There have been many bands within extreme metal with monikers that spark a level of curiosity that wouldn’t necessarily be created with band names such as Dying Fetus. Usually bands opt for Latin derivations or connotations to create band names with some sort of underlying meaning, but Belgium’s Carnation has a band name you would not ordinarily expect in death metal. However, a deeper delve into the symbolism surrounding the flower sees that the Belgians have opted for this, assumedly, because it relates to flesh, i.e. Carnis is Latin for flesh, hence the oft seen red carnation we see, though there are tons of other hues of course and the cream colour is supposed to symbolise skin etc. as an added thought. Whatever the symbology behind Carnation’s band name, one unmistakable fact lies and that is this band are at the forefront of modern death metal centred around the old school ethos that was developed and refined back in the late 80s and early 90s.
Carnation’s ability to tap into the old school ethos is something that has garnered the band many fans across the world, indeed their first two albums are testament to how you can write and record punishing modern death metal yet still imbibe it with an authenticity that keeps it fresh and contemporary. I am pretty sure that some of the bands fans will raise an eyebrow or two at their latest opus ‘Cursed Mortality’, primarily because a couple of the songs have clean vocals, which may give some blinkered fans a reason to ditch the band, which is a pity because the focus should not be on that aspect when you have eight destructive death metal songs that mark a new beginning in some respects for the band.
With an album cover by the now sadly passed and incredible talent of Mariusz Lewandowski, it sums up the mystical and enticing journey ‘Cursed Mortality’ sends you on as it begins with ‘Herald Of Demise’ which features Andy LaRocque on guitar as a guest. With an eerie bell toll and background noise effects the opener explodes into life with intense guitar work and a sound that has an epic quality, particularly through the devastating drum sound the album has. The song is drenched in melody as the guttural vocal tone affords the song a nihilistic style that is neatly followed by ‘Maruta’. The track opens with a chainsaw riff but balanced by a ton of melody as the snapping pace swiftly diverts into a double kick avalanche in brief snippets. The coupling of blasted segments gives the song added impetus and violence but it is the intrinsic guitar work that is most noticeable about the release, it saturates everything from the sublime lead work to the corrosive riffage throughout.
‘Replicant’ has a short fade-in to give the song some tension amidst the caustic lyrical stance that the songs possess when you read them through. The gradual fade-in again gives the track an intensity as the guitar work has a mournful tone, and it is here we get the first appearance of clean vocals that I felt work perfectly within the mood of the song. They are fairly short-lived and like many bands in extreme metal the ability and ambition to branch out is never far away as the song’s inherent modernity is sure to divide fans but I sincerely hope the band plays this live on tour because it is a standout.
‘Dutroux’ returns the album to more familiar foundations, its pulverising old school ethos perfectly executed with incredible intensity and cascading drum work that ensures the song is a wondrous thunderous bulldozing sortie. Contrasting hugely initially is ‘Submerged In Deafening Silence’ where a much slower doom-death styled opening gives the track a morosity and dolefulness that is built upon with ever increasing power. The intermittent double bass acts like a foreshadowing for what is to come as the song gradually and sequentially layers on brutality but linked to that sublime guitar I mentioned earlier before the detonation ensues as predicted.
Closing this astonishingly good release is the epic title track which spans seven minutes duration, the tuneful eerie opening is typical of death metal bands wanting to give you sonic imagery of dread, laced with poignancy as the melodic guitar work bridges the gap between the eerie start and the eventual metal that filters through after about a minute. The guitar hook is hugely addictive, not especially catchy in a sense but just the way it burrows into your head. Clean vocals make another appearance here and like ‘Replicant’ the option to adopt to this tone is well suited to the mood of the song as it morphs into a gargantuan doom-death beast with periodic double bass influxes elevating the song into brutal realms. I cannot overstate just how good the guitar work is here, the focus on ensuring it is at its pinnacle for the closer does not go unnoticed and even though the whole album is saturated with it, here it takes on a new level. Like ‘Replicant’ I hope the song is aired live when they hit the road where I will see them at the Stonehenge Festival next year in Steenwijk, Netherlands.
A stunning third album from Carnation, one that cements their position within the global death metal scene as I’m sure this new album marks an extremely productive stage of their careers.
(9/10 Martin Harris)
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