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I
can never get enough D Beat / crust. There are not only
not enough good bands around but some of those, many
good ones like Dissystema, seem to exist only for the
enjoyment of a selected group. Exposure is always
limited. And labels who are interested in pressing this
ilk usually hail from countries like Japan, France or
Germany. There are a few labels in the States that have
done great work in this field; Prank Records is one
label that must be worshipped.
What baffles
me is how boring ass hardcore has cross pollinated with metal
and has blown up to the overground with grease-dick facility.
Let’s face it, metalcore is a bit of a joke by now. But crust,
despite its obvious influences from both (hardcore and metal)
has for the most part remained as underground as possible. I say
that because frankly, this style is so much more powerful than
your typical tough-guy hardcore band. And I ain’t claiming
for the popularization and commercialization of crust. I am just screaming for its support.
Not only
that but this compilation of Dissystema’s past work is getting
the issue treatment via a Mexican label (EBM Records, I strongly
recommend their roster) and I doubt that is because EBM were the
highest bidders. Anyway, 3 Years in Hell 2002-2005 compiles
songs from a few split Ep’s, a full-length and a self-released
demo. Smartly, the album gets started with the newest material.
The first three songs are culled from 2005’ s split with Endless
Nightmare. The riffs are almost at speed metal levels and there
are some out of character arrangements in “Beggar at the Gates”.
Three members lent their chords to the three-prone bark attack
and Dissystema plods with admirable stamina. If this is the
future of this band then be ready. These three songs kill.
In 2005,
Dissystema issued an LP via Sweden’s Putrid Filth Conspiracy.
The album was titled The Grim Prospects of Our Future and it
shows the same ambition of the tracks from the split mentioned above.
Their sonic attack is visceral and brutal, but there are certain
parts to their songs, especially in the riffage, where we can
hear the band’s acceptance of sophistication. A step beyond
neardenthal, I guess. The discordant guitars in “Genetic
Nightmare” and the melodic end on “Hope” are two prime examples.
As we move
onto older material, we clearly feel the difference in
recording. Logically, a simpler approach to D-Beat also reigns.
The oldest material comes from two demos. 2003’s appropriately
titled Raw Punk Holocaust approximates black metal in its
crudeness. But the Discharge-like rage tells the band off.
And there is more. In fact, 3 Years in Hell nothing
short of a completist’s
wet dream. 40 songs detailing the evolution of a band that must
be heard now.
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