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Class 6(66)
Suffocation: Effigy of the forgotten
31/07/07 || The Duff
Released: 1992
Introduction
Suffocation are probably one of the most imitated bands in death metal, and yet their early albums never got the distribution they deserved due to poor label management, causing the disbanding of the group – frankly (Mullenly – hahaha!), when they released albums of this quality back during their heyday, a band as talented as Suffocation going under due to not selling enough albums was an absolute travesty, hopefully put right nowadays as the band appears to get more and more of the recognition it deserved back then. “Effigy of the Forgotten” is, although less polished than Suffocation’s later masterpiece, “Pierced From Within”, without a doubt their defining moment, as it set the benchmark for extreme, technical music, as well as set a vicious formula to death metal that would be followed closely by future bands wanting to replicate that potent mix of complexity and utterly devastating brutality; they sure as fuck don’t make ‘em like this any more.
Songwriting
8. Although Suffocation hadn’t quite perfected their knack for arranging their riffs into a seamless order at such an early stage in their career, “Effigy of the Forgotten” still runs very smoothly. I may at times question the addition of “Jesus Wept” at the end of the album, as it is a track taken from their earliest E.P., “Human Waste”, and to the dissent of some, I would say isn’t quite up to the standard of the other tracks; at the same time, it’s nice to have a part of the band’s now difficult to obtain past, and it’s not as though it’s the only track that doesn’t quite cut the mustard – in short, this album crushes, but isn’t 100% “the tits” (still without a doubt the most important album pertaining to the Suffocation discography.
Production
8. Suffocation often seem cursed when it comes to the production of their albums, what with “Breeding the Spawn” being practically unlistenable and later album “Souls to Deny” suffering from overbearing vocals and a somewhat flattened guitar tone; this one runs along the same kind of trend, except it totally kicks ass (ha – didn’t see that one coming, eh?)! Although not every instrument comes out on top (the guitars don’t sound sharp enough for the technical material being played, and the kickdrum sounds a little plastic-like), the bassheavy production ensures that you’re beaten to the ground for a great majority of the album. Best described as “unique”, as well as epitomizing the raw-edge that many early death metal classics constitute, you aren’t likely to hear something of a similar sort done quite so well as Scott Burns’ work on “Effigy of the Forgotten”.
Guitars
8. You want a tech death masterpiece, pick up “Pierced From Within”; you want a band’s promising beginnings, not quite so refined sound, with the fury and level of unbridled creativity that can only come from the disgruntled youth, then listen to “Effigy of the Forgotten”. Although the speedier parts tend to blur out on occasion (due to the production), this has the chaotic edge that “Pierced…” lacks, with Terrance Hobbs and Doug Cerrito just tearing up their fretboards like Swiss cheese (oh yes!)… and breakdowns that will make you weep, they’re so heavy – probably pull the water out from your eyes! They don’t come any finer than those on “Effigy of the Forgotten”, and set the template for a million bands to copy and work upon – this is where it all really started, folks.
Vocals
9. I’m guessing Frank Mullen ain’t gonna be considered for performing a duette with Diana Ross at the Grammy Awards any time throughout his life, but his work here is astounding (as far as death metal vocalists go). The vocals are about as guttural as they get (apparently, he would cup the microphone with both hands to get that deep, visceral tone), and although I may accredit a lot of the vocal power on “Effigy…” to the production, the man’s performance here should not be undervalued.
Bass
9. The current trend in tech death now appears to gear towards making the bass bordering the inaudible, as it allows much greater focus on the guitars; well, that ain’t the case here, as Josh Barohn’s work on “Effigy of the Forgotten” is about as forward in the mix as it gets. Like I said, it makes this album heavier than an African bull elephant’s testicles, and the fact that it’s turned up so loud means that throughout the album’s duration, not once are you going to have trouble finding Barohn’s parts (the guy, in short, is an amazing bass player, keeping up with Hobbs and Cerrito with the greatest ease). Mike Poggione should be taking notes.
Drums
10. Mike Smith, to this day, is practically untouchable, even after all these years; I can’t imagine many musicians about whom one could say this (you got Mozart, Hendrix and that’s about it). The guy just has such a vast repertoire of techniques under his belt, combined with amazing speed, grace, big, butch thundercalves that work those kickdrums like a pistoned 10-inch dildo works a sex-crazed nympho (oh yes!), and an ability to add a variation that is of a seriously impressive caliber; add to this the fact that he executes everything flawlessly, with every hit being measured out with frightening consistency and precision, and you get one of the World’s greatest drummers in front of you. Now worship!
Lyrics
8. Suffocation have always been one of those bands that has achieved praise for scrapping the regular death metal template for writing lyrics and actually tackling political and philosophical issues; herein lies the answers to all of life’s problems, as well as the all-important question: why are we here? Only problem is you can’t understand the fucko.
Cover art
8. Some big fuck-off machine eating corpses in a post-apocalyptic world/rubbish tip with the now trademark scarab-beetle-like thing centered over the album title, with some pillars and mountainscapes in the background. Haven’t a clue what it signifies, or why anyone would draw the fucken thing, or why anyone would want it for their album cover, but damn, it is fitting for a death metal album of that era, and is now about as identifiable and cult-status-worthy as the “Altars of Madness” album cover; dunno who drew it, don’t much care, but kudos to the guy for being more than a little bizarre.
Logo
9. Fuck yes! More please!
Booklet
6. These guys knew about fashion back in the day! Oh, and some lyrics – but really, get this for the photo; not quite on par with Immortal’s “At the Heart of Winter”, but pretty damn legendary nonetheless.
Overall and ending rant
10. One of death metal’s defining albums, I can’t think of a piece of work that has been emulated more frequently in the scene. Although the production may appear less than hospitable to some, I would recommend trying to warm up to it, as it does indeed bare a very unique charm that renders this album both crushing and yet quite welcoming at the same time. The music on “Effigy of the Forgotten” is a bold statement from what I consider to be one of death metal’s most outstanding pioneers, so there is absolutely no reason to pass this one up once getting past Scott Burns’ somewhat unconventional touch to things. The musicianship is truly top notch, every bandmember’s performance of an absolutely mind-blowing nature. What more can I say other than pick this fucker up? Not a thing, Fucktits.
