DAVE LOMBARDO — Rites of Percussion (review)

DAVE LOMBARDO — Rites of Percussion album cover

Album · 2023 · Metal Related

3.5/5 · 2023-07-01
Necrotica

To anyone who only knows Dave Lombardo’s work on a surface level, Rites of Percussion may seem like a strange stylistic turn for him to take. The former drummer of Slayer abandoning metal and releasing an experimental, almost ambient record? Crazy. But remember: Lombardo’s been slowly adding more dimensions to his playing over the years, whether that be with the avant-garde group Fantômas or his collaborations with saxophonist and composer John Zorn. So in reality, an album like Rites of Percussion didn’t necessarily come out of the blue. Here’s what Lombardo told NPR regarding the project:

"It's something I've always wanted to do because I've been influenced by so many other drummers and percussionists that weren't metal or thrash, you know? I wanted to express how deep my influence goes with rhythm."

As such, what we get here is essentially one long drum exercise, accompanied by strange, hypnotic sound effects to enhance the overall “vibe”. If you’re looking for any manner of conventional songwriting, you ain’t getting that here. In terms of where Rites of Percussion fits into Lombardo’s discography, I would tie it most closely to his eerie, experimental performance on Fantômas’ Delirium Cordia. But unlike that 74-minute-long behemoth, this record is much more lean and streamlined; just 34 minutes of drumming and odd effects, and that’s about it. Still, with that said, there are a few standout cuts among the general repetition of Rites of Percussion. “Interfearium”, for instance, does away with the drums for most of its runtime, instead opting to let its uncomfortable horror-like atmosphere do the talking; the track is a wonderful exercise in tension and release, as its buildup almost becomes unbearable by the end. “Maunder in Liminality” is another cut that loves to dwell in this uneasy musical setting, as the entrancing drum patterns beget the strange keyboards looming above them.

If there’s any sort of diversity on Rites of Percussion, it comes from just how many drumming styles - as well as how many types of drums - Lombardo could fit into one album. He explores everything from metal to Afro-Cuban jazz to bebop to film scores, and that’s when you realize: this record basically acts as a celebration of everything Lombardo has accomplished over the course of his career. Shades of his work with Slayer, Fantômas, Grip Inc., and Testament can all be found here, all peppered with Lombardo’s Cuban roots. The man is one hell of an accomplished musician, and I really hope Rites of Percussion can serve as a way for the uninitiated to discover just how talented and versatile he is. This is most certainly a niche record - anyone who’s not already a Lombardo fan or drum aficionado may be turned off by it - but it’s a cool one nonetheless. And at only 34 minutes, it’s at just the right length to do its job, experiment with some neat ideas, and get the hell out. If you enjoy Lombardo’s work and want to hear a brief summary of his many, many accomplishments, I highly recommend Rites of Percussion.