The Moshville Times - Album Review: Diabology

2016 saw the formation of Los Angeles thrashers Diabology. Their debut release Nobody Believes Me was released in 2020 and although there has been a change in lineup with bassist Joseph Mazisyuk having departed, the trio of Jesse Bergen (lead vocals, guitars, bass), Jack Kleinman (guitars, bass) and drummer Matthew Morales have produced a solid sophomore album to follow up on the debut.

Following a range of lyrical themes, Father of Serpents includes topics such as mythology, fantasy, social issues, and having sex with cockroaches (which we will move swiftly past). Musically, there’s an interesting mix of hard and heavy hitting blackened thrash, more mainstream metal and even a dip into the melodic deathcore of Trivium (“Eat My Heart Out”).

It’s this mix of styles that makes Father of Serpents stand apart from the average thrash metal that is flooding out now, and it’s this bravery in approach that gives Diabology an edge. The bluesy instrumental “Spoil” that sits in the middle of the album is a fabulous example of a band unafraid to change the format from ten heads down thrashers. But that’s not to say that Diabology don’t get their fingers dirty. The album opener and title track is a savage assault on the senses, with Bergen’s gruff roars likely to put off a few listeners who like their enunciation a bit more polished.

The dual guitar work is excellent, and there’s even some Maiden style harmony leads on the pounding “Blackblood”, a track that slips from thrash to sludge ala early Mastodon with ease. Latest single “Writhe” is served up early, punishing riffs and a driving rhythm digging deep into the memory banks. It’s sturdy stuff, with enough groove to nod along to.

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Thick, sludgy riffs are amply represented throughout, nowhere better illustrated than on the brooding “March to Sea” which is as heavy as anything on the album, slower in pace but just as heavy. There’s the progressive approach on Chimera which sees crushing riffs challenge faster, expansive segments and some very impressive lead work. This all leads to the finale, the dark, swirling sinister atmospheric “Lighthouse Hymn”. A gargantuan feast, it wraps everything that Diabology do well in one hit, with suggestions of Voivod in the band’s unique delivery.

I’d not heard of the band prior to this record, but there’s something for most tastes on this release, with solid production thanks to Dave Kaminsky. Maybe the last word should go to the band: