More and more, it feels like the first thing a new death metal band decides is which older group to ape. Are you going to become a crusty Bolt Thrower clone? Dare you get as filthy as Autopsy? Do you set to write tributes to Obituary? These bands are all worth copying, but who says you have to choose just one? Canadian quintet Abyss, for one, don’t think you do. On their debut full-length, Heretical Anatomy, the group soaks in several styles of old-school death metal, overcoming the tyranny of influence to make an exciting tribute to the bands they love, while also offering up something of their own.
The opening title track splits the difference between two modes of Carcass worship; Necroticism’s refinement comes head to head with the rawness of Symphonies of Sickness. The track showcases Abyss’ penchant for borrowing from death metal’s legends, creating faithful renditions packed with their own punk personality. Anatomy has plenty of Nordic riffs, taken from the likes of Entombed and Carnage and then dipped in dirtier, more American tar. The punk leanings really come through on the third track, "Chained to Extinction": a bulldozer bass segues into a palm-muted Swedish refrain so on-point you’ll envision waves of bobbing blonde hair before it all eventually explodes into thrashing catharsis. This release makes vocalist David Kristiansen exert himself more, going for an urgent hardcore yalp in line with the panicked rhythms.
"Flesh Cult" is even more to the point, sounding like a death metal interpretation of Kristiansen’s main group, powerviolence band Column of Heaven. (It’s worth noting that he, along with CoH bassist Andrew Nolan and drummer Eric King, had a punky death metal group called Slaughter Strike between 2009 and 2011.) And, while it may seem like a strange quality for death metal, Abyss know when enough is enough. "The Atonement" flirts with Incantation-style dirge, but the affair ends there. To exploit it would take away from Anatomy’s energy. "Thrall of the Elder Gods" is their slowest and longest, but it’s also a lesson in conservation. They’re able to drive the same terror from a cliffhanger riff as they do a full-on blastbeat-ridden assault.
Of all the influences, one is the most prominent: Flint, Michigan grindcore pioneers Repulsion. Beneath their macabre obsessions and noisy racket, there was a rock'n'roll heart beating at the center of their sound. Abyss could be likened to Repulsion with a cut and a shave: the presentation may be a little cleaner, but the hunger doesn’t subside. Much of Repulsion’s youthful stride is found in how Abyss execute their riffs; there’s no joking around, but they still swing like Paul Speckmann and Chris Reifert just brought fresh kegs to the best death metal house party ever. You can hear that in the intro to "Atonement", where leads scamper around frantically, while remaining in sync with the rest of the band. Closer "Nightmares in Skin" also bears a heavy Repulsion branding, while maintaining some Swedish sickness.
While Abyss clearly bounce between styles, Anatomy resembles, in spirit, the formative days of death metal, where it hadn’t quite weaned itself off its thrash, Discharge, and Motörhead. Forms hadn’t jelled and folks hadn't gotten too serious just yet. Strange as it may sound, Anatomy is one of the most flat-out fun death metal records to come out in some time. It doesn’t strain and break its neck to be "funny," it’s just an unpretentious but still interesting collection from a fresh new face.
