Disnihil

Disnihil (2007)

Brian Shultz

This could start a heated debate, but Disnihil might be the most promising band currently playing D-beat hardcore. Those missile-fired drums, barked vocals (with a pinch of melody and range to them, though), crust punk filling and carefully metallic shades are here on Disnihil's first full-length in spades, and it's rarely been done better in the last few years.

Aside from opener "Parasites," Disnihil is unfortunately stripped of the experimental flourishes one would've thought the record would be tempered with after hearing the material live. That song begins with a big, epic-reaching buildup that kicks off the album broodingly well (see "Compassion Fatigue" for another introduction of bottled up rage), and afterwards Disnihil seem to settle into a mostly straight-ahead, pissed groove. It's an overwhelming one, though -- hearing them with a louder, clearer recording (thanks to Will Killingsworth, who's done various work for bands ranging from No Trigger and Ringers to Das Oath and Outbreak) than their demo provided unleashes the band's intensity in fierce, abrupt and convincing blasts. Along the way is plenty of unpredictable clamoring from backup vocalists and some complex, metallic flashes of guitar work to keep things interesting. Their constant aggression should keep anyone paying attention alert for the entire ride regardless. "Collaborator" has an absolutely crushing breakdown that picks up speed to take it out.

The lyrics get sort of hilariously cliché at times, which might detract from the record for listeners. The very first few lines are "billowing black smoke signals the beginning of the end / the beginning of the collapse under the weight of our decadence." It's an apocalypse well-put, but it's still an apocalypse, and even a D-beat band singing about car mufflers or leg-warmers at this point would be welcomed.

Still, Disnihil offers an invigorating release with their first official album, even if it runs a bit short at only eight songs. There's some well-thought out chords at hand, original drumbeats (considering the genre), and well-written depictions of doom even if the style has seen plenty of those scenes already. Overall, an inspired assault.