Dismember are currently in the process of reissuing their merchandise and back catalog to combat rampant poor-quality bootlegs. Brett Stevens reached out to the band for an email interview and drummer Fred Estby most graciously agreed to answer our staff’s questions:
Dismember have restocked their BigCartel store. Hopefully they restock it again as they’re already sold out of all sizes but extra large for the red and white shirts. From their Funbook page:
Dismembered ’88 shirts are back up! We won’t be able to ship anything out until next Tuesday, as Monday is a holiday. Also, please note the slight increase in postage; we didn’t realize how ridiculous it costs to send shirts to Canada and overseas and unfortunately there’s nothing we can do…sorry! As always, thanks for sharing n’ caring!
Indecent and Obscene was Dismember proving that in 1993 they had became at least as proficient musicians as their seventies and eighties idols. Dave Blomqvist took over the leader guitar duties from Nicke Andersson and added Mercyful Fate-like sweep-picked leads to the bluesy, Ritchie Blackmore-influenced solos. The songs continued in the vein of filthy Pieces EP with verse chorus verse bashers. The problem was they were slowed down, less distorted, and more lazily constructed: Beneath the RemainsSepultura minus a standard deviation or two in IQ. Every time Dismember play an interesting riff on this album, they allow it to wear out its welcome through repetition in brain-dead pop song structures. That is only when they have a good, counterpointed Carnage/Dismember riff. Most of the rhythm riffs are generic Autopsy riffs; riffs Autopsy stole from Celtic Frost, who stole it from Metallica, who stole it from some NWOBHM band who took it from AC/DC or The Stooges. These riffs were used just so Dismember could construct a basic d-beat song and sweep pick Guitar World readers’ faces off.
Matti Karki sounded just as rabid as ever but in every song sprouted off the title of the song in the chorus of the song as a vocal hook. This is the same as an awful Hollywood action film script containing dialogue saying the name of the movie in the movie, eg: “This is Con Air!” or “You Only Live Twice Mr. Bond!” Idiotic bridges kill off any tension too. “Why don’t you just kill yourself?” followed by breakdown of the main rhythm riff so all the hardcore kids for whom Suffocation was too heavy could slamdance before the air guitarable solo.
Dismember on Indecent and Obscene was Nuclear-Blasted into Cannibal Corpse before Nuclear Blast mandated all their bands sellout into death/black ‘n’ roll for the Bic-flicking festival crowd. While superior to most of the laterwork out of Sweden, Indecent and Obscene never approaches the transcendent Dark Recollections and Like an Ever Flowing Stream. The only praiseworthy aspects beyond the superficial icing are Fred Estby’s creative tom fills on songs such as “Sorrowfilled”. His underrated percussion is the only part building and resolving tension in these mediocre songs. That’s simply not enough to hold hessian attention. Decent material must still be composed and Dismember didn’t bother writing any worthy of repeated listening here.
This DVD set of two filmed concerts and a documentary was the final release from “death metal legends and fucking idiots” Dismember. The sound quality and performances of the concerts are adequate, but fans will be disappointed that they aren’t from the prime period of the band in the early nineties; both were filmed after the departure of drummer, primary songwriter, and producer Fred Estby before the final, lukewarm album. Not entirely filling in his shoes was Thomas Daun of Repugnant and Ghost. Shitting in his shoes. I only made it all the way through both concerts and resisted the temptation to play Dark Recollections with the help of a six pack of Coors Banquet. More interesting is the included documentary, Death Metal and More Mental Illness. This also lacks contribution from Estby except for some footage from the 2006 Masters of Death tour with Grave, Entombed, and Unleashed. The performance of “Pieces” is better than the two included shows. The interviews with the Best Voice in Death Metal* Matti Karki and lead guitarist Dave Blomqvist provide good information for die hard fans.
Blomqvist says that Dismember never cheated with quantization, cut and paste digital trickery, or drum triggers while playing live. Live, they constantly had to stomp on the dimed Boss Heavy Metal 2 pedals at the end of guitar parts to prevent their ridiculous tone from frequency masking everything else. The only time they turned down the distortion was on their Nuclear Blast mandated sellout as death metal “was not in anymore” album, Massive Killing Capacity, which they admitted “sounds like shit.” Otherwise, Dismember never followed trends and kept true to their Autopsy, Sepultura, Repulsion, Morbid Angel, and Iron Maiden influences; Mental Funeral was their “riff bible.”
Karki reveals that most of his lyrics were written at the last minute; his vocals are from higher in the vocal registry than traditional Cookie Monster death growl, almost a harsher hardcore punk bark. Performing them in the studio “killed and devastated” him. We feel his pain through the presented footage of an overweight Swedish man in his underwear.
The drunken goofiness that satiated Dismember’s touring bleeds: A dozen minutes of the band headbanging, set lists written on bare backs, Swedish imitations American, and British accents. The film climaxes with a hen on the side of the road. Recommended for boredom.
So she was dating a cocaine fueled maniac, probably oblivious, and he dismembered her and got a good laugh out of it. Life is nature, folks. There are predators everywhere. Watch your step, but don’t forget the lulz when you accidentally cut up a corpse and post cell phone pics.
The Mortal Horizon is Desecresy’s first album as a solo project of Tommi Gronqvist’s after vocalist Jarno Nurmi left to focus on Serpent Ascending. Picking up right where Stoic Death left off, The Mortal Horizon is band’s most percussive and violent yet. The album takes after the death metal debut Arches of Entropy but is set into the multi-layered, ritualistic minimalist narratives of Desecresy’s later career.