This US hyper speed technical death metal outfit seems to divide the death metal fraternity when it comes to whether they are death metal or not as in the past I have seen the band labelled as metalcore which is just plain ignorant of their style. With an enviable discography over the last decade or so the band has continually topped each release with groundbreaking arrangements and of course the bands unerring ability to pound the listener with utter decimating savagery. Two years ago “Everblack” could be viewed as a pinnacle in the bands output and where to go after it is one they may have contemplated before writing this their seventh full length.
The extremely short classical based intro is pummelled into oblivion by the ferocious riff that explodes out of the speakers on “Receipt” grabbing you by the throat and throttling unrepentantly. The bands trademark inhuman drumming is intact as is the tornado riffing and lead work backed by the bass undercarriage which almost goes unnoticed as it is very subtly blended into the mix. Acts like this take quite a few listens to absorb every facet of what they are capable of and if anything this album sees the arrangements increase in complexity but it’s the guitar work I feel that stands out when listening to the album. Nothing is left to chance every riff, hook and lead is inserted with a mathematical accuracy as the lead breaks are stupendous throughout.
Reining the speed in on “Vlad, Son Of The Dragon” there is an inherent degree of melody to the track that is amplified during the solo break which is a algebraic as anything within the technical death metal scene bar no-one. The title track detonates into life with a very catchy riff that possesses a certain air of sadness to it as the tune breathes new life into a blast phase that is entirely unreal, the blast snare is borderline blurring bedlam but enables the lead break to gain focus for the listener before returning to the hyper blasting insanity. As each successive sonic assault passes by we get to “The Fog”, a much slower track initially, more thoughtful and brandishing an emotive stance that is concentrated by a slightly different drumming approach I felt, being more heavy metal based than death metal allowing the blast breaks to be incredibly enhanced when they hit. “Stygiophobic” (fear of hell) has a gloomy riff to start and a slow claustrophobic feel as the slow double kick is deployed and some gut disembowelling vocals that set the song in a doom death guise. The tune gathers steadily almost unnoticed as layers of melody are inserted and a lead break that is extremely tuneful as it fades to nothingness ready for the next tune “Asylum” which continues the melodic poise but ups the speed into blast territory, as schizoid vocals do battle with each other as yet again a tremendously dextrous lead is aired that I like enormously and had me penning Mike Amott and even Gus G for similarities. Something that continues on “The Advent”, a tune that boasts some keyboard additions and virtual symphonic styling momentarily that I enjoyed thoroughly and would maybe like to hear more of.
Personally I feel this release is a more rounded album and showcases the bands playing abilities on all fronts and whilst it is obvious the band has decreased the speed a notch or two to allow for more challenging musicianship “Abysmal” is a perfect follow up and should please their fans immensely and maybe garner a few more non-believers in the process if open minded enough to really listen to the album properly.
(9/10 Martin Harris)
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