MORS VERUM (CAN/IND) – The Living, 2021 🇬🇧

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Version en español 

I think the expression «wall of sound» is overused and it has ended up having no meaning at all. «Anyone» can insert as many guitar tracks as they desire, saturate them, and there they have their wall. I would like to recover its meaning for what is uneasy to digest, full of strange, and unusual dissonances and tempos. A wall in the sense of being difficult to access no matter how much listens and time we invest on it. 20 guitar tracks don’t make a wall as long it preserves its hooks and that verse-chorus-verse structure. 

This Indian-Canadian trio earned this qualification with its debut album, released back in 2019, and this new EP we’re discussing, The living. Twenty-two minutes and five really dense songs, following the path marked out by his compatriots GORGUTS, ULCERATE, or PORTAL. I’ve never been into that kind of death metal, never felt connected to it or had the necessary patience, but it doesn’t prevent me from appreciating the quality those classic bands have. And why not say it, MORS VERUM doesn’t fall short of musical skills. They won’t change the underground, but that’s an entirely different story.

The fact that the five tracks of this EP form the phrase «Inside Death’s Womb Purge The Living» makes me suspect that we are dealing with a kind of conceptual work, although without lyrics available I might be wrong. What I’m entitled to say is the EPs are conceived as a unique cohesive unit. 

Almost twenty-three minutes representing a tangle of dissonances, blast beats, and twisted mid-tempos, occasionally broken by highly disconcerting moments: The beginning of «Death’s» seems as if the bass strings have been tuned so low that they are about to fall off. They’re creating music playing with the physical limits of the instrument as if they were making percussion by hitting the body of the guitar. «Womb» on the other hand, serves as an interlude between both halves, entering the world of dark ambient, but taking small brushstrokes from the rest of the songs, background voices with an echo treatment, loose chords… To never forget where we are.

It doesn’t matter if they speed up the songs or if they drag them like an elephant march making them even more beastly (or making both things one after another, as heard on the eponymous track). Everything is dense like a shot of petroleum. The entire work is suffused with that heavy, dark tone from which is impossible to escape.

On a technical level, they are impeccable, although they will know better than anyone that the difficult nature of their work makes it harder to last in our minds. Although I think they are willing to accept that risk.

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