Counting Our Scars

Most reformations 20 years out are failures, and especially if classic members (particularly songwriters) are missing. I say that not to be mean, but to be honest—for every success story of a classic band getting back together, there’s fifteen more disappointing ones that would have been better off staying deceased.

For a band like Desultory, who went to shit back in the day after their main songwriter left, it’s hard to expect much from albums written years after the fact with a timely reformation at the height of interest in the old-school Swedish sound. Some similar bands that did the same thing came back far more reminiscent of later At the Gates than of their material before reforming, and others just didn’t do a good job reforming regardless of the style of new material. For that reason I was a little reluctant to hit their reunion stuff for a long time and finally bit the bullet on it recently just because I associate the label that put out their reunion albums, the mighty Pulverised Records, with quality and thought it might be worth it—and how right I was.

Despite years of silence and a shitty album in between 1994’s Bitterness and 2010’s Counting Our Scars, Desultory has proven that sometimes reunions are absolutely the right call, regardless of any suspicious timing, absence of important musicians, or precedence of mediocre reformations. Fans of Bitterness particularly should like this Counting Our Scars, as the album feels largely like it picks up where Bitterness left off, with only a few changes. The core of the music remains intense, riff-driven Swedish carnage with insane, creative drums pushing the music forward; even fans normally driven off by melody may well like this one and the previous Desultory material (minus the awful Swallow the Snake) because of the proliferation of powerful, clever riffing and the largely-fast songs.

What makes Desultory special, however, is the far moodier melodies and longer melodic riffs that the blazing riffs build songs around. As great as the riffs are, and the drumming, the selling point to me for Desultory has always been how great the melodic lines are, and how each song swells to gorgeous peaks that mirror perfectly the tales of self-reflection, misery, and regret that vocalist/guitarist Klas Morberg sings about. A big difference between this album and the classic material is an increase in gorgeous Gorement-esque center-panned lead guitar parts that transform some sections that should be aggressive into something far more beautiful, and heighten sections that would be melodic even without the lead guitar.

On the topic of Morberg it also must be mentioned how perfectly he merged the early vocal styles that fans loved (or didn’t) on Into Eternity and Bitterness; at some point between those two albums, he started using the more hardcore-ish yell that on Bitterness, and on Counting Our Scars and the on the band’s swansong Through Aching Aeons, he brought back something that was between the growls of yesteryear and the howls of Bitterness to form a tone that is instantly identifiable, extremely easy to understand, and sounds absolutely killer.

I talked some about how most reformations are not ideal in one way or another, but Desultory in 2010 was a band operating on all cylinders, with each aspect of performance and songwriting being far better than it had any right to be. I can’t say that it’s perfect, because there’re little sections that could have been cut, and it’s a couple minutes longer than it had to be—but not much is perfect, and Counting Our Scars is excellent on a level I never expected. If you’re reading this review and haven’t hit modern Desultory, or the band at all, I urge you to give it a try instead of sleeping on their recent material like I did for too long.

Originally written for Toilet Ov Hell. https://toiletovhell.com/review-desultory-counting-our-scars/

Desultory actually got their start in the early 90s. The band, hailing from Stockholm, disbanded after 3 albums in the mid 90s but reformed in the later part of the last decade. Counting Our Scars is a lot like Evocation's newer stuff. And by that I mean it's death metal with very melodic underpinnings. To say this is pleasing to the ears is an understatement.

So the album is sort of on the short side as far as how many tracks it has, only 9. But the length of the songs makes up for it. Most are above 4 minutes but below 6. My big only complaint would probably be this too. The songs, while good, at times just feel a little too long for their own good. Still, they are all good. Each song contains strong riffing. That seems to be what the band went for, heavily riff driven death metal. Every song can stand alone and be great, but when you put them together the album as a whole knocks it out of the park. While the songs have a sort of samey kind of sound you won't really be mistaking one for another.

I really like the vocals of Klas Morberg. He has a harsh throaty growl that registers somewhere in the mid range. It's not too high but not really low either. It does get a little monotonous I will admit but it's not a serious mark against the band or album. Unless I suppose you don't enjoy the sound he goes with, in which case this isn't for you.

The drumming is pretty good as well. There are blast beats used sparingly, but just enough that you know Thomas Johnson means business. But when they are used they are put to good use. And another cool thing? You can hear Johan Bohlin's bass through the whole album! So happy about this. It would be cool if he were given a little more leeway and didn't just follow the guitars but these days with this kind of music the bass almost seems to be an afterthought so I'm just glad I can hear it.

Counting Our Scars offers solid death metal chock full of melody. You can put this up there with other releases in this growing phenomena in the world of death metal like Those Once Loyal (Bolt Thrower), Apocalypse (Evocation) and even last years On Divine Winds by Hail of Bullets. You get the punchy meaty riffs of death metal with the sweetness of catchy riffing. I really like the style the band uses on COS and it is something I see myself listening to a lot in the future. It could easily be a gateway album for those who find other stuff just a little too harsh for their ears. I'll be waiting impatiently to see what Desultory comes up with next.

Originally reviewed @ http://abaddonsmetalshop.blogspot.com/

When I found out that Desultory is alive again, I had a grave apprehension. On one hand I was as happy as the day is long that the comeback of my best death metal band became a fact, on the other hand I had some bad feelings the Swedes are able to play death metal once again in their career, or, worse still, if they wanted to follow “Swallow The Snake” ways… I was waiting very patiently, thinking all the day about upcoming release. The title, songs and cover-art were known, the music was the only secret I wanted to discover immediately. The main question is: did the Swedes reach their mastership in creating such great death metal tunes like they used to do in the past?

My first feelings refer to the front-cover. I thought: yep man, first strong point for the start, the old logo returned! With no shitty “parental advisory explicit lyrics”! Also arrangement of nine songs returned, the first one “In A Cage” is the longest track just like on the first album. Yes, these things came back, but many has changed. Travis Smith is the man responsible for cover-art and layout, but the one of the most important thing is the new studio: Necromorbus, completely unknown for me, and Tore Stjerna as producer (plus mixing and mastering). The second one is lack of Stefan Pöge. The guitarist who left the band after “Bitterness” times, the musician who still exists in my mind as his play will never be forgotten. This time Håkan keeps the lead guitar just like on the previous unfamous album, but bass guitar is dominium of new member Johan Bohlin. So… what can I say about music???

I had to wait on proper moment to listen to this album, you know, after many, many years (14!!!), I wanted to feel like a young metal banger. New album, new expectations, new feelings… And I have to admit that after first tunes I knew one thing. JUST ONE THING. My Desultory is back! Tragic days of “Swallow The Snake” are gone irrevocably, a new era of two old albums comes into existence with this offering like a medicine for the cancer. The first song called “In A Cage” confirms that all the tunes I can call death metal exclusively, Swedish death metal, this characteristic sounding is everywhere, maybe modified a bit. After almost six minutes I knew everything is just perfect. The production of “Counting Our Scars” is excellent, each element is audible very good especially drums ravaging all the time! I am under the impression the band is totally submerged in the depths of the underground, there is no sterility (drums man, DRUMS!!!), or artificiality which flood metal releases nowadays. I wrote earlier about lead guitar and I think Håkan performance is in the vein of the old days, of Stefan which make me really happy. The bass lines are very similar to “Swallow…”, of course it is not a drawback. And the last element, yes, these murderous vocals performed by Klas as always… Now he mixes both styles from the two first albums and the ultimate result is just superb! Klas has an unbelievable and unique sounding kind of growl. There is nothing more to write about it.

As mentioned above “In A Cage” is a perfect opening track for the album which is the longest one and my first favourite song on the release. This characteristic melody on the beginning turns into death metal hurricane with flesh ripping Klas vo-kills. The melody which is the basis in chorus is some kind of development of the beginning, but I can assure once again: the old times return with these tunes definitely. Solo lead by Håkan is the next evidence, the spirit of Pöge I here. I wrote about the glorious past, but one thing is unquestionable: the musical progress is perceptible. There is no stagnation in composing, in performing, the band really lives, especially impressive Thomas drums. This man is a real killer behind his cannons! “In A Cage” is closed by the next beautiful Håkan solo full of sadness and nostalgia. The second song is the title track and it is slower a bit (but with some blasts). But here Desultory tries to complicate the music, melodic lines are similar to the predecessor with short guitar lead. But the best is present on the end – totally crushing ending with merciless Thomas blasts and Klas screaming “…scars, scars…”. The third piece of metal called “Ready To Bleed” is again more complicated (can I use the term: tech-death???), these twisted rhythms appear after proper riffs, even with blasting and slowing down. When my cells are bleeding, the next song starts to grind my body with outstanding melodies and fast tempo, how can they do this, man? After almost five minutes we reach “The Moment Is Gone”, probably the best on the album with fine opening sounds and mid-tempo. But the chorus is incredible (how many times I will write such words?). This song also has some rhythm changes about 2:40 and totally amazing guitar lead in old style. This song reminds me “A Closing Eye” from “Bitterness” because of melody and structure of the chorus. Everything is extended by some ominous sounds (outro?) which turns unexpectedly into “Uneven Numbers”. It is like a step on antitank mine. This killer is composed by Thomas himself and it is the fastest song on the album. With Thomas as commander, aggression and fury dominate through this track destroying all in sight. The second song by Thomas “Leeching Life” is slower but more complex and multiple, about 1:30 a great guitar motive approaches with calm guitar lead in further part of the song. Both these metal attacks are divided by “Dead Ends” by Johan, the bass guitarist. And what can I say about it? In my opinion this is the weakest element of puzzle, but do not get me wrong, it is not a shitty stuff, nu-metal or something like this. This is only good song with very average riffs (I write about masterly level of Desultory), I even think this kind of guitar riffs doesn’t fit to this band. Fortunately I can find here very interesting melodic tunes… The last song “A Crippling Heritage” is a perfect track on the end. Fury, idea, passion, death metal. The essence of Desultory style. There is nothing more to say. Finis coronat opus.

The music is one thing, but the lyrics are also important in the case of Desultory. And the text content doesn’t surprise me, the Swedes do not discover a new land here. They penetrate the dark paths of human mind and behavior, full of solitude, unreasonable hopes, utter despair, bitterness and lack of better tomorrow. Very interesting front cover fits perfectly to the lyrics.

It is always very hard to write about favourite and most important albums/bands without becoming trivial and banal. Two first albums “Into Eternity” and “Bitterness” have a special place in my life, being not only part of metal world, so you can understand my opinions about “Swallow The Snake”. There is unwritten law that the third album is a kind of test, determinant for the band. Desultory has failed this effort and broke up with moniker of “Desultory” for many years (then the band turned into Zebulon, the style was continuation of “Swallow The Snake”). After first attentive listening I knew they were back, that the masters returned in glory with absolutely great death metal album. The album I have no fear to put beside two mentioned classic masterpieces. They proved that Daniel Ekeroth (“Swedish Death Metal” book) had no right writing such words about the band. They returned because they had something to do on metal scene. They returned because there are many death metal maniacs (like me of course!) waiting for more excellent music. They returned because they know how to create riffs and remarkable melody with balance of great technique, passion, intensity and spirit of true death metal. Here I can repeat the words I wrote about the band in “Bitterness” review: “nothing is changed today, nothing will change in future”, it refers to the all things I mentioned just above. After these words and feelings I have to admit I was meditating about overall mark very persistently. My opinion is almost perfect. One point less is for “Dead Ends”, see my explanation just above. And I hope I will not wait for the fifth Desultory release next 15 years, it must be much sooner definitely. Well, to sum all things up: I’m proud I death metal maniac, I’m proud to be a worshiper of Desultory… That’s all.

I guess the subject of comebacks from the netherworld of all those long time buried bands is as controversial as annoying and gathers as many opinions as there are people who are telling them. But it is equally frustrating and surprising to hear another news about band X coming back - either with just some gigs (my beloved mighty Morgoth is next in line, damn it! What for I wonder?!) or with new recordings. I have no idea if it's middle age crisis why all of a sudden these guys decided to remind us about what they've been doing 10-15 years ago or just a fashion / trend / call it whatever you want... Again, opinions may differ, but I have to say it's sad to see band like Gorefest coming back, doing two decent albums and then splitting up again, because the profits were not what they've expected to be. What the hell...? Did they think death metal is commercial pop music that can give them millions? Or another example - Nirvana 2002; as much as I love their music, I can't understand why someone, who lost interest in death metal 20 years ago now wants to play it again?

Where do I go with all this? Well, a whole book may be written about these reunions, but I want to say that some of these resurrections have resulted in some cool or even great albums I'm thankful for. Let's see - Pestilence, Asphyx, Seance, Interment, Autopsy... I love their last works. And now the main reason I write this review - Desultory! Geeeeee - do you remember them?! I must be honest with you; I love their music. I know Desultory from my teenage times, when I was 13-14 and that was 17 years ago, when I was listening to two great albums from this Swedish band and I also loved their video for the song "Winter" (one of my favourite videos along with those for "Lake of Tears", "Dark Age", „Where The Rivers Of Madness Stream” and the clips by Dismember and Morgoth). For the music they did on these first two albums I'll worship Desultory forever. But then the band did a mistake and recorded something called "Swallow the Snake"... and just like some other bands I liked, especially Morgoth, Carcass, Cemetary and Gorefest, they brought shame on their name. A real fucking disgrace. But now Desultory comes back with a new album, 15 years since the split up.

Is it good to see Desultory exhumed and brought back to life? Well, now when I listen to their new work I can definitely say YES! First of all because it may give them a chance to erase „Swallow the Snake” and secondly because it will remind us - all their old fans - what was Desultory style like and why did we liked it so much. Two things are absolutely obvious to me and don't need any discussion: Desultory had their own, original style and „Counting Our Scars” is just as good as "Bitterness" and only some of the production values reminds me it's an album recorded in XXI century. I'm happy already when I hear that amazing voice from Klas Morberg, who's one of the best death metal growlers ever, in my opinion. No one else has voice like him - quite understandable and melodic, but still so damn rough and aggressive! Great voice, really!

I've mentioned the production values... It's one of the best things about „Counting Our Scars”, in my opinion. The sound is selective and clear, very professional but aggressive, just as the modern metal album should sound like, but at the same time it also connects us with the past of the band, as the guitar sound and drums are classic to the bone. It's like Desultory tried to get the production of "Bitterness" (which is very classic Swedish sound) but update it with XXI century feeling. They've managed to get it perfectly and the result is stunning. I love the way „Counting Our Scars” sounds.

Another thing is the music. The drums work is perfect, just like in the old days of Desultory, when they had this unique cooperation of drums with the melody of guitars. I don't know why, but I always felt that the way Thomas Johnson plays is very original and when I listen to this new album this feeling comes back immediately. Just listen to the title track and see what I mean; by the way, this song could easily be from "Bitterness" LP!

But „Counting My Scars” is not the only great song here as the entire album is totally worth and with no fillers here, just killers! It's amazing; it's heavy and soooo damn melodic (with great guitar leads) and almost catchy, at least catchy in death metal standards. I know that it may mislead many of you: words: Swedish, melodic, catchy could bring bands like In Flames to your mind, but remember then that Desultory is DEATH METAL, not ONCE DEATH METAL, BUT NOW HARDLY EVEN METAL style of music, ok? While listening to „Counting My Scars” you may find out what memorable, powerful riff is, as it will crush you, hit your head with incredible force and so will stick in your mind for quite a while.

And finally someone got the meaning of melodic death metal right! „The Moment Is Gone” with its amazing opening theme is one of the best moments. Uff, what an incredible song; definitely it's one of the highlights here. But is there even one song that I don't like? No, there isn't, doesn't matter if we listen to "Uneven Numbers", „The Moment Is Gone”, "Counting the Scars", "Ready to Bleed" or "In a Cage"... They're all great tunes by one and only Desultory! When I listen to them I do have a feeling that I missed this band much and another listen to this album proves that. Welcome back!

I can only be thankful to DEATH METAL GODS (as Johnny from Unleashed would say he, he) for bringing Desultory back to my life and drink another pint of my fave lager to honour them. "Counting Our Scars" is an album I'd like to recommend to everyone; doesn’t matter if you're an old Desultory fan or someone, who only just discovered this name... that doesn't matter, just get this new album and listen to it. For me it's one of the top 10 as for the best albums in 2010... No more no less.

Desultory is a name needing little introduction to fans of melodic Swedish death metal of the 90s, with two good albums under their belts in 1993's Into Eternity and 1994's Bitterness, both released under the fairly high profile of Metal Blade Records. Like their countrymen Entombed, they decided to journey into a more rock and roll influenced direction in the mid 90s, after losing one of their core members. This resulted in Swallow the Snake, an ill-received effort that did not ultimately pay off for the band. Granted, it wasn't entirely void of decent music, but even as one open to the potential of such a manipulation, I must admit that it paled in comparison to their earlier material, and the album's fate was appropriate, the members' decision to continue that direction as Zebulon also folded some years ago.

Cut ahead 14 years, and Desultory have returned with their 4th full-length, aptly titled Counting Our Scars, and returned to the heavily melodic roots. That this comes at a time when the old school Swedish sounds remain all the rage is probably not a complete coincidence, but is there ever? The attraction to this style is at a natural retrospective height, so it was the perfect time to strike, and Desultory have at least built a record here that honors their last effort, Bitterness in its melancholic, thrusting energies. "In a Cage" is a killer opener that really builds up expectations for the remainder of the content, with Klas Morberg's vocals passionately driven atop the sorrow stoking rhythms and enthusiastic drumming. Fans of At the Gates, Eucharist and old Cemetery will immediately adhere to this style, and for the most part the record holds to the standard, through engaging pieces like "Uneven Numbers", "Dead Ends" and "Leeching Life" holding the lion's share of my attention.

Considering that most of the current and returning Swedish death purists use a more brutal scenario in their composition, a band like Desultory is always welcome. There's certainly enough musicality and aggression here to draw in devotees of Slaughter of the Soul, The Somberlain and A Velvet Creation, and the majority of riffs deliver without feeling too trite, familiar or repetitive to the band's own past. Had Swallow the Snake never manifest, this record might very well have filled its space, but probably the gulf of 10-15 years was required for the band to come to terms with their identity, and how something that wasn't broken, never needed any fixing. Counting Our Scars is not some miracle return to form, and its neither the most engaging of the recent albums in this territory. I'd give a slight edge to Evocation's latest, a band that's been around nearly as long, but certainly this is another of those releases which evokes the 'welcome back' sentimentality, in addition to some fine music.

-autothrall
http://www.fromthedustreturned.com