Denver’s Oryx savagely lash out at worst of selfish nation with muddy ‘Lamenting a Dead World’

There are large swaths of America that are unsavory. Try not to fall over in shock. But ever since the pandemic stated last year, we’ve truly seen some of the worst behavior from people from refusing the do fuck all to protect their friends and family to outright denying anything is wrong to once again showing zero compassion for disadvantaged and minorities who tend to suffer most in these horrors.

None of this was lost on Denver crushers Oryx, whose devastating new record “Lamenting a Dead World” digs right into these awful truths and exposes them for anyone still blinded by their own realities. These behaviors are nothing new for America (and it’s not just limited to our country), but in these times when our actions are under a microscope as well as the way we treat a global epidemic that is killing us every day, it’s disgusting and offensive that we have people acting like they do, thinking they’re above it all, smarter than all. The band—vocalist/guitarist/synth player Tommy Davis, bassist Eric Dodgion, drummer Abigail Davis—unload their rage and desire the see these wrongs righted as they lay out a molten collection that simmers in doom and black metal, leaving burns marks behind. By the way, this record also features heavy-hitting guest spots from Ethan McCarthy (Primitive Man, Many Blessings), Paul Reidl (Blood Incantation, Spectral Wound), and Erika Osterhout (Scolex, Cthonic Deity) to enhance these already destructive pieces.

“Contempt” starts the record in a pit of filth and vile sounds as the shrieks chew at your bones. Demolition unloads and slams through brick walls, the playing brawls heavily, and a gross underbelly shows itself and spills its guts, bleeding out into noise. “Misery” opens with noise hanging as the playing teases, and a doomy storm opens and rains tar onto the ground. Shrieks scrape as the band clubs away and leaves bruising, digging deeply and dangerously into the muscle. Growls lurch as the band gets deeper and deeper into the muck, and the fury is so thick you can spread it between bricks. The guitars go off and melt faces, nasty vocals tear into you, and everything stomps toward an acidic finish.

“Last Breath” fittingly sits in dark and somber waters, the shrieks lay into you, and a fiery cavern explodes and swallows you inside. Guitars catch fire and begin to eat through forests, charring and chewing up terrain as the humidity builds, making breathing tougher. Growls soak in acid, guitars rise again, and that sorrow returns as the track spreads and smothers, ending in ash. The title track is an instrumental cut builds on noise swimming and guitars hanging in the air, letting the doom take you in its hands and deface you. “Oblivion” ends the record, a 15:01 mammoth that begins with drums awakening and a gloomy cloud cover hanging overheard before you get mashed. Shrieks echo as the sounds feel like nails on steel with the vocals smearing and muscular guitars flexing. The atmosphere builds as you’re bludgeoned, growls kill, and cosmic synth spills into the scene. The power surges as everything explodes, cosmic weightiness leans in, and the heat gathers as the guitars punish, with the purge finally ending with you heaving.

Records like “Lamenting a Dead World” aren’t going to correct the behavior and attitude of half a country, but what Oryx do here on this collection is perform the proverbial “we see you” with a promise to fight that with fire and chaos. We’re still suffering, we’re not out of the woods, and people still refusing to help are the ones who can be squarely blamed. This can be a downright ugly place, and the longer we refuse to acknowledge this, the longer it’ll take to make the right changes to benefit everyone’s well being.

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