This summer will see the return of Disloyal.
Since their last release in 2015, the Polish band has been relatively quiet on the scene. In 2024, Artyom Serdyuk (guitar, Deathbringer, Woe unto Me), Jaroslaw « Jaro » Paprota (drums), Konstantin Kolesnikov (vocals, Woe unto Me), Kolya Kislyi (bass) and Yahor Liatkouski (guitar, Deathbringer) join the ranks of Black Lion Records to release Divine Miasmata, their fifth album.
First composition Divine Miasmata plunges us into an unknown disquieting and relatively modern context populated by samples, before continuing with Silent Revolution, a very Old School first approach to violence. Crazy guitars sometimes focus on a devastating heaviness while the vocalist pours out his powerful screams, then it’s with The Black Pope that the musicians hit us with that touch of darkness and complexity. A few slower parts bring the desired heaviness, which is tinged by airy leads before becoming epic on 1347-1352, where history meets raw violence via worked leads and massive rhythmics. Spikes of technicality make for a highly explosive track, but Stella Peccatorum changes things up with a slower approach, which turns into jerky riffs where the band can offer us their more Thrash touch, notably letting sharp solos appear on the acceleration. The chaotic final is transformed into complexity with the heavy, ponderous Betrayed Faith, which even sees soaring backing vocals appear between the eruptions of technicality that also appear on Religion Of Warfare and its virulent leads that perfectly complement the rhythm’s strength. Violence takes a rather different form on Ravens Of Starvation, a composition where the dynamic relies more on the difficulty of the riffs while creating a suffocating but relatively catchy climate, but it’s finally with The Ascension Of Abaddon that the band gives free rein to its tenebrous dissonance, only granting us a real break on the surprising final.
It’s easy to realize that Death Metal can take more complex and demanding turns with Disloyal. Divine Miasmata takes us from heaviness to technicality in no time, creating waves of enjoyable violence.
80/100