LAUTREAMONT Blend Dissonance, Darkness and Poetry on “Silence of the Deceased”

Lautreamont are the latest band of dissonant rebels that attracted my attention with their debut full-length album Silence of the Deceased, blending upsetting and divergent vibes of Gorguts with the twisted riffs and pulverising rhythms of Meshuggah.

Of course those comparisons don’t paint the whole picture. They’re just an impromptu way to place you in the right mood, before we delve deeper into the band’s stirringly opaque and deforming debut.

It is this very perception of energy which gives Silence of the Deceased as a whole its true vigour. As absolutely thick and unbending as the riffs on tracks like “Silence of the Deceased” and the punishing assault of “The Hour” may be, the contrasts of their simmering sonic potency against moments of frightening, brooding calm only fulfil to increase their impact.

Credit must be paid to the band’s rhythm section, with Vladimir “Wrath” Fomenko unwinding an utter dissonance of unsettling patterns and devilish blastbeats behind the kit, while the enormous low-end presence of bassist Alex “Dread” Zarotiadi spreads through the very tissue of the album.

Along with the acts referenced above, comparisons to New Zealand’s Ulcerate are surely spot-on, with both bands producing an ostensibly similar calamitous disturbance, although I would be in danger to state that Lautreamont gravitate a little bit towards the emotional and more “lyrical” end of things, with songs like the darkness-laden “Epitaph” and the unearthly “Coda” providing a perfect display for the trio’s darker aspirations.

Silence of the Deceased is out now; order it from Bandcamp.

Leave a Reply