Habitual Depravity- Realms Of Abysmal Servitude

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Habitual Depravity released this banger of an album a few weeks ago on December 30th.  It’s a brutal technical death metal project between guitarist/bassist/vocalist Jonathon Urwin and legendary drummer Marco Pitruzzella.  If I knew of this project a while ago, I would have added it to my wild 2018 list.  It’s a well produced album, with over the moon musicianship.  It’s impressive enough that Jon did a solid amount of the work, with wild guitar licks just set ablaze all over “Realms Of Abysmal Servitude”.  For a band of this magnitude, they do actually groove sometimes believe it or not.  His growl is very consistent and pleasant to the ears as well.  I’m more into the consistency, than growlers that constantly change pitch.  But, i’m a fan of both but his style fits his band PERFECTLY. If they could get this out in the real world, they sure as well would look beautiful with Decrepit Birth or Decapitated….no lie, they’re that good and can hang with the tech-ier bands if they could hire a few guys and play some shows here and there.

Now for the machine gun blaster Marco, holy crap. If you’re familiar with Bleak Flesh the Chilean neoclassical tech-deathers have him recording drums for their upcoming album. His blast beats are so clear, and effortlessly plays fills like he’s a legitimate robot.  This project is so great that doesn’t get enough credit.  However the album is brand new so give it more time to get more press and credentials.  For 2019, this is definitely going to end up in my gigantic “Best Of” article for sure.  The precision this duo masterfully displays is absolutely earth shattering.  Words can’t express how much I dig thi classic and modern mix of death metal with hints of prog and tech.  It is legitimately a half hour pure technicality, brutality and musical mastery.  If you want something killer and fresh, this project is for you.   Let the music do the talking, not me!

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3 thoughts on “Habitual Depravity- Realms Of Abysmal Servitude”

  1. It’s weird how the cover for this is censored on Spotify, when some bands post MUCH worse art on there.

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