Desecravity - Implicit Obedience

Posted on Thursday, April 19, 2012

The US has a major crush on Japan. We don’t just admire their culture, we tattoo that shit on our faces. I have no hate in my heart whatsoever for the Japanese, but as with most situations in life, I find myself the odd man out. I’d rather go down on Courtney Love than eat sushi, I can’t get into Anime, and I’d much rather watch King Kong than Godzilla (as I’ve tried many times to climb a building with a hot blonde only to be shot down).
[Note: Jack’s views and opinions on Japanese culture in general, and Godzilla in particular, expressed in this review are solely his own and are not necessarily the views of Metal Curse or Cursed Productions - or me! -Editor]
Takashi Miike? A few homeruns, a lotta strikeouts. And while we’re on that topic, Ichiro’s first MLB season in 2001… Rookie of the Year? No doubt about it. AL MVP? Gimme a fucking break. So, as with everything else, Japanese Metal bands tend to be severely overhyped. Admittedly, I’m drunk and it’s 1am, but I can’t recall much that is collection-worthy beyond select albums from Defiled, Vomit Remnants, Abigail, and Sigh. Judging by some of the reviews I’ve read on Tokyo’s Desecravity, you’d think that Implicit Obedience was the single greatest Death Metal LP of all time. It isn’t. It’s a sea of unmemorable riffs and blast beats with a solid but forgettable guttural growl. I’ve been listening to this thing for two months trying to come up with a review that consisted of more than, “not bad but really fucking boring.” Occasionally I hear a riff or two that reminds me of Sinister… then I think, “hey, I should go listen to Sinister.” There’s some virtuoso bass-slappin’ and ripping guitar solos all over the place, but like everything else here, it’s impressive but instantly forgotten. “Condemnation” has some nice Krisiun-style breakdowns. That’s about all I have. Not much else stands out, save for Yuichi Kudo’s excellent drumming and a few humorous lightweight screams. All that said, this album will probably win a Grammy (assuming it isn’t beaten by Gallhammer’s cover of “Stone Cold Crazy”). I just don’t hear it.

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