I reviewed the new Suffocation album, …Of the Dark Light, for Spectrum Culture.
Since reforming in 2002 after a four-year breakup, Suffocation’s output has been promising, if a bit spotty. The quality of the band’s albums trends upward, yes, but it starts at a fairly shallow point. Their records go from the band awkwardly finding its footing (2004’s Souls to Deny), to slowing the pace down for improved results (2006’s self-titled LP and 2009’s Blood Oath), to making one hell of an impressive display of sheer aggression a quarter-century into its existence (2013’s Pinnacle of Bedlam).
Bedlam is easily Suffocation’s best offering since 2002, and among the best in their career. Yet, if there is a flaw to be found within it, it’s the same flaw that has plagued much of the band’s catalogue: too often the band mistakes mindless jackhammering and apathetic brutality for songwriting. Sure, blast beats and endless riffing are cool and easy to headbang to, but the slope of diminishing returns is steep. The closest they came to shedding it was Oath, a record that shifted the focus from headlong sprints to groove-based compositions but suffered the same issue regardless.
Sadly, the band hasn’t fully shed that tendency on their new record, the often brilliant …Of the Dark Light. While breakneck jackhammering is still prevalent throughout (especially on “Return to the Abyss,” “The Violation” and “Some Things Should Be Left Alone”), the songwriting is more varied than Bedlam. In this way, Light appears to borrow ideas from its two predecessors and combine the results. As an example, “The Warmth Within the Dark” is mostly a mid-tempo stomp (with bursts of speed that equals anything they’ve done) with a main riff during the quasi-chorus that has a slightly uplifting feel and is even catchy.
But Suffocation knows when to borrow from other bands to break up the monotony, too. Immolation, a fellow New York death metal institution, seems to be a source of inspiration on the opening of the punishing “Your Last Breaths” and the psychotic title track with their eerie leadwork over frenzied guitar crunch. Notably, the title track also slows down as it progresses – mimicking the passing of time in the lyrics – making it one of the few truly different compositions offered.
And then there are times when pummeling concrete does serve a purpose. “Some Things” illustrates this the best. It’s a sci-fi horror scene that finds some innocent strangers encountering a creature from another dimension that kills them purely for “wrong place, wrong time”. The song’s lyrics paint a grisly picture (“Spines snapped/Heads cracked/Carnage ensues”) as flailing riffs and light-speed drumming attempt to match said carnage. The song ends with vocalist Frank Mullen stating that the unlucky person(s) to stumble onto this “scene of malevolence shall be forever scarred” which is then followed by a delirious solo from lead guitarist Terrance Hobbs, as if to imagine the thoughts of the unlucky.
In keeping with a tradition dating back to 1995’s Pierced from Within, Suffocation ends …Of the Dark Light with a re-recorded track from 1993’s Breeding the Spawn. This time around it’s the fantastic “Epitaph of the Credulous,” riff-fest that describes a winged creature searching for “helpless victims” to feast upon. Mullen notes that, “The beast has no feelings/ It sees no remorse”, which is an apt description of the band itself. Suffocation begins its fourth decade next year, and there are no signs that this beast can be stopped.
