Karasu Killer/Criminal Attack/Everyday Hate/Give Praise
D.E.R. have been having quite a little moment for themselves recently because their 2008 album Quando a Esperanca Desaba has been given not one but two ass kicking reissues. But lest you think that's all these Brazilian blastbeat-mongers have to purvey, they're back again with another 10 songs, sharing wax with Colorado's Aberrant (who got into the reissue action themselves with a 2010 discography record). What they're dropping on your turntable is a Thunderdome of straight grind nastiness.
Four years removed from their last record and D.E.R. haven't bothered to learn any new tricks, and that's probably a good thing. Once again, they grind like From Enslavement to Obliteration is the only record ever made. They're content to keep kicking out jam after jam of unremitting blastbeats and nasty table saw injury guitars without getting too fancy. If Quando a Esperanca Desaba lit up your cortex, these new songs will jolt you another fix. Otherwise, don't expect to be blown away by originality. You'll come out of their half of this psychedelically-flecked periwinkle 12-inch with your socks safely unrocked, but you still have to admire D.E.R.'s ferocious energy.
Meanwhile Aberrant, which features an ex-member of Catheter, is a touch thrashier in spots, but clearly these are two bands that have been prepping from the same playbook. Aberrant's riffs have a tad more complexity and innovation to them than D.E.R., but they whip by at such a clip that it demands close listening to really excavate every interesting nugget that's buried behind the blast beats. And speaking of blasting, the drums are fine when they're going full tilt, but the drummer lacks that sense of timing when it comes to fills and tempo changes. The result is the explosive climax of their songs could have been even more pyrotechnic. (But good news, everyone! Aberrant is in the hunt for a new drummer.)
The split is a cool face off between two bands that share a similar genetic root but have taken alternate paths. It's a great example of divergent evolution in music.