Ad Patres is the brainchild of Alsvid, a man who many black metal experts are sure to recognise from such bands as Seth, Enthroned and <CODE>. Flying in the face of expectation, this new creation is a concertedly death metal beast. As the label summary seems to suggest, there really isn’t such a vast gap between these genres, so why not? And why not – as said promotion continues – design something specifically for crushing weaklings who value image over music and ‘tribute bands’ alike?? Sounds fair enough to me although inevitably ‘Scorn Aesthetics’ has some big words and aspirations to live up to as a result. Can an album moulded in the most brutal of the brutal vein really set itself apart from all which came in the 90s and 00s?
The simple answer to the above question, based on a couple of listens to Ad Patres’ debut is ‘not really’. Following a rather nondescript intro, ‘The Lock’ tears out with double bass, technical riffs and some dryish vocals. It’s certainly cool and brutal enough, falling somewhere between the likes of Dutch death merchants Severe Torture and Disavowed. When the track does slow down, some seriously groovy riffs take centre stage before a sublime burst of solo provides the track’s climax. ‘Scars of Compromise’ goes on to confirm the masterful nature of these musicians and how locked in they are as a unit, as precision rhythms collide with speed and nuance. There’s little doubt in my mind that if I still had any hair, my neck would already be in quite a bit of pain by the second track. As the album continues relentlessly on with odd asides ranging from crushing to mental, one aspect begins playing on my mind: namely just how bloody busy Ad Patres is musically.
Although I subscribe to the brutal/technical death metal doctrine quite a bit (and did so far more fervently in the past), by the title track I can’t help feeling that perhaps the vocals are just a bit too devoid of variation and the tracks themselves, pretty much indistinguishable. There are killer aspects throughout but some of the faster parts sound pretty much copied and pasted from track to track. ‘In Vivo’ pleasantly surprises with its slower opening pace; an aspect which lends more emphasis to the buzzing riffs when they do break out into that staple speed again. Here, it’s as if the swagger of Cannibal Corpse has been abducted and molested with some significantly more technical drumming. Following that, ‘Emphasize Nihility’ seems to carry a bit of Deeds Of Flesh within its satisfyingly furious duration. For all of these agreeable touches, however, the record does not captivate in a ‘None So Vile’ or ‘Effigy of the Forgotten’ type way – as it so evidently set out to.
‘Anti’ and ‘All that Remains’ close proceedings very much as you would expect. While there’s plenty of insanity, rage and intimidation to make them well worth a listen, nothing approaching the epic proportions of say, ‘Phobophile’ or ‘Infecting the Crypts’ leaps out to knock you sideways. Perhaps my comparisons here have been a little hard on Ad Patres, but the hyperbole surrounding the release almost annoyed me into making them. The band is obviously highly proficient and does kick up one heck of a storm when it gets going, but ultimately, a little more soul, imagination and variety in the songwriting department would have been nice. ‘Scorn Aesthetics’ is a clear statement of intent, and one on which I am sure Ad Patres will expand greatly in the future.
(6.5/10 Jamie Wilson)
10/04/2013 at 11:19 am
Thanks a lot, Jamie!