Display of Decay – Vitriol Album Review

And here I thought Canadians were known for being nice; the dudes in Display of Decay may
very well be perfect gentlemen, but they’re absolute savages on their fourth full-length album
Vitriol that released October 2023. 

It’s been five years since their previous release and nearly a decade since they cemented
themselves as a staple in the Canadian death metal scene, now they’re back with a vengeance
to showcase some serious technical chops, penchant for writing groovy riffs, and some of the
gnarliest gutturals in the game.

No joke— Sean Watson may be my new favorite vocalist for his generous use of percussive
vocalizations and beastly delivery on each track, all while flying up and down that fretboard
simultaneously. Like I said, absolute savage.

Display of Decay wastes no time getting right to it on the opening track “Malicious Motorcide.”
From the jump, the band makes you well-aware you’re about to be treated to killer riffs, heaping
portions of double bass courtesy of drummer Logan Wilson, and Watson’s incredible vocal
prowess peppering the track with growls, gutturals, screams, and then some.

What’s also apparent immediately is how clear, clean, and crisp the mix sounds courtesy of
Cryptopsy’s Christian Donaldson. The mix is pristine, guaranteeing the lows carry weight while
the wails of Watson’s guitar soar high above the rest on any of the album’s many solos.

My favorite guitar part comes on the second track “The Butcher” when the crunchy distortion of
the breakdown is punctuated by a guitar tone that sounds like it was written posthumously by
Dimebag himself before Watson unleashes a solo that shows his proficiency as a musician.

Bassist Brandon Siefert also pops in before the band segues into the outro. Unfortunately, it’s
one of only two sections on the album, the other coming on later track “Hot Lead Vengeance,”
that the bass gets a spotlight, and it’s a shame. I’m a personal fan of sections where the guitar
and vocals are stripped away and the rhythm section gets some time to shine, so I would’ve
loved to get some more of this.

The dynamic duo of Watson on guitar and Wilson on drums, however, compensate for that.
“Harbinger,” for example, illustrates firsthand the undeniable musical chemistry between Watson
and Wilson, featuring some of the craziest fills on the album, a guitar-and-drum-fueled
breakdown, and dissonant leads to establish an atmosphere of unease as the song careens to
its climax.

Display of Decay is endlessly stylistic, incorporating snippets of samples from news, movies,
and other media. Fans of old-school death metal and hardcore music will undoubtedly
appreciate that.

The most chilling use of samples comes at the end of “Hot Lead Vengeance.” I don’t want to
spoil the surprise, but it is shocking and, because of that, it is highly effective. Kudos to the band
for taking a risk here, because I think including that sample very much works to reinforce the
lyrical themes established on the song leading up to these grim final moments. As a standalone
moment, it’s my hands-down favorite on the album, whereas my favorite song is between “The
Butcher” and “Harbinger.”

From full-bodied guitar solos to chug-along grooves, Display of Decay keeps things constantly
varied, covering much ground in a tight sub 30-minute album length. Nothing drones on too
long, nothing overstays its welcome; the death metal vets are experts of the ebb and flow,
fluctuating between unbridled brutality and measured restraint to keep the pacing consistent.

It’s for these many reasons, we award Display of Decay’s Vitriol an 8/10 rating for another
strong showing in what’s now a long list of victories for the Canadian trio. If you’re a fan of
Cannibal Corpse, Dying Fetus, Cryptopsy, and/or Immolation, this one is an easy slam dunk.

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Overall Score: 8/10

Review by: Chris Covello