Although their later, better-known and better-executed efforts would have them remembered primarily as a progressive
death metal
band,
Pestilence
's first album, 1988's
Malleus Maleficarum
, found the Dutch quartet still treading what, at the time, was very much
thrash
metal
terrain. In hindsight, though, it's easy to recognize this album's place alongside contemporary examples like
Possessed
's
Beyond the Gates
,
Sepultura
Schizophrenia
, and
Sadus
'
Illusions
(to name but a few) as a borderline transitional link between the two metallic subgenres. In effect, these intermediary qualities included vocalist
Martin VanDrunen
's exclusive use of atonal barks and gurgled rasps rather than even remotely attempting musical singing;
Patrick Mameli
and
Randy Meinhard
's subtly heavier and blockier guitar assault; and drummer
Marco Foddis
' notably more varied and intricate rhythmic foundation, which set the bar higher for the entire quartet's technical complexity -- a sign of things to come. There was almost no sign, however, of other key components of early
, like, say, the gore-infatuated lyrics written by pioneers
Death
Autopsy
(this album's
"Bacterial Surgery"
was no doubt an accidental coincidence), and which would definitely play a part in
's highly regarded sophomore turn,
Consuming Impulse
. Instead, this first effort's representative tracks --
"Patricide,"
"Chemo Therapy,"
"Cycle of Existence,"
-- dealt with
's more realistic (if still largely negative) subjects, while forfeiting most every notion of melody, lest it come in the shape of certain song intros (
"Antropomorphia,"
"Commandments"
) or the atmospheric synthesizer and acoustic guitar-built oddity
"Osculum Infame,"
which was in fact assembled by album producer
Kalle Trapp
. In summary, it was mostly youthful inexperience and still maturing songwriting abilities -- not getting lost between two styles or lack of instrumental ability -- that defined
as a formative document in the span of
's career, and of special interest only to their most dedicated fans. ~ Eduardo Rivadavia