoy's vocals follow frequently in unison make me cringe from a defensive notion. Rather than the sick and twisted mentality that they are supposed to do to me.