Despondency
God On Acid

Wrong and wrong; I'm not going so crazy nor do I feel like Joyce, I'm simply answering the questions you might have asked yourselves as soon as you read the band's name and the album's title. Even though their name is Despondency, they're not a Gothic, Doom, or Depressive Black band, and even if the CD is titled "God On Acid," they are not Raw Black. In short, those who stumbled here believing they would read a review of a Norwegian Black (more or less Depressive) band will be disappointed.

Our guys are not only German, but they are also dedicated to a Brutal Death of remarkable craftsmanship; as I have said elsewhere, Germany is not a land of Death metal, but despite that, some very valid groups emerge like these Despondency or like the Impure, who, although not big names, uphold the name of extreme metal in the country of sausages (as for Death, to be clear, they have as many Black bands as they want).

This CD was recommended to me by half the world, but honestly, I wasn't very interested in this band I had never heard of: but my dear fellows, I had to reconsider.

Dated 2003, this CD certainly doesn't shake up the world or even European scene of Brutal Death, but it deals a heavy blow to those who claimed that only by pushing extremism further could one say something more; the Despondency do not go further, indeed, if we must say, they take a step back from the front line of extremism (I am referring to the Ultra Brutal Death of the usual Brodequin and Devourment) and return to a classic Brutal Death as it hasn't been heard in a long time. The last work that comes to mind, comparable to this "God On Acid" for personality and style is none other than the acclaimed "Cerebral Cereal" by the metaphorically deceased Pyaemia. In short, a delicacy for those who love American-style Brutal.

It's hard to cite a reference group; I would probably have to list more or less famous names that would never end; however, it is impossible, from a deontological profile, not to at least mention Prophecy and early-period Dying Fetus, two names that should sound like an insurance policy for those still doubtful about the value of Despondency. Anyone who doesn't know the mentioned bands should expect riffing that is not too tight (I repeat, they are not a Slam band) but nonetheless not for weak ears, complicated enough without being indecipherable and always equipped with a ferocity and heaviness that often many bands considered more extreme lose along the way. The guitarists are not Guitar Heroes, but it is undoubted that Death metal flows in their veins; the scores are of medium-high difficulty and, even if they leave those wanting virtuosity unsatisfied, overall, they leave you very satisfied. The same can be said for the drums; no abuse of Blast Beats, for once, and many not impossible but never predictable rhythms. Syncope and Stop And Go are not lacking, but above all, it surprises how an anonymous drummer like the guy in question manages to invent rhythms that, though not particularly technical, hit hard and reveal a great compositional gift (I would say this is a characteristic of all German bands, from Cock And Ball Torture to Impure).

And if we are to be sincere, it's the very structure of the songs that leaves its mark; songs like "9 mm Headfuck" (superlative title!) or "A Mouthfull Of God's Flesh" (don't ask me what God's flesh tastes like) or even "Womb OF Shit" can only leave anyone passionate about Brutal Death and tired of hearing the same old things, open-mouthed. A special mention goes to the bassist, who is finally distinguishable in all tracks and not just in the typical genre breaks that are often just an expedient to justify the caption "Pinco Pallino: bass" in the booklet. His instrument can be heard in many passages, giving all compositions a fuller air; needless to say, the credit goes to an almost perfect production that manages to compress the sound enough to make it heavier without losing clarity. However, it is a pity that Despondency cannot maintain high standards like the aforementioned tracks in all other songs; songs (always good, mind you) which are weaker and lack flair make the listening experience occasionally more difficult, lowering the overall judgment.

In any case, "God On Acid" is an album to have, without a doubt, as a testament to the revival of Brutal Death; if many newcomers followed this path, extreme metal would undoubtedly enjoy better health.