Released: 2014, Rebirth the Metal Productions
Reviewer: Metal-Rules.com UK Team
If old school Death Metal is what you crave, than it may do you good to check out The Voice of Human Perversity, the fourth full length album by Bulgarians ENTHRALLMENT. From the cavernous, dark production to the no-nonsense approach to the music, this record just reeks of Death Metal brutality. Compared to their previous releases, The Voice of Human Perversity pretty much follows the same formula of straight forward Death Metal with some Grindcore thrown in for good measure, though here the band have a bit more of an old school approach to the guitar riffs. The production, as mentioned earlier, is dark and humid, like the old Morrisound Studios recordings from the 1990's, which complements the tremolo picked guitar riffs. Bass is actually audible throughout the album, with a few choice fills provided in between the fast riffing, as well as moments when it plays its own riffs alongside the main melodies. The drums have that old school cavernous sound to them that screams old school Death Metal.
Although not exactly a Technical Death Metal band, ENTHRALLMENT like to pack their songs with as many riffs as possible, with lots of transitions and changes within each track. Hence, the best way to truly appreciate this album is to sit down and listen to it from start to finish. Some stand out tracks include "Rove in Hell" which starts off with some interesting exchanges between the guitars and drums before the drummer lets loose some Grindcore beats over the main riff. Vocalist Plamen Bakardzhiev employs both high pitched screams and low growled vocals, which may remind listeners of DEICIDE. "Stench of Burnt Down Sanctuary" benefits from the bass being audible, as it follows provides a nice counterpoint to the guitars during the intro, before launching into an all-out assault of fast picking guitars and grind beats; during these sections, the bass pulses and throbs in the background, providing a solid base underneath. "Tones of Gladness" is also one of those tunes where the bass really stands out, sometimes playing separate riff alongside the guitars, providing either a solid base for the music or taking part in the main melodies. This exchange between guitars and bass is quite welcome on this record, as it allows the band to keep things interesting. Another technique employed here is the use of dissonant guitar riffs in songs such as "Mummified Ante Mortem" and "Tool of Suicide", which work in making things more diverse, with the faster tremolo picked guitar riffs taking off after the slower sections where the dissonance is used, which gives the band's sound a more organic feel.
Overall, this is a solid release from ENTHRALLMENT, and it benefitted from allowing the bass guitar to become part of the melodies and leads. The fact that bass player Rumen Pavlov, who is also the vocalist, knows when to lead and when to just provide a solid base for the music is a key factor in why the interplay between guitars and bass on this album is so successful. As mentioned earlier, best enjoyed as a whole rather than listening to specific tracks.