One of the oldest yet still active (?) Death Metal entities from Russia is the horde called Bestial Deform, formed twenty five years ago. I do not know if it is because of that anniversary, but they re-release some of their oldest material, with professional assistance and support by two great Russian labels, More Hate Productions and Symbol Of Domination Productions. The latter is, as you might know in mean time, a sub-label of Satanath Records, and it’s on this label that Bestial Deform did release a two-tracker last year. You can find the review undersigned did on the update of September 9th 2014.
This re-release in named after the band’s first full length, Together We’ll Destroy The World, initially self-released in 1994. It was recorded at the Saint-Petersburg based Neva Studio in February ’94, and remastered in March 2015 for the listener’s pleasure. This stuff stands for traditional but, at the same time, quite technical Primal Death Metal, including every single detail that made the scene, back then (and still now) so attractive: shrieking leads, a monumental rhythm section, pounding riffs, deep grunts right from the belly, and all this covered in a mostly nasty sound. Do I have to say more? Well, actually it wouldn’t be fair not to mention the professional song writing and the somewhat progressed execution, would it?... Imagine, with some open-minded fantasy, a mixture of Possessed, Immolation, Asphyx, Death and Dismember…
As bonus, this re-release includes the remastered edition of 1992’s demo Worship To Madness. This material dates from February 1992 and expresses the origins of this band around Kirill Ulanenkov, founding member and sole remaining member of Bestial Deform. Worship To Madness might be less ‘great’ when talking about the sound quality, but hey, we’re talking about a demonstrational cassette release from more than two decades ago… From aural-executional point of view, this material lies almost completely in the most primal trend once uplifted during the eighties. Back then the band was less ‘progressive’ and mainly focusing on the darker edges of the Death scene, which I did adore a lot back then (and still now I do, but that’s another issue). This stuff surely thrashes and paints the whole experience in colors defining morbidity and primitivism, yet even back then it was sort of evident that Bestial Deform were meant to be a ‘big name’ within the (international) scene. The technical craftsmanship was inherently present, as if this release was meant to be an omen for more nastiness to come…