Malevolent Creation – The Ten Commandments

Genre: Death Metal
Country: U.S.A.
Release: April, 1991
Label: R/C Records

Hearing about Malevolent Creation’s upcoming return to Thessaloniki, it brought back memories of the absolute mayhem they brought in 2012 with Krisiun and 2015 with Grave if I’m not mistaken, sending shivers down my spine. Anyone present will understand what I’m talking about. All of this will be repeated in mid-September when Malevolent Creation will be performing at Mylos Stage. When talking about MC two albums spring to mind, 1992’s Retribution and 1991’s The Ten Commandments, for the latter of which I’ve decided to say a few words. I believe this album is quintessential for the early Death Metal scene, combining aggressive riffs, relentless war drums and the supreme Brett Hoffmann that we dearly miss, leveling it all with his wild vocals. From the record’s opener Memorial Arrangements to the closing Malevolent Creation, the band grabs you by the neck and sends you to hell instantly. It’s raw, borderline primitive, harsh, murderous and reeks of that distinctive underground passion. Phil Fasciana and Jeff Juszkiewicz provide us with a barrage of super–inspired riffs that are as intricate as they are punishing. Their playing is fast, precise and borderline dark, making the surrounding atmosphere ominous and stressful. Tracks like Premature Burial and Remnants of Withered Decay showcase their ability to seamlessly alternate between aggressive 0-0-11 riffs and slower, more atmospheric passages. This dynamic approach keeps the album engaging, preventing it from becoming monotonous despite its belligerent and unyielding nature. Notable is the pacesetter behind the drums Mark Simpson, whose drumming is characterized by lots of fast patterns and furious blast beats, driving the rhythms of the album, but also assisting the dynamics of the guitars. Songs like Decadence Within and Multiple Stab Wounds – personal favourite – are propelled by his explosive energy, demonstrating a level of technical proficiency that sets him apart from many of his contemporaries. However, the drumming isn’t just about speed; Simpson also demonstrates a strong sense of timing and rhythm that adds to the overall impact of the album. Blachowicz on the other hand shines bright on bass, especially on Injected Sufferage and Malevolent Creation proving that he holds the backbone of Ten Commandments. Somewhere here we have to make special mention of the wonderful – man and artist – Brett Hoffmann, whose growls are full of rage, malice and thirst for revenge. In tracks like Sacrificial Annihilation and Impaled Existence he gives his best, elevating our overall experience. Bless him wherever he is. Lyrically, we embrace all things gruesome and indigestible: death, violence, social decay, inner demons. The lyrics are simple but evocative, painting vivid images of a world consumed by chaos and evil. This dark themed attitude further enhances the album’s cohesion, making it not just a collection of songs but a unified assault on the senses. I consider Ten Commandments to be an album that largely defined the genre, opening doors and horizons for many, even though I regularly nag about people not giving it enough attention or doing it justice. Never mind. We know it’s significance and that’s enough.