A second full length from this Austrian band whose previous album was full of intriguing dynamics and a plethora of mind bending genre fusions. The same applies here but to a lesser degree I felt when listening to it but is no less ambitious when it comes to blending a multitude of different genre types even if only briefly within the songs. Also it appears the band has reined in the death metal aspects of their song writing for a more noise based assault that begins with ‘Doomsday Clock’ on Side D of the vinyl which I have been lucky to receive for this review. Side C is technically the second side of the album though quite why they have done this I am not certain. Having said that the opener starts with that sense of a live recording with feedback and a dense oppressive guitar tone that is hardcore infused. As before the band adds tons of other genres as the opener listens like a long intro piece with repeating riffing and a sludgy aura especially from the bass work. The vocals are added some way in and are very low in the mix compared to the rest of the album adding to claustrophobia to the sound.

‘Time For Darkness’ is up next with its excellent bass riff and drum fill. It is packed with dread as the song gradually intensifies towards the guitar riff that caustically bursts. Here the vocals are far more prominent, hostile as always as the bands use of repeating riffing and that sense of metronomic violence pervades. In places I was reminded of very early Helmet material, think ‘Strap It On’, era due to the short punchy riffing style. As the song develops its hardcore credentials are quickly aired as is a slight post-rock element which whilst brief is noticeable.

‘Pregnant Meth Addict With Cancer’ continues the dense oppressive riff style, offering a slight Anarcho crust feel to its styling before the switch to a more hardcore posture. It is catchy too, something this trio has always had on their releases as the lyrical stance is as ever pin point and relevant in today’s disintegrating societal woes. I really do like the repetitive nature of the songs and whilst the band has previously flirted with sludge styling here it is less noticeable but still present of course. For some reason this tune had me scribbling down another very old hardcore act called Christ On Parade who were very-short lived in the late 80s. It is only fleetingly however as the band steps on the intensity half way in to shift towards a more vitriolic hardcore poise.

‘Two Elderly brothers Killed A Young Mother’ is laced with bass work on its opening salvo, again that repeating nature is prevalent as the guitar work offers sporadic inserts before the deluge of hooks rain down. The song initially listens like an instrumental as there are no vocals for a good couple of minutes until you enter the last 100 seconds or so when an awesome riff is injected alongside an increase in intensity that I absolutely loved. It is probably my favourite tune on the album saturated in melody but blanketed with fervent hostility too.

Side C begins with ‘Great White Northern Shitlicker’ as an isolated guitar piece surrenders to the sludge filled horror of the bass and slower drum work. It is utterly menacing here, packed with dread and reeking of absolute rancour that fans of acts such as Code Orange might enjoy. As ever the band never stays within one style as the spoken vocals add their own weight right before a saxophone filters in. I’ve never been a fan of that instrument in metal and adding it to hardcore hasn’t convinced me either but its chaotic nature adds to the songs intense drive.

‘This Band Is Your Yoga’ opens with stick taps that continue into the songs main body as the riff has an opacity and abrasiveness that ensures the band’s music is thoroughly nasty at all times. Having said that the song is very melodic too, quirky to a degree with its riff style as again that repeating styling pervades. The vocals are different here too, spoken with an air of gravitas as the fuzz laden riffage eventually cedes for a more uplifting riff change in the latter half of the track.

Closing the release is the twin mauling of ‘Central European Nihilist Arrogance’ and ‘(Gin) Tonic Youth’ with the former being much slower and more akin to the sludge the band we are familiar with on previous releases. The pace is slithering, crawling on its belly in sewerage suffocation hooking in the choking guitar work and dense bass. Speaking of bass this tune unveils a fine bass riff break that completely turns the song on its head and leads into a new riff for the last couple of minutes. This leaves only the latter to conclude the album as here the song is much more upbeat, groove infested to some extent as the riff is one of those you can hum in your head if you so choose. The vocals take on a cleaner tone too, shouted of course but more accessible as that catchy riff nails into your head with ease. The riff change is subtle and smoothly done, changing the mood to a light aura. As with all the songs the trio blend their instrumentation superbly and here is no different as the bass and drum components ensure the closer is as memorable as it can be. This is probably my second favourite tune here primarily because it is so infectious with its addictive riff and catchiness overall.

Yet another mind bending release from Viennese trio Desolat, one that continues to show that multiple genres can be fused to produce some truly ingenious and engaging songs.

(8.5/10 Martin Harris)

https://desolatvienna.bandcamp.com/album/get-sick-and-let-me-watch-you-die