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██▌ Artist...: Deliverance ░▐██▌
░▐██ Album....: Evil Friendship ░██▌░
▓▐██ Year.....: 2020 ▓▐██▓
▓▐██ Rel.Date.: 2020-08-15 ░▐██▓
▐██ Genre....: Thrash Metal ██▌░
░ ██▌ Label....: Metalworks ██▌
▐██ Source...: CD ▐██
░▐██▌ Type.....: Reissue ▐██▌░
▓▄████ Quality..: VBR, 44.1kHz, Joint Stereo ████▌░
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1. Dies Irae 2:10
2. Tongues of Lies 2:52
3. Lord of Vice 2:30
4. Bell, Book and Scandal 4:18
5. No Way Out 2:07
6. Alive Forever 2:58
7. The Drowning 2:15
8. Turn Me to Stone 3:12
9. Evil Friendship 2:55
10. Rabid 3:03
11. Troopers of Death 6:17
12. Requiem 2:09
------
36:46
Deliverance's 'Evil Friendship' is an interesting and dark album, which
does little hand-wringing about the dark aspects generally associated
with metal, usually. While the anti-Christian aspects earlier on in the
album are generally speaking vague and left mostly to associations
without any clear outlines when it comes to their views in opposition to
this or otherwise, and some slightly generic references to Pan, they
generally excel with more personal themes, as in the title track or
'Tongue of Lies.' In general, their attitude towards vice can seem
slightly inconsistent, from the condemning in 'Tongues of Lies,' to
following this with 'Lord of Vice,' involving posturing as a Satanic
figure who is associated with all vice, which nonetheless means that the
general direction of this album in dealing with its subject-matter is
ambiguous, but nonetheless in a way through digging around in these dark
depths they do come up with the occasional worthwhile gem.
The album pivots on a persistent theme of frustration and stubbornness
in the face of this, which makes the personal tracks quite powerful in
some ways, and allows them to resonate with a few things. The song
'Tongues of Lies,' for instance, goes from its basic theme of lies to
positing something like an archetypal instance of this which is
accompanied with a sense of suffering and condemning it nonetheless,
along with a similar form of frustration in 'lies, they're so cold.'
This personalisation when talking about a generic, grouped figure of
'lies' hence serves to posit the latter as a concrete, existent figure,
rather than just an abstraction. The slightly agonised chorus of 'Turn
Me To Stone' is similarly effective, creating one of the more complex
tracks on the album. Given these songs, when the title track, 'Evil
Friendship,' turns up, with its slightly sinister title, it goes
forwards with a vengeance.
Generally, the instrumental work is slightly underpronounced and tends
towards continual, lower patterns, as for instance evidenced on the
opening of 'Rabid,' which allows for the idiosyncratic vocals to be
highlighted and effective. This is notably effective in the chorus
segment of 'Turn Me To Stone,' along with the rest of the song in some
ways. In order to accommodate the vocal tendencies, the instruments are
generally kept from interfering with this, which usually helps to
foreground their overall style. This kind of thing allows for it to
integrate some of the tendencies associated with speech in horror films,
and such, into an overall metal style quite coherently. It could
possibly be taken in different directions if they wished.
'Evil Friendship' and 'Rabid' together is a highly effective
combination, with the latter involving them repeating the word 'rabid'
so many times they occasionally lapse into characterising themselves as
a 'rabbit.' It is, nonetheless, an effective and somewhat aggressive
track, which works as a follow-up to the previous track. This segment is
perhaps a highlight of the album, although as 'Tongues of Lies' is
allowed to be slightly more complex, it also stands out. This band's
slightly minimalistic approach gives them more freedom to experiment
with different segues and shits in the music, which also helps with
songs like 'Lord of Vice,' and helps this record stand out stylistically
in some ways. Nonetheless, this is slightly limited by their often
lapsing from this back to more conventional segments and tropes, which
hence can lessen the impact of such things on the music and prevents
them from really developing an atmosphere of their own.
In conclusion, then, this record is an interesting take on several
themes in heavy metal, with songs like the title track standing out and
expressing topics rarely explored in detail within metal; although
Morrissey's 'The More You Ignore Me (The Closer I Get)' is a decent
attempt, it isn't quite metal. While it does go into more 'progressive'
territory, with a slightly loose style on songs like 'Tongues of Lies,'
it nonetheless doesn't wholly develop this aspect. Nonetheless, it does
shine at times, which makes at least some of its tracks a significant
part of the heavy metal of the time, and certainly one of the better
music-related events of 1989.
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