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Though the barrier of moral pretense that’s raised in the minds of those that reside in fear of our planet is visible as the work of social or religious conditioning, it isn’t necessarily intrinsic to systems of believed that desire to superimpose theories of order upon nature. Rather, the impulse is definitely an artifice of the ego, in assuring it’s own physical safety and metaphysical sanctity, if the origin of this is ascribed to some divinity or else after which marketed to the masses. This monochromatic rendering of the world half engulfed by the shadow of these a barrier disregards the interdependent balance of elements, the opposite and equal value of death to that particular of life, and begins to symbolise a holy war from the unknown, just as the actual structure has represented conflicts throughout history, from Hadrian’s Wall to the West Bank. Maybe Demoltion Hammer one year later recorded the soundtrack to the destruction of those architectural demarcators but Ripping Corpse pinpointed the mental plane and among the apex recordings of both these tri-state bands’ type of corpse-shredding Speed/Death Metal.
‘Dreaming using the Dead’ doesn’t so much harmoniously reconcile life’s opposite extremes, though, because it reveals their arbitrary placement around the spectrum of phenomenon and deconstructs such division with the characteristic absurdism of Death Metal and Lovecraftian inhuman consciousness. The thematic outline from the album is even marked with a transition from the pulp ‘escapism’ of subconscious terrors similarly to social commentary alternatively, as if returning in the Abyss to reveal the hypocrisy of so-called civilised men that enjoy normalised forms of depravity while pouring scorn over uncivilised ‘savagery’. The musical elements that Ripping Corpse fuse around the album illustrates this concept further, overlaying the quasi-neoclassical shredding posibilities exposed by European Speed Metal bands such as the socially conscious Destruction with perverse melodies and sequences of increasingly fractured riffing typical of Death Metal at that time.
‘Dreaming using the Dead’ doesn’t so much harmoniously reconcile life’s opposite extremes, though, because it reveals their arbitrary placement around the spectrum of phenomenon and deconstructs such division with the characteristic absurdism of Death Metal and Lovecraftian inhuman consciousness. The thematic outline from the album is even marked with a transition from the pulp ‘escapism’ of subconscious terrors similarly to social commentary alternatively, as if returning in the Abyss to reveal the hypocrisy of so-called civilised men that enjoy normalised forms of depravity while pouring scorn over uncivilised ‘savagery’. The musical elements that Ripping Corpse fuse around the album illustrates this concept further, overlaying the quasi-neoclassical shredding posibilities exposed by European Speed Metal bands such as the socially conscious Destruction with perverse melodies and sequences of increasingly fractured riffing typical of Death Metal at that time.
Even though adverse effect of retaining such past influences would be that some later songs still structure themselves around anthemic choruses - a burden that many of Ripping Corpse’s contemporaries had already evolved far beyond - the band seems to employ enough compexity in their compositions to maintain the requirements of their vision. The noise of the guitars might be construed as being weak or mixed poorly, but this lighter texture lends itself well to the progression of riffs from measured punctuations of rhythm to insane variations by means of fucked up artificial harmonics and blastbeaten tremolo sequences. Tempo blurs the lines of what is considered primitive, though the act may be embellished with the jewels of contemporary society or justified within the name of some ideology. As layers of humanity are taken off the conscious mind, lead guitars erratically and uncontrollably rip through passages and bring a microcosmic degree of culmination within a song, such as the fleeting screams of demons being exorcised from a long tortured soul.
There's some continuity to be heard in the first album of Erik Rutan’s later Hate Eternal, the industry far more sizeable contribution than his involvement in Morbid Angel, however, Ripping Corpse clearly struck an evolutionary dead-end with ‘Dreaming using the Dead’. Yet for those it’s antiquated aspects, the main focus and engineering from the music manages to highlight the illusions which obstruct mankind from comprehending the world around him while he made a decision to no more belong in such a world.
There's some continuity to be heard in the first album of Erik Rutan’s later Hate Eternal, the industry far more sizeable contribution than his involvement in Morbid Angel, however, Ripping Corpse clearly struck an evolutionary dead-end with ‘Dreaming using the Dead’. Yet for those it’s antiquated aspects, the main focus and engineering from the music manages to highlight the illusions which obstruct mankind from comprehending the world around him while he made a decision to no more belong in such a world.
Posted in: music death metal
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