By Luis Fernando Ribeiro and Leandro Abrantes
Since its creation and consolidation in the early 1970s, heavy metal has incorporated elements into its original sound, creating numerous musical subgenres, each with its own characteristics and audiences. In the 1980s, the genre became increasingly popular, with bands that were once marginalized now filling stadiums and emerging from the underground. In that same decade, many bands, thirsty for more and more heaviness in their compositions, began to practice an increasingly dirty and aggressive sound, giving rise to the most extreme genres of heavy music, such as thrash, death, and black metal from bands like Metallica, Venom, Possessed , and Bathory.
In Brazil, the first band to gain notoriety and international recognition playing a more extreme sound was Sepultura , which in the second half of the 1980s became one of the biggest metal bands in the world, fueling the dreams and imagination of countless heavier bands that hid in garages or played to tiny audiences in poorly structured venues. More than three decades after the emergence of Sepultura, extreme metal has its main branches consolidated and continues to expand, generating new bands and originating new subgenres derived from being mixed with melodic or progressive metal, to name just a few examples.
Inspired by many other extreme bands that came after and achieved recognition both within and outside the country, in the most remote corners of this immense nation, new bands emerge every day, seeking their place in the sun – or in the darkness – and trying to find their own identity and space within a musical style that still roams the fringes of society. Hailing from the capital of Tocantins, Escarnnia is one of these bands, betting on a sound that blends elements of Thrash and especially death metal, carrying the influences of great names in extreme music and gradually trying to incorporate their own mark into a sound with already well-known and defined characteristics.
Released in early 2017, Humanity Isolated is the debut album and, to date, only studio recording by the band, recorded at Estúdio Lamparina in São Paulo, under the Classic Metal Records label. Formed by Ismael Santana (Vocals/Guitar), Valber Sousa (Guitar), Natanael dos Santos (Bass), and Samuel dos Santos (Drums), the quartet focuses on death metal that draws its influences from various schools of the genre, but also possesses a strong and well-defined personality. The quality of the album's recording is a highlight, as it makes all the instruments very clear and allows for...
The band's sound creates a heavy and violent atmosphere, allowing their music to flow naturally.
“Total Death” opens the album without delay or embellishment, with a drum intro that is quickly followed by harsh and tense riffs, the genre's typical guttural vocals, a resonant bass, and a firm foundation accompanying the accelerated double bass line, showing a band that plays very well-executed death metal, but without taking risks or presenting any major innovations. The album could have been forgotten if all this hadn't changed immediately afterward, just over a minute and a half into the song, when a riff à la Kreator sparks curiosity for a sound that would completely transform throughout the album. Combining elements of traditional death metal from bands like Cannibal Corpse, Morbid Angel , and Six Feet Under with those of technical death metal from bands like Nile and Necrophagist , but especially evoking the sound practiced by death in their latest studio works, what we see here is a serious, honest, and competent band that doesn't pride itself on being just a middle ground of other bands, putting its mark on the compositions and making it clear that it knows what it wants to be, where, despite carrying numerous influences, it sounds completely honest with itself. From the quoted passage onwards, the band ventures into a tangle of extreme music elements, with numerous tempo changes, going from the most measured to absolute speed without the slightest warning, culminating unexpectedly in the second track, where there isn't even time to perceive the change, which seems more like a riff break leading to a faster part of the first song.
“Condemned to Kill” is a real banger, which, unlike the previous track, begins at a dizzying speed and with visceral energy before slowing down almost to the rhythm of doom metal, showing a band that doesn't resort to gratuitous brutality, giving purpose to the aggression of their songs when it is truly necessary, creating intelligent and above-average compositions. Samuel dos Santos' drumming, for example, when using the astonishing speed of the double bass pedals, gives more prominence to the use of this resource than if it were being used all the time. The bass and guitar lines converse throughout, creating a disturbing atmosphere of terror, which, reinforced by the pernicious lyrics, generates an ideal environment for the phrased and funereal solo created by Ismael, but executed by both guitarists. The constant changes in tempo and atmosphere are the main characteristic of this track – and perhaps of the album – and show the musicians' great synergy, creating interesting moods, as in the case of this track, which sounds as if their aggressive instinct is conversing with their reason, discussing in paranoid tones the reasonableness of their actions.
Next, “Eternal Hatred” carries a rather slow pace, with robust riffs that build the composition without haste. The song goes through an imposing riff that acts as a metallic bond, connecting all the different and distinct parts of the song, from the more broken, almost progressive section in the middle, to the more aggressive and hurried section at the end. Ismael Santana's vocals, despite being guttural, show a concern for being understood, making the lyrics, although not straying too far from the most common patterns of the genre, receive an interesting interpretation, going from moments à la Chris Barnes to others more raw, very close to Chuck Schuldiner .
“Rotten Spirit” picks up the fast-paced vibe of “Condemned To Kill” and lays bare the death metal influences, in a broken, complex, and very well-crafted sound. The song is a true patchwork quilt, in the best sense of the expression, where each section is almost a song in itself, with its own particularities and peculiarities, sometimes even leaning towards progressive rock, other times towards thrash. The sheer number of riffs of varying characteristics and speeds incorporated into the song does justice to what Metallica did in “The Thing That Should Not Be,” showcasing a veritable repertoire of riffs in a single song, enough for many bands to have used for an almost entire album. These distinct parts, however, are always repeated in the same order, making the song less surprising than it could have been if the atmospheres developed in the music had changed order when alternating from one context to another. The solo is very tasteful, melodious and melancholic, where the rhythm section doesn't hide, but is generous in letting the guitar take its rightful place. Still, the highlight of the track is the varied work and refined technique of drummer Samuel dos Santos, which ranges from the extreme speed of the double bass pedal to moments where he explores his entire drum kit in broken and complex time signatures, in the style of what the brilliant Amilcar Christófaro, of Torture Squad , did on albums like Hellbound and Asylum of Shadows .
The title track begins with a martial rhythm, featuring a strummed riff and a dense bass line parallel to the guitar, followed by an aggressive and perfectly intelligible vocal performance, despite Ismael Santana's guttural and raspy vocals. When the drums break the rhythm to mark time on the ride and snare, the thrash takes over and invites the listener to headbang. At this point in the album, it's already possible to see that the musicians spared no expense in enriching their compositions, showcasing their entire repertoire in each song and not being intimidated by the complexity and capacity of each track to carry within it ideas that could be broken down into several other simpler, but less interesting, compositions. We say this because it's possible to notice in each track of the album a countless number of the band's influences condensed into a sound that still manages to have its own identity, demonstrating a maturity and confidence above average for such young musicians. We barely finished talking about that when Natanael dos Santos' bass takes the music in a completely opposite direction, where (around the 1:55 mark) the band draws on so many references in just a few seconds, reminiscent of the opening sections of songs like "My Friend of Misery," "South of Heaven," and "Dead Skin Mask," that it makes you doubt everything they've put into a song that's only 3 minutes and 45 seconds long.
One really cool feature of this album is how naturally the transitions between songs occur, often making the listener not even notice the track change. This makes the album seem like a completely interconnected unit, like a large jigsaw puzzle assembled with pieces out of place, but which turned out even better than something correct and "square." This can be observed in "A Moment of Compassion," which suddenly appears amidst the final beats of "Humanity Isolated," with its riff that manages to be simultaneously malevolent, somber, and captivating, showing that..
The band doesn't limit itself to the musical genre it set out to create, drawing on doom metal to incorporate elements it desired for the song's initial atmosphere. While not necessarily the best track on the album, this song showcases a collective peak for the entire band. Valber and Ismael's guitars deliver riffs, riffs with pauses, melodies, and tasteful solos, demonstrating a highly refined wit and a creative capacity well-exploited for a genre so commonly associated with unwarranted aggression. One only needs to observe the numerous moods the musicians create within a single song. Natanael's bass, present from the beginning, features refined phrasing, beautifully embellishing the drawn-out guitar lines and standing out throughout the song, not only as a foundation but as the body of the composition and often – as throughout the album – as the protagonist, with precise and well-crafted interventions on the four strings. Samuel's always precise and intricate drumming remains varied and competent, knowing when to be more direct, but especially aware of its importance in the band's musical construction, dictating each change of rhythm and each direction the band will take. Finally, Ismael's vocals reach their highest point on the album, vociferating in a superb interpretation, more furious and aggressive than ever, striking a balance between raspy and guttural vocals, angrily pleading for "a moment of compassion to save him from this agony".
“The Evil Spell” begins with a slow, straightforward rhythm section, creating an atmosphere that, for those already familiar with the band's style, anticipates an immediate shift. This shift arrives shortly after in the form of a riff reminiscent of Slayer, followed by a distinctly death metal vibe reminiscent of the albums Symbolic and The Sound of Perseverance . The song follows a formula quite similar to previous tracks, creating several distinct moods, but this time incorporating some new elements, such as the moment when the entire band pauses for an excellent bass fingerpicking performance by Natanael, à la Steve Harris in “Phantom of the Opera.” This moment evokes the nostalgic atmosphere of the NWOBHM, extending into the solo before returning to the song's initial mood. It's a song loaded with influences, but one that has been skillfully condensed into a well-crafted yet original sound.
In “Suicidal Beliefs,” the already well-understood formula begins to repeat itself a bit and could become tiresome if the band didn't always present something new, as in this case, where we can perceive some nuances of black metal in the sound, creating a rather dark and profound atmosphere, in addition to some guitar duets with quite interesting melodies that quickly get stuck in your head. The same applies to “Suffering and Desolated,” with its traditional heavy and death metal elements and a beautiful, layered, quite melodic and well-constructed solo – very likely the best on the album.
“Back in Time” closes the album, starting with a vibe and keeping bassist Natanael as the highlight throughout the song, galloping and noisy, with an astonishing force, making himself noticeable amidst jagged riffs and accelerated drumming. He returns to lead the song alone in its conclusion, in a much more direct track, closing the album in the same way it began, as if it were the first and the last.
The songs were a kind of more solid shell for the more volatile content of the rest of the album.
Humanity Isolated is a good debut album from a courageous and mature band, with technique and a lot of creativity, who created a concise formula with a strong identity, knowing how to draw content from their influences, but allowing themselves to be more than that. There should be a concern in future releases so that this formula does not become a comfort zone; after all, just because the band fills their songs with numerous and varied elements doesn't mean their music can't sound tiring if they don't take risks. But this is definitely one of the great Brazilian Death Metal records of recent years and deserves more attention, at least in its country of origin, where so many good bands don't receive the treatment and recognition for their efforts and good work.
A potential second Escarnnia album should be defining in all these senses, both internally and externally to the band, and we certainly await it with high expectations and curiosity about the direction it will take and the band's ability to reinvent itself while remaining true to itself.
Luis Fernando Rating: 8.3
Leandro Rating: 8.0
