Meaning ‘hatred/revenge’ in the band’s native language, Kannada, the Indians of Dhwesha have been gradually gearing up for their debut album since 2008. Incorporating the members’ interest in their culture’s history and mythology, it seems pretty fair to say that they are forging a unique thematic path within the world of extreme metal. Obviously it will be near impossible for the majority of listeners to decipher each lyrical theme and anecdote, but it’s the music anyway that I’m more interested in discovering. Without wishing to generalise, my limited exposure to some other Indian metal bands has suggested plenty of exuberance but a little naivety style-wise. From the get-go, the death metal on ‘Sthoopa’ demonstrates no such flaw.
‘Sattva Bali’ bangs out with thick power chords, majestic guitar lines and thudding kick drums before the riffs morph into a razor-like shred. As it slithers over pounding percussion, the guitar work provides the perfect foil to cavernous vocals which erupt out like successive blast waves of decomposing stink. While there’s nothing flamboyant or unnecessary about the opener, class still oozes from the leads and melodies as they weave skillfully in and out of the grizzly morass. In fact, it’s a brilliant start. Equally impressive is ‘Sthoopa’, which immediately throws the listener into swirling currents of deathly riffage. Whilst it’s fairly obvious what impact Bolt Thrower has had on Dhwesha’s crushing kick drum led style, the Indians are far more melodically inclined, with even a hint of raspy black metal informing their guitar tone. So far, so great. And with ‘Dhwesha’ itself, the music departs into ever more melodic realms. While it could be argued that there’s a consequent disparity with those hellishly subterranean vocals, I find the sounds just as impressive.
‘Hoy! Sala’ is more ballsy, striking a balance between solemnity and audial battery. This time however, the composition of riffs and drum patterns comes across less remarkably. And it’s a similar story with ‘Ugra Narasimha’, for all its twanginess and staggered groove. While there may be slight similarities to Melechesh (or indeed any number of bands that Westerners brand ‘exotic’ due to indigenous musical influences) the metal is neither as impacting nor refined as the Israelis’. Improvement comes with ‘Sahbe’, which, while similarly operating between heavy power chords, higher-tempo surges and airy clouds of melody, manages to be more enveloping, fluid and outright better than the previous couple of tracks. The bass also appears to come out more on this one, though the balance of instruments is really good throughout. Elsewhere, ‘Yuddhabhumi’ aspires for a feel of dark mesmerism via more wafting death metal imbued with melody. As with the other less concise moments, the song ends up merely walking instead of stalking.
Much more like it is the immaculately paced and intimidating closer ‘Kapala Haara’, which begins like Solitude Aeturnus before bursts of kick drum and menacing guitar work take over. The doomier death metal instances like this are definitely strongest on ‘Sthoopa’, but then it’s not as if the less outstanding bits aren’t also built on solid foundations. Dhwesha are a talented outfit. Some refinement here and there – with a greater emphasis on those weighty aspects – and what we are confronted with is a potentially great act for the future of extreme metal.
(7/10 Jamie)
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