It’s been fourteen years and the Malevolent Creation that was spawned in the glory days of American Death Metal still refuses to die. Thank Fucking Satan. Surviving numerous lineup changes, brief stints with mediocrity, and the indifference of a scene that seems almost bound and determined to relegate them to the second tier, these persistent fuckers have simply shrugged it off, looked us all square in the eye and said, “Oh yeah, well check THIS out!” Their latest release, Warkult, is simply put, a fine demonstration of Malevolent Creation’s take on death metal. A fitting homage to the days of old, yet still living up to, and in many ways surpassing modern standards of technicality and brutality.

Before I venture any further into this review, I may need to set a few things straight with you, the reader. If you’re the type who generally finds himself marveling at the technical milestones the likes of which Unique Leader releases on a semi regular basis these days, then you might be shit outta luck when it comes to Warkult. Don’t get me wrong, these guys can and do play with insane amounts of intensity and passion, but the emphasis is more on crafting well balanced songs rather than artistic masturbation. As a result of this mentality, a majority of the tracks on Warkult are centered squarely on the riffing of the band’s longest standing member Phil Fasciana. Those familiar with the band more or less know what to expect out of Phil. Relentless tremello riffing, stop on a dime time changes, and an impeccable sense of melody. Tasteful leads find their way into a couple tracks, but in no way dominate. “Section 8” and the album’s finale “Shock and Awe” are perhaps the most effective displays of the Fasciana arsenal. “Section 8” ominously lurches out of the gate, serving as a precursor to some of the most punishing death metal I’ve experienced in a while. The band attacks from so many angles on this track that I find myself throwing up my hands and declaring myself no match for their unforgiving battery of my aural senses. “Shock and Awe” is easily the thrashiest track on the album, and features a very Slayer-esque solo. I could go on, but, as much as this album offers in visceral satisfaction, it lacks as much in variation. The tracks all find a way to stand on their own two feet, but generally all exist on the same plane in terms of quality.

Then there’s the issue of the production. How can I put this? It’s like I’m walking down street on a cold Massachusetts night. Just around the corner lies a venue. As I approach I begin to hear what can only be the one and only Malevolent Creation. It sounds fucking good. The songwriting is top notch, and the performances are fucking brutal. I can’t wait to get in that fucking club and experience the full force of these songs. I look in my pocket, no ticket. So, I’m forced to stand outside the club, deprived of my chance to hear what the songs really have to offer. That’s what listening to Warkult is like. I know this shit is good, but it’s all too fucking distant. Really makes me wish I had that ticket. There’s only one cure for this. Blast it. In all honesty, though, there are certain aspects in which Phil Plaskon's production job is more than serviceable. The buzz-saw guitar tone is certainly one. However, it may take a considerable amount of knob twisting on your end to get this to an acceptable level.

What a waste of words. It really all comes down to this. It’s Malevolent Creation. They play thrashy Floridian death metal, and they play it well. If this kind of shit blows your hair back, then you’ll want to look into Warkult. These guys have pretty much mastered the art.