Demiser is a blackened thrash metal band from South Carolina, who formed in 2018. “Slave to the Scythe,” is their second full-length; they have also released two demos.
This album sounds like it's burning in the fires of hell….and enjoying every minute of the pain. The guitar/bass tone sounds straight up menacing, an undeniable presence with an unquenchable thirst for violence.
The drums complete the rhythm section, their tone equally as striking. The double bass is in the mix just right, powering the songs without over powering.
All of this is presented with the wild, unhinged destruction of dirty, nasty thrash. Take that thrash, melt it down to its raw form, and force it into a crypt so that it returns a few days later pised off and hungry with the need to run towards the nearest living thing and kill it. That's what this album is.
It actually reminds me of old Skeletonwitch without as much melody, as that's been replaced venomous blasts of necrotic misanthropic rage.
The only ttime he album stops is for the aptly titled “Interlude,” which is curveball in the form of a surprisingly moving acoustic piece. But it's placed at the album's halfway point so it's a nice little injection of variety that bridges the two halves together.
The album opens with “Feast” and it's impressive drum solo. The rest of the song advances with a slightly slowwr tempo during the verses but the chorus is a chaos.
The song actually gets catchy after the halfway mark, especially the bass lines. The solo ramps the song back up with a whiplash frenzy.
Sandwiched between the instrumental are two of the most biting songs: “Phallomancer The Phallomancer” and “Total Demise.”
The former is so fast and aggressive from the start that it feels like it was already ripping before the play button was even pushed. The bass is a standout, adding in an oppressive level of heavy against the thrash black metal guitar.
A hellfire sea of choppy riffs and sulphuric grooves make up the rest of the song. The drums beginning at 3:25 are precise as a lighting storm and keep the speed Up without adding too much clutter to the song.
The latter begins with a big, crushing groove that quickly gives way to a speedy attack. It's a straightforward approach but effective in pulling the groove in and out of the song.
That song ends in a wild cacophony of solos, tight percussion and a furious vocal attack.
The album ends with the eight minute “In Nomine Baphomet.” With it being so long, it has plenty of time to take every element of the previous songs and inject it with steroids. The second half of the song is melodic, leaving the furious first half to push the atmosphere into more melody avenus.
“Slave to the Scythe” joins the ranks of the very few impressive thrash metal albums I've heard this year.
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