Nawabs of Destruction – Rising Vengeance [Things You Might Have Missed 2020]

It’s time to ask the real questions. No more beating around the bush. What is a Nawab? According to a cursory Googlefu, a Nawab—which, translated literally, means “Viceroy”—is a Southern Asian royal title attributed to a governor under the Mogul empire, and was generally comparable to the Western world’s idea of a King. Alternatively, a Nawab could just refer to “a Muslim nobleman or person of high status.” So when you read the name Nawabs of Destruction, the honorable subject of today’s tongue bath, show the appropriate measure of respect. With their debut record Rising Vengeance, the Dhaka duo rules with unequivocal power as this year’s best melodeath act by a landslide.

Released on April 1st, I’m tempted to believe that this was Pathologically Explicit’s idea of a “prank.” What the hell is a gross gore slam label doing releasing an album as righteous as this? This doesn’t sound like Encephalopathic Defenestrectomy or whatever other fake band name I can think of! Granted, Rising Vengeance is the most brutal melodic death metal album I’ve ever sampled, judging from overall sonic profile, but it’s also invigorating in it’s musicality and refreshing in its creativity. Whatever roles Saad Anwar and Taawkir Tajammul provide (I suspect both assume multiple instruments, and I know Saad performs vocals at least), they created an immense slab of riffs, choruses, solos, theatrics and most importantly, fun. In other words, Nawabs of Destruction boost your bench-press stats straight into the stratosphere while you sing and dance in shameless glee.

Whatever you’re expecting, you’re already wrong. From the start, Rising Vengeance revels in unpredictability. “Beginning of the End” is a mid-paced waltz that dramatically opens the record up without putting all its cards on the table. It’s a veritable power move that this duo seems way too good at, as each song manages to accomplish this same feat again and again. As an example, I defy anyone to anticipate a seven minute prog-death epic like “Reincarnation” after the speedy romp of the title track. Over the course of the record Nawabs of Destruction blast their way through intense brutality (“Sleep Paralysis,” “In the Verge of Death”), irresistible solos (“Rise of the Warlords,” “In the Verge of Death” again), and riffs that’ll break your neck like a toothpick (especially on closer “The Merciless”), not to mention the generous application of soft clean picking and singing that adds another dynamic to an already potent blunderbuss.

However, the things about Rising Vengeance that I love most are the little details. The 80s reverb snare used in the title track puts a big stupid grin on my face because not only do I love that sound but it also works perfectly in the song. Then there’s the incredible buildup and exhilarating release in “Rise of the Warlords” that even incorporates Hammond organs to wondrous effect. Even “In the Verge of Death” saves itself from relative genericism by finishing off with the wiggliest solo ever. It’s been eight months and still I find cool embellishments like that to unpack despite this thing being heavily compressed in the production suite.

In short, Nawabs of Destruction are fucking awesome. Go listen right fucking now.

Tracks to Check Out: “Beginning of the End,” “Sleep Paralysis,” “Rise of the Warlords,” “The Merciless”

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