2024 Prosthetic Records - CD, LP / Headsplit Records - Cassette
www.prostheticrecords.com / headsplitrecords.storenvy.com
BADASS TRACKS: Pulped, Bursted Innards, Corpse Copulation,
Nothing Left to Ooze
BADASS SHORT DESCRIPTION: Real fucking death metal
I don’t think I remember a record in the last handful of
years that I was as excited about as this one, with the exception of the last
Nunslaughter full-length, since they’ve been my favorite band for almost the
last 25 years. Molder has now become a contender for that throne, and although
they’ll never unseat the Devil Metal Masters in my hierarchy of favorite bands,
they’re a strong second. Yes, they’ve surpassed Obituary for me, and Cannibal
Corpse, as well as Immortal. I love all of those bands, but not like I love
this band now. I’d grabbed their first two records on cassette from Headsplit a
while back and was blown away, so when I learned a new Molder release was imminent
I was truly excited.
Let me tell you, I was fuckin’ rewarded for hitting
play. From the opening salvos to the final notes, this is a real death
metal record of the sort that doesn’t really rise out of the scene much any
more. I can probably count on two hands the records that smashed my skull like
this one in the last few years (Torture Rack, Nunslaughter always does, Mutual
Hostility, maybe Blastomycosis, and a few others come to mind). I listened to
it three times through, checking song titles the first time, and then just
letting it happen. Some of the goddamn stress went away that I’d been laboring
under recently. Thank you, fellas. I needed it.
Some of the riff structures remind me very much of what
Nunslaughter does, while Molder does it in their own way. The solos, in many
songs, have what my brother used to call a “dead air” quality, which is how he
described the solos on “Cause of Death,” when he heard that album. That’s a
compliment. He meant morbid, scary, and evil with that phrase, or haunting. They
have the same feel. I can hear the history of death metal in Molder’s sound,
with Autopsy coming to mind as well here and there. In the vocals I hear
Possessed, Asphyx, Obituary. I hear much of the early Florida sound (very
early, mind you) in the structures and sound, while being less focused on technicality
than some of those bands. I can hear some demo-era Swedish influence just here
and there, maybe Nihilist coming to mind at times. Don’t think that makes Molder
derivative at all – it’s as fresh as the day death metal was born. They simply wear
those influences loud and proud, and that’s no problem. When you’ve heard as
much death metal as me, and I’ve been listening to death metal since I was 11
years old in 1991, you tend to be reminded of other bands when you hear a
record, and that’s inevitable.
The vocal delivery itself is excellent, standing out for me
on the record. Some of these songs sound like fun to sing – I like rhythmic
deliveries, and Molder delivers on that front, with the occasional rapid-fire verse
and excellent lyrics. “Nothing Left to Ooze” sounds like a lot of fun to sing,
and it’s how I would write lyrics for the same riffs. The entire album is strong
in the same way, across all of the instruments. The rhythm section is
excellent, as well, with the bass player doing more than just following the
riff. He’s behind the music but audible, adding low end but is also clearly a
great player. The drums are right there in the pocket but have plenty of time
to shine as they carry the tempo forward – always forward, and never stagnant. Headphones
revealed a lot of interesting cymbal work, also. There is no weakness in any of
the playing, and it’s clear Molder could play much more intricate music if they
wanted to, but they clearly love this style like I do, and they do it so well.
They’ve got an uncompromising aesthetic, and weak-ass pretend death metal doesn’t
fly with them. They’re too busy making good death metal – and at the
heart of all good death metal is excellent heavy metal, and I’ve got a
feeling they’re aware they have an excellent heavy metal album on their hands here.
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