Disillusion Effect

Every time things get difficult, Disillusion Effect reacts the same: Push forward. Overcome. Destroy.

And damn have the seas been choppy for this West Virginia metal outfit. Conceived from the remains of the now-defunct Morgantown, W. Va., standout group Diabolus, Disillusion Effect swept across the Mountain State quickly and ruthlessly following its inception in the summer of 2012, screaming, chugging, and rumbling its way through the Appalachians and beyond.

Following the tragic death of vocalist Ray Bonnell, Diabolus disbanded, and guitarist Jimmy Rhodes and bassist Robert Immel (better known as Bob Stompt to fans) turned to porch-pickin’ to satisfy their musical needs. Living and playing together for years, the two developed a unique chemistry, and soon the porch was not enough—they needed a stage. But first, they needed a band.

Word circulated that local, West-Virginia-based group Plagues of Man was soon to break up, freeing up their drummer, Jacob Miller, to pursue other interests. At this same time, vocalist Chris Rabideau emerged from the shadows, a shy kid with a propensity for powerful growls hoping to join Version 2.0 of a band he idolized.

Both Miller and Rabideau passed their tests to join the group, and Disillusion Effect was born. The four-piece outfit shredded across West Virginia, Pennsylvania, and Maryland, commanding the respect of audiences and paying no mind to the significant resistance met along the way.

Like Diabolus, Disillusion Effect boasts a style that calls to mind lauded American metal acts such as Pantera, Unearth, and Lamb of God, but the group is committed to evolving and to growing, and recent efforts have dabbled with elements of modern technical death metal, creating a hybridized sound that evokes outfits such as Job for a Cowboy, Beyond Creation, Cattle Decapitation, and more.

This dedication to growth and change is reflected in the music they’ve produced. First came the single, “Dawn of Our Unmaking,” produced by Morgantown, W. Va., musician Aristotle Jones. Provided to fans for free via their Bandcamp, “Dawn of Our Unmaking” put the local metal scene on notice. Raw and stripped-down, this release showcased the first edition of Disillusion Effect—ambitious, relentless, and a bit wild and unrefined.

Next up for the band was the self-titled extended-play (EP), produced by Mark Poole of Zone 8 Recording Studios. While “Dawn of Our Unmaking” stood as a straightforward exhibition of the band’s brutal tendencies, this EP advanced the band’s sound, showing off dynamic melodies, harmonies, and song structures in addition to the hard-hitting riffs and growls fans had grown to expect and to love. The EP also represented the band’s first foray into involved post-production and creative album structures, featuring an ambient intro as well as a classical-guitar-styled outro which book-ended four tracks of classic DE force and might.

Following the release and support of the EP, Disillusion Effect hit a mammoth speed bump. Battling a serious personal dilemma that commanded his full attention and respect, Miller was forced to bow out of the band, leaving Disillusion Effect without a drummer just as the train began to gain momentum. Strained and battered but ultimately undeterred, the now-trio pressed on. No drummer, no problem. Programmed drums blasted through the house PA would work for now, and the band trudged forward despite many suggesting they call it quits to avoid any embarrassment.

The chip on the group’s shoulder tripled in size, and they responded to this hardship by releasing its most ambitious offering yet, “Behold the Inevitable Beast,” a nine-track, full-length album. Drawing inspiration from the do-it-yourself approach adopted by Byzantine for their recent efforts, including “To Release is to Resolve,” Disillusion Effect undertook the recording, mixing, and producing process upon itself before sending the album to Jay Hannon at 7 Over 8 Recording Studios for mastering and final touches.

Aside from the best production value and recording quality for the band to-date, “Behold the Inevitable Beast” revealed the band’s most significant stride forward musically, offering layers upon layers of harmonies and vocal lines, guitar solos, and an undeniable, thumping and driving bass presence.

As it is prone to do, though, life again intervened, and founding member/guitarist Rhodes made a life decision that once more put the band’s future in limbo. A first-time father, he too had to leave to begin a new life far south, in Florida, and the band appeared dead in the water.

Rhodes, however, ensured his passion project would not die. Before announcing his departure, he chatted up another local musician, “Big” Ed Green to see if he’d be interested in filling his shoes. Green accepted without hesitation—and brought a bonus along with him. His band, The Kafka Machine, was packing it in, and drummer Aubra "Adam" Cole needed a place to go.

The decision was obvious, and Disillusion Effect was reborn as a five-piece outfit still hellbent on the same outcome: bringing metal to the masses.

With a single, an EP, a full-length album, and a second, soon-to-be-released full-length on tap, Disillusion Effect represents the crossroads of talent, dedication, and, above all, relentlessness. Beaten, broken, and worn down, the quintet refuses to go quietly into the night, and if history has proven anything, it’s that each iteration is stronger than its predecessor.

No stopping. No slowing. No concessions. Disillusion Effect presses onward.

Discography:

Dawn of Our Unmaking [single] — 2013
Disillusion Effect [EP] – 2014
Behold the Inevitable Beast – 2015
TBA – 2017*

* In progress