Dissonant chords are called dissonant for a reason. As opposed to conventional death metal atonality built on floating key relationships but not without a sense of melody, dissonance lacks a harmonic center. When used tastefully and when supplemented with more conventional note choices, this can be a device of great power, as seen on the seminal Here In After. Effective dissonance requires an acute understanding of groove, phrasing, punctuation, and restraint, however, the tropes devised by Deathspell Omega since Kenose, and that have found such devotion with new bands, are devoid of these prerequisites. In the noisy music that these bands play, the exaggerated use of dissonance with extreme distortion has the undesirable effect of notes bleeding into each other in a veritable cacophony and destroying any melodic leanings that might lie underneath.
This is a simple matter of colliding versus colluding frequencies and how they relate to human aesthetics. Dissonant note combinations are incongruous among themselves and have an efferent or outspreading, and infective effect on surrounding notes. Adversarial, on their latest album Death, Endless Nothing, and The Black Knife Of Nihilism, employ this some egregious use of dissonance in what is a stark departure from their debut. All Idols Fall Before The Hammer was equally noisy and with a terrible snare sound, but it was still based around traditional black/death ideas and emotionally tactile motifs. A gap of five years between albums has, unfortunately, seen this once promising band get carried away with the more lazy developments in extreme metal. As an early fan of the band, this album is a disappointment.