Once again I have the honor / the opportunity / the task to write a review on a Polish Death Metal recording, and okay, Poland is one of the most influential, inspirational and impressing countries when talking about ‘pure’ and ‘technical’ Death Metal, but I am sort of satisfied (going for both the positive as well as the negative definition of this description) by the overcrowded scene. That’s why I was sort of skeptical when listening to this album for the first time.
First some additional info. The whole thing was recorded, mixed and mastered at the M23 Studio in Walbrzych in 2013, and the twelve songs have a total running time of thirty two minutes. Oh yes, the line-up: Kat (bass and vocals), Ramzes (guitars) and Oko (drums).
Okay, here we go. First an untitled and uninspired introduction, based on some war sounds. No, that does not convince me. But then, as from Wacht Am Rhein, I am completely blown away. It is not that Disorder bring something completely renewing; because they do not – this is pure Polish Death Metal for sure. But what a power, what an energy. And what a craftsmanship, what a persuasion. And what a sound. Okay, lots of ‘what a’s, but what this trio brings is quite impressive. No, it does not renew the scene, but seen from qualitative and energetic point of view, Pure Hatred exceeds the average masses that overpower the scene lately. And you know, I can’t even point specific things that make them so interesting. Yes, probably the sound has a lot to do with (my personal) appreciation, for it totally lacks of modern gadgets or catchy-mixed structures. Yes, of course that mix focuses on artillery drum patterns, guttural grunts and lightning-sharp solos too, but that is part of the core of this sonic shit, of course. Especially within the slower parts (cf. Humiliation etc.) it strengthens the intensity and heaviness of the material.
Another thing I do appreciate is the subtle, almost undetectable yet hidden penetration / injection of Grind-laden filthiness. It’s through the vocal lines, technical riffs and brutal rhythm structures that these elements reveal themselves, yet always from such a fine-tuned, almost ‘acceptable’ point of view (read: sound). And don’t ignore the fact that the limited yet highly technical guitar solos are at least as interesting as many efforts done by colleagues from the Canadian and U.S.Ahahian scene too!
Fans of Suffocation and Immolation, Devourment, Hate, Dying Fetus, Vader and Hate Eternal: be warned!