Album Review: Uttertomb – Nebulas Of Self-Desecration
Reviewed by Sam Jones
Chile has a surprisingly active and large extreme metal scene, and here we see another member of that club: Uttertomb. Formed in 2009, from the city of Santiago, Uttertomb originally went by Ultratomb before changing their name to what it is now in 2011. The band’s early years produced multiple smaller releases with a host of Eps, Demos and Splits. It’s only now, fifteen years on, that Uttertomb finally prepare to release their debut full length work, slated for an April 19th date, through Pulverised Records, Nebulas Of Self-Desecration. Sporting artwork by Serbian-born Stefan Todorović, whose works have also been plastered upon records from Fuming Mouth, Innumerable Forms and more, this is a record years in the making and I was very excited to uncover its malice.
Immediately into Uttertomb’s performance you know precisely what kind of record this is going to be, and anyone who understands what specifically this is will have no cause for complaint. Uttertomb’s soundscape is instantly recognisable as a descendant of Incantation and other such cavernous bands whereby the atmosphere is so coated and drenched in tone and violence that the album forms an impenetrable shield that the audience cannot hope to escape from. However, in this case it’s not merely the tone that comes across with vile intentions, but it’s the ceaseless rasping their guitar work also harnesses; usually I’d describe how a record like this utilised pummelling guitar tone to suffocate its audience but, whilst Uttertomb are in possession of a grand onslaught, their approach to that cavernous style makes for additional breathing room since the strangulation is founded in the band’s ripping guitar performance. So it’s the actual nightmare the riffs conjure up that binds us to the record as oppose to sheer tone alone. Some bands would rather do the opposite, but rendering their record with this production ensures a far more visceral and scathing aesthetic.
Though the band are death metal through and through, I enjoyed the occasional inclusion of varying doom influences. The band’s main prerogative with this record is to effectively rattle your head side to side, and the tempo they apply herein is evident of such as the band barely halt for a second to give you space. Yet, there are moments where the band’s songwriting slows and gives enough room for steadier, dirge-like pieces to come to the fray. Whilst these instances are few and far between, it’s still nice to see the band thought far enough ahead to recognise they needed something more to keep their audience invested. Maybe it’s in an opening riff to get us ready, or it’s a connecting bridge within the songwriting that leads us to the next assault e.g. “Graceless Thaumaturgy”. Such moments often present the riff in a more cerebral, heinous light as the band seemingly draw our attention to it since it’s so removed from the bulk of their thickening atmosphere.
I think it speaks volumes for the entertainment factor of Uttertomb that they can write tracks of this level of despair, and crushing weight, yet tracks are still around the six, near seven minute mark. I’ve seen records before where this is the norm and I’ve felt dragged through the record because the band haven’t done enough to keep me invested long enough for that heavy tone to not wear me down. It’s where Uttertomb’s songwriting comes into its own as, while this record is dripping with ferocity, the band are still seeking entertainment and engagement at every corner. They know full well what kind of record you want, and therefore guarantee your senses aren’t going to be overwhelmed halfway through. I believe that’s half the reason why they went with the riff as the primary focus for the atmosphere as opposed to the tone alone, since we recognise the riff is incremental to the band as a whole. Throw in numerous differing variations of guitar work or flow into their songwriting, and Uttertomb are on to a winning streak. It’s why I can listen to an almost seven minute track like “Opisthotonic Funerals”, and not weighed down whatsoever by the malice of their beating. It is cavernous, you’re punched at every second, but you’re not beaten so mercilessly and so constantly that it becomes tiresome.
Uttertomb’s record doesn’t hold your hand. It’s riffs, bass work and vocals are mesh together to create a punishing, seething atmosphere but, in spite of this cacophonous retching, it amazes me to discover how the mix has managed to meld the drums in as organically and well as they are here. This is a blinding record that submerges you but the blast beats and cymbals, though placed towards the back of the album due to the intensity of the riffs, still manage to cut through that insanity and give you a performance that really helps infuse the record with the pacing thus created. I think it’s an active decision of the band’s part since drums often regulate the pacing and flow by which extreme metal works at, and had the drums been totally suffocated, the record likely wouldn’t feel as grounded and solid in its flow as it is. The varying drum fills, bass drums and aforementioned blast beats all help to give reality and credulity to this otherwise monstrous creation so it’s not merely senseless riff deployment but, an acutely written and ordered work that, in fact, has every piece in place for necessity. What may, to outsiders, seem like sheer noise, is in actuality an extremely intricate record that holds purpose for each of its blistering elements.
In conclusion, Uttertomb’s first full length album is not only a long time in the making, but an exemplary addition to the subgenre that is Cavernous Death Metal. While this may initially seem like any other record of the like, Uttertomb in fact possess a great understanding of what a record like this needs to do during its runtime. It’s all well and good to subject your audience to crushing depths at every waking moment but will that guarantee their return to your sound? There are minor changes made herein that other bands wouldn’t choose to make because they don’t guarantee the continued listen, but it works in this case because Uttertomb recognise you need to ensure your songwriting lives up to the atmosphere you’re creating, but still provide enough development and turns in the music itself to keep listeners engaged. I’d love to hear more from Uttertomb. They’re becoming a big part of the Chilean metal scene for sure.
