Resurrection - Mistaken for Dead (2008)

15 years is a long time to wait between albums, so it's to the credit of Florida's Resurrection that they managed to stage a comeback that not only kept loyal to their 1993 debut Embalmed Existence, but actually built upon that, with a more technical thrash/death riffing style that engages the listener even when those particular riffs are not the most memorable. That's not to say I appreciate this above its predecessor, because I honestly enjoyed the dark and derivative atmosphere found there, but its good enough to hold the attention, and superior to some of the output from scene veterans that spent all those intermittent years touring and releasing full-lengths. Add a crisp, modern mix, dynamic guitar range and Paul Degloyer's vicious snarling, and you've got a passable sophomore.

Those who found themselves turned off by the corny, narrative bits between the songs on the debut might find relief with Mistaken for Dead. No, they haven't forgotten them, but they adorn only about 4-5 of the songs, and are kept brief and manageable. Almost as if to evoke nostalgia but retain cognizance that it was a silly idea to begin with. Much of the excitement of the album is front-loaded in the first few songs, like the frenzied, melodic spikes woven into "Coward" or the brick house violence of "Buried Alive" (which reminded me of Malevolent Creation). A few of the tracks further in ("Perils of Burden", "The Deceiver") also hold up pretty well, but beyond that I felt not necessarily that the quality trailed off, but that the later tracks felt too similar to those on the first half of the album. Granted, this was never one of the more promising Florida death squads to begin with, but a little more consistency, atmosphere or versatility would not have hurt this at all.

Instead, it just feels like a workmanlike, socially conscious successor with a lot of thrashing and slamming sequences that often reminded me of Kreator in their late 80s period up through the mighty Coma of Souls, at least the means by which the melodies are incorporated into the palm mute sequences. The guitars are certainly more intricately crafted than the debut. The rhythm section is up to snuff, and Degloyer definitely makes his presence known with an angry rasp that comes off like a more ripping Chuck Schuldiner or less vomited John Tardy. Nothing too impressive or trail blazing, but across a gulf of 15 years, they could have devolved into something far less appealing. Also, this must be one of Dan Seagrave's worst cover arts. All in all, though, Mistaken for Dead is probably worth a listen if you recall Enbalmed Existence, or if you're into the urban aggression of the first few Malevolent Creation records.

Verdict: Win [7/10]

http://www.myspace.com/resurrectionfl

Resurrection - Embalmed Existence (1993)

Resurrection might have come along a few years too late to avoid the precedents that had been laid by their Floridian peers, but they did an admirable job of refining the bludgeoning force of Deicide, Pestilence, Obituary, and Death into something nonetheless worth a listen. What's more, the band used a series of narrative vignettes to herald each of the tracks here, an unusual idea that, despite feeling somewhat cheesy in retrospect, actually works in acclimating the listener to the beating he or she is about to receive. In other words, Embalmed Existence is not afraid to take a risk or two, and while this is my no means a legendary, top shelf ordeal, I have no hesitation in naming it one of the better Florida death records of 1993, with more durability than even heavyweights like Morbid Angel and Atheist were able to muster that year.

The debut also benefits from great production and even greater cover art. Granted, Scott Burns and Dan Seagrave were the usual standbys for this scene, but both did good by Resurrection. The mix is pummeling and clear throughout, with a nice contrast of hammering rhythms and leads. The frontal image whisks the listener to phallic catacombs of obscurity, which seems to suit the music wonderfully. Embalmed Existence is hardly choked with riffing innovation, and you can certainly hear very clear similarities to Slowly We Rot, Leprosy, Cause of Death, and the Deicide s/t twisted through its eight original compositions, but they are quite capable of packaging tight, skilled musicianship into primal patterns of gorgeous evil that alternate between massive chord schemes and chugging morbidity. Even better, the band has an unusual knack for writing an almost 'uplifting' bridge element into an otherwise brutal piece.

You hear this right away in "Disembodied", a polished bludgeon interlaced with deep chimes and melodic chords (reminiscent of Pestilence) both in the bridge and conclusion, a somewhat wider emotional palette than one was used to from a death metal tune. "Rage Within" uses more of the massive chords, creating a parallel to Obituary that is betrayed only by Paul Degloyer's less carnal vocals. "Embalmed Existence" has more in common with Death (Leprosy and Spiritual Healing), with strong, memorable riffs and just a hint of menace; while "Torture Chamber" is redolent of the pummeling sedition of Deicide or Malevolent Creation. Perhaps the best songs arrive near the end of the record: the determined "Test of Fate" with its writhing slugfest of guitars and "Pure Be Damned" with its concrete lead and bridge sequence and cheap, effective breakdown.

The cover of KISS' "War Machine" might not have that same, groovy power as the original, but it's a curious choice for a death metal band, and DeGloyer's growling brings it in line with the band's own compositions, if it lacks some of the same low-end thunder. Overall, though, this debut does deserve the status of a minor cult classic. It's not complex, the lyrics are mediocre, and for the most part its not original in the slightest, but it surely captures the mood of its era with a fine balance of brutality and subtle depth. Of course, being that they're not the fastest or most proficient pick of the litter, Resurrection would be relatively overlooked despite their qualities. They had one of the better early death metal records on the Nuclear Blast roster, but despite their visibility, they never seemed to get anywhere, and maintained relative silence for 15 years until their cleverly titled comeback Mistaken for Dead.

Verdict: Win [7.75/10] (they yearn for my knowledge)

http://www.myspace.com/resurrectionfl