Despite having existed as a band for only 8 years and releasing just three full length albums, Primitive Man are a trio that need no introductions. This could be attributed to the whopping eight split releases they have put out with the likes of Unearthly Trance, Hexis, Northless, etc. or it could be the plethora of live shows they’ve played across the globe, leaving a skull shattering impact on audiences internationally. Most likely, however, is the lasting impression that Primitive Man’s music has on its listeners – the all-encompassing, suffocating murk of the depths of despair that they so accurately weave into glacially placed, hate filled musical vitriol. ‘Immersion’, the title of their latest album, could not be more apt.
Most noticeable upon pressing play is the massive shift in duration, while previous LP ‘Caustic’ clocked in at almost 80 minutes, with song lengths of well over 12, ‘Immersion’ sits at a much more comfortable length of less than half that. That’s where any sense of comfort abruptly ends, however; it’s clear that Primitive Man are no less intent on wrapping an audial hand around your throat, they’ve just learned to do it more concisely. If you can batter your listeners into submission in 5 minutes instead of 10 then it makes sense to choose the more efficient option of the two. This ultimately works in Primitive Man’s favour, as they leave no room for your attention and focus to wander, meaning the feeling of dread and panic invoked by each song never has a chance to fade or falter.
Aside from length, Primitive Man haven’t really changed anything about their sound. Progression isn’t part of their appeal though, what makes them such a fascinating and horrific force to be reckoned with is that they are constant, unchanging and vigilant in their all-consuming animosity. McCarthy, Campos and Linden are reliable in the sense that you can pick up any opus from their back catalogue and instantly be dragged down into a pit of unrelenting misery and oppressively heavy compositions that feel like a familiar yet disturbing welcome home.
(8/10 Angela Davey)
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