SlaveAn interesting intro to the second album release from this Athens-based band gives a suggestion of something djenty-progressive with electro touches. Such intros can be indicative of what follows or meaningless.

Here it’s indicative, at least for the following two tracks. “The Weakened’s Rest” is like a spectacular firework display. I really like its controlled irregularity. That djenty electro touch is there. I felt the movement thundering through me. There’s humanity in the vocals. So far, so promising. “Wreck Age” is another explosion of ideas. Rich and kaleidoscopic, heaviness is just one of many elements. There’s more than a tinge of Meshuggah here, but I was reminded also in the rising humanity of two of my favourite progressive bands Mely and At The Soundawn.

There had been strong hints of modern metal hardcore in “The Weakened’s Rest” and “Wreck Age”. This comes to the fore from “Corridors’ Swirl” onwards. The turbulent aggression is watered down by the emotive choruses. There are flourishes but I much preferred the multi-styled assault and surprise elements of the earlier tracks. Good instrumental sections are inserted here and there, and SlavEATgoD know about tempo changes. I heard a little of Mnemic in the style. But it’s not that exciting. “Ceased the Days” ends epically, but it’s still not as challenging or interesting as those earlier songs. I liked the last track, the instrumental “Last Solace Attempt”, which highlights the band’s technical skill, but also ha me wondering if the band really knows what their strengths are.

This album is a diverse affair. Between a dynamic stat and an interesting instrumental end, the middle section has nothing especially original or vibrant about it. Some of “The Skyline Fission” is exciting. Some of it is predictable. It’s almost a case of “try this, and if you don’t like it, we’ve got something else for you”. So this is like three separate albums in one. It’s evident that SlavEATgoD have got some great qualities as a band but I don’t think they exploit them here to the full.

(6.5/10 Andrew Doherty)

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