So here is another dusted off unearthed Swedish death metal band back from the grave to join in on the genre’s resurgence. And while not a elite act akin to Entrails, Horrendous, Binah or Revel Flesh, Malfeitor to bring a little something different to the reanimation of the genre by way of less direct or obvious influences.

First, the band were active from 1990-1995, so were at least around when the genre exploded and you can hear that in the music as it doesn’t come across as a forced homage. Second, the band has 2 former Blood Mortized members it their ranks,  a band who in their own right are a pretty solid example of the genre. And third, rather than directly for the genres obvious influences (Dismember, Grave, Entombed)they take influence from the genre’s second tier/wave acts like Seance, Therion, and Liers In Wait– that’s to say, despite the superb, dirty mid range HM boss pedal sound the song structures are a little more busy and technical but by the same token isn’t as simple or immediate of a listen.

But that off the beaten path influence is a double edged sword as while the music is at time excellently done, it also seems to leave a little to be desired as Malfeitor don’t stick with the killer riffs for long. Potential moments of “fuck yes!” are cut off too quickly as the band twist and writhe around the genre’s mainstay moments. It’s the virtual opposite of label and style mates Intestinal and their recent album, The Rottening, which almost opposite in its simplicity. I guess some could call it progressive or experimental, but its not quite jiving with the completely throwback guitar tone and very impressive bestial vocals of Mattias Parkkila.

Opener “Conversation in Minor” immediately displays my only gripes about an other wise fine album; a few bars or chords of killer riffage arise throughout the track that simply don’t last long enough and are often interrupted by time changes and squealing tangents. The same can be said for most of the tracks notably fourth track  “Exile From Sanity” where a huge menacing groove and solo slithers into view, but it gets cut off and never returns except for a few teasing bars here and there. Another example is “To Hell, Farewell”, where a potentially classic melody line and riff is broken up far too much. Again, in “Death, The Dead and Me” where about 2;13 in, a very cool classic Stockholm gallops starts, but derails in just a couple of bars. Finally a potentially classic, atmospheric haunting mid section of “And the Sky Turned to Rage” is never fully realized.That being said, I have to respect Malfeitor for simply not rehashing the classics and indeed doing something a tad different with the style. And  the few moments when they do lock into something a little more direct like “Rolling with Corpses” or crumbling grooves of closer “Sojourn Hell” it is satisfying.

Still, when its all said and done Dum Morior Orior might take a few more listens to sink in to fully realize its potential, because as it stands right now its a bit of a sonic cock tease that I want to go much further with.

 

 

[Visit the band's website]

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