Tempe, Arizona based misfits Singularity is back with a new album dropping very shortly, and I have to tell you people. It is awesome, I mean better than some of the stuff I have been hearing for the past ten months. There were not many albums that came out this year that impressed me thoroughly. There were some I was excited about, and were exactly what I expected from them. Place Of Chains is on another level, its album of the year material in my book. I’m not going to waste any time hyping this one up. I would only be talking about the first 5 tracks, however the first track is an introductory, and without lyrical content. I am also going to cover track #6 Desmoterion since that would make five songs with lyrical content, and also longer than 3 minutes in length.
#1) Bellum -The intro, what a nice lead up into the next track. I love when a band has a solid introductory track. While it may seem like a simple thing, some bands blow it in my opinion. This is how to lead in right. The first minute and a half has no drums. Then boom 1:40 things kick it up a level. The buildup is spectacular. A nice solo to finish things off and moving right in to the next track. More than just a mere introductory track. They pack a combo of killer instrumental work right before fading into Victory or Death.
#2 Victory Or Death- Hot damn this one is right out of the gate with rapid-fire blast beats, and menacing guitars. I need to give praise to these guys for beginning with “LET THE GAMES BEGIN” how can you begin an album with a more badass line than that. Jack just got everyone’s attention with that brilliant line. I feel like I do not even need to listen to the rest of this song to make my mind at how awesome it is. They give you hell for a solid minute and then ease up on the listener. I am sitting in awe listening to Nathans drums. Dude this guy is nuts. I mean the guy was touring with Alterbeast and filling in on drums for others at the same time. He can definitely hold his own that is made clear right now. Man the guitars just lure the listener right in. Whoo, that is a Ric Flair-esqe guitar solo towards the end of the song there. To be honest, this is my first chance listening to Singularity. I knew they were coming out with something so I held off listening to stuff from their first album until this album graced my hard drive.
#3) Sisyphean Cycle – Sisyphean cycle- grim intro with the vocals, a much slower start to a track than the last one. I get a bit more of a black metal vibe on this track. I’m not a big black metal fan, but, around 1:20, they eloquently begin to melt faces with that frenzy of blasts and guitar riffage. I must admit my interest was piqued with Blackened technical death metal but damn I like what I am hearing. I am really digging the technical death metal bands that have the black metal style weaved throughout in subtle form. These guys blend so well. I believe this is one of the singles they released and for good reason. It really highlights their ability to go the distance with so much spice added to the song structure. That last solo starting at the 4:58 mark is spectacular. I love the orchestration behind that guitar solo. I mean this is what I am talking about, absolutely brilliant sounding. The last minute and a half are killer. Goddamn these guys are on fire.
#4) Ritual of Regret – Nathan makes quick time getting this song set up and on target. It has a nice pace to it, and I am really digging the change of pace when the vocals come in. not a ton slower by any means, they still maintain a good pace. It was a damn good track to do some yard work too. Anything that requires your amped up energy levels, this is a good track. I would say for any people who listen to metal and get motivated. This album will help you rip the shit out of whatever you are doing Just a full disclosure, if there was one and only one song that I feel as though it is a little more 2 dimensional, or is a little leaner than the rest. It is the shortest track on the album not including the first introductory track. Nevertheless, it does not lack in quality, let me be clear. The meat to this song is impeccable. I guess the only thing I can notice is less solo work, less Nathan Bigelow drum brilliance.
#5)-Consume and Assume – This is a solid example of Nathans kick ass drumming skills. Just listen to that beginning. The dude is just straight crushing it with something that is jazzy, technical and then flips his blast beat mode switch and completely decimates any room for a spare note. Looking for a guitars solo that will make you want more, it happens right at the 1:43, mmmm listen to that solo. It feels like it had a double serving of soul in it. This is a fun track to listen to; the melody in the back is superb. They have constructed a sound so beautiful and yet damn they have such a razor sharp technical blackened death sound it is ridiculous. I genuinely am excited for anyone who is looking for something new, or have never heard singularity before, because this is going to be a fan favorite album. I am so impressed by this album thus far, it’s truly top tier metal.
#6 Desmoterion- Holy shit, this is absolute hellfire, mixed with legitimately everything you could possibly want in a track. This song clocks in around 7 minutes long, but have no fear you will feel like the song packs in a full 10. There is so much meat to this tune it is not even funny. In terms of how you will feel after listening to it. Well let us be honest with each other. You’re going to feel like there was life before Singularity- Desmoterion, and then life after this track. People are going to remember where they were when they heard it type of shit. Yeah, if they don’t release this as a single, it’s because they do not want to melt everyone before hearing the album in its entirety. If you have managed to hold your shit together through the first half then just get a load of the moment 3:55 hits, because this sets up such a magical acoustic melody with the guitars. Drums come in with just the right zest and they work that, building up 5:10 when the vocals come in “Release me…..” and then one of the sickest solos one has offered up this year. This track is a pure display of superior musical power. God damn now that is a chart-topping track. This song alone sells the album for me, I do not even need to listen to the rest to know I am buying it, but since I’m writing a review, I have listened to more.
This album is going to be one of my top albums of 2019. I have not been a fan of any black metal or blackened anything that has come to me in months. However, damn, this is different. Starting out the album with the first words you hear for lyrical content is LET THE GAMES BEGIN. That right there is to me a small meticulous detail but the fact of the matter is that this album absolutely crushes because of all the little details. The pianos, the melody, the solos, how they blended black metal and technical death metal without any fluff. They do not need to trim the fat; they are a lean smooth running machine of some of the sickest metal I have heard in a while. The amount of “Technical black, blackened death” etc. I have gotten, and how many I have even considered writing about is two very different numbers. This album can and will stand the test of time. This album, this band has blown me away. There are some heavy hitters on the guest list too. Malcolm Pugh on every track for the additional orchestrations. Nick Padovani for co composition and guitar solo, Jared Christianson doing some guest vocals on Victory or Death. This album is packed to the brim with talent. This entire album, from start to finish keeps the listener engaged. Every second of every song is musical platinum. I cannot find a single thing I dislike about this album, I just cannot, and there is nothing that could be changed to better this album.
10/10 go out and buy this ASAP your ears will thank you
Go on and get ordering before this drops on Friday
Man Of Your Dreams ( M.O.D. cover Feat. Rob Barret III)
By definition , the misery index is an economic indicator. One created by economist Arthur Okun. The index helps measure how the average citizen is doing economically and it is calculated by adding the seasonally adjusted unemployment rate to the annual inflation rate. It is based on the assumption that both a higher rate of unemployment and a worsening of inflation create economic and social costs for a country. The band also gets their name from the 1997 Assück album by the same Name.
This album is an absolute crusher, much like Misery Index’s previous albums it has blunt thought provoking lyrical content about the world we live in. There is something unique about this album though, feels like they are playing not just heavier but deeper. They aren’t littering the tracks with polarizing blast beats, and they also have two cover songs; Wasting Away (Nailbomb cover) and Man of your Dreams (M.O.D. – Method of Destruction cover feat @Rob Barrett Iii of Cannibal Corpse). This is something we have not really gotten from Misery Index since the Discordia album. Now don’t get me wrong, that does not mean this is an album to pass on. I will argue that there is no such musical release by this powerhouse of a band worth passing on. They have come a long way since tracks like Angst Isst Die Seele Auf off of Retaliate. Rituals of Power boasts big sound, and the blend of death grind, with such noticeable groove is actually quite pleasing to the ears. I love blast beats and fast tempos, but Misery Index proves that it is not all about blast beats these days. For review, I am only covering the nine songs that are not covers. However, it is worth mentioning that they do an absolute killer job on the cover tracks.
Universal truths- This is a borderline introductory track. It starts out with the guitars and drums playing a slightly dissonant style, slowly building up a rhythm and continue to build until the 1-minute mark when the vocals come in. In typical fashion; the vocals are crushing low growls that escalate subtlety. It has about half the speed of many of earlier Misery Index songs, but I would be damned if I said it wasn’t 100 percent as brutal. I mean the last line of the song is ” A fundamental flaw, a system overload of means without ends. We reap what we deserve” never to stray away from the blunt truth Netherton has a way of writing lyrics that have the same impact of getting punched right in the nose. Straight to the point, no filler or fluff, just right to the point without any sugar coating. This is just the type of song you can listen to and get yourself warmed up for the rest of the album. At only two and a half minutes long, this track is simply the setup, a damn good set up at that. from a line in the booklet ” Truth sells, but who’s buying?”
Decline and Fall– Universal Truths rolls right into Decline and Fall, with rapid-fire blast beats, and a grinding riff that the listener will certainly appreciate. I find myself really digging the chorus of the song with the gang vocals in unison shouting “DECLINE AND FALL!” Misery Index do not use this style in all of their songs, but when they do there is this insatiable urge for the listener to join in. Similar to the track Traitors you just can’t help yourself because the song hooks you early and by the time the gang vocals begin you are feeling like you are at a Misery Index show and feeling that you are in the right place at the right time. Its not until the 3:00 minute mark that they slow things down, and then the groove begins where you find yourself nodding with enjoyment of the killer down tempo riff and vocals. This is one of the songs off the album, which will surely be a fan favorite.
The Choir Invisible- This is one of the tracks they released as a single, in the form of both a lyric video but also Adam Jarvis did a playthrough with Sickdrummer magazine. The set up feels like a classic M.I. set up, good drum and guitar into until the bass drum roll and then the vocals begin. If you aren’t hooked by the thirty second mark then you might not be a fan of metal. Because M.I. do not try to reinvent the wheel, they have a formula that works, and it works everytime. Its all in the sound and style they have solidified as their modus operandi. Grinding guitars, powerful blast beats, and vocals matched with lyrical content that is meant to have an impact. For one of the worlds best death grind bands, their lyrics are unconventional with typical metal. This is one of many of the songs on the album with that lyrical impact, if you don’t find yourself thinking about the words and what they mean. Then you are probably only interested in blast beats and fast tempos, not how powerful the song actually is behind the riffs and drums. Right around the 2: 17 mark they transition in to a menacing slow roll like a bulldozer chugging along and clearing everything in its path. Unrelenting power, with a criminally insane sound. Right around the 3: 22 mark they grace us with a smooth guitar solo that can eclipse tech death shredders by using simplicity and the delivery is what makes it top notch for the listeners.
New Salem- Now here is a song that everyone living in the world today should be able to relate to. Again M.I. have thought behind their lyrics and are not designed for shock value, but are more thought provoking. This song was the first single they released, and a damn good single to premier the album with. It is one of the shorter songs, but packs a shit ton of grind and groove into it. when the vocals kick in the drums go right into a rolling battering ram. Guitars are grinding with that buzz-saw distortion and the song maintains a constant feeling of aggression and chaotic modern times. This is one of the most infectious songs they have put out to date in my opinion. I would not say it is my all time favorite M.I. song because lets face it they constantly raise the bar, but maintain their unique sound. If you’re looking for blast beats and guitar shredding, than this is a song for you. I challenge anyone to listen to this song and not move a muscle by the two minute mark. I know I cant help myself, I’m tapping my desk, playing the air drums and really enjoying the feeling this song provides. Like it or not, you will be amped up by the end of the song without fail.
Hammering The Nails- Now this is probably my favorite track off the album. The beginning is exactly what you have heard from previous albums. Simple but strong set up for the guitar to join in, and then the vocals kick in for the first verse. Just listening to the guitars with the vocals is absolutely infectious. This also showcases what I have been saying about Adam Jarvis for years. The guy can play unwavering blast beats with power. Not a single “ping” from the snare because he missed his target or held back. Yet he also is not limited to blast beats like some drummers out there. This song has a small amount of blasts and it shows his diversity on the drums. The drums compliment everything about this song perfectly, so much so, that if the song was riddled with blast beats it would not sound right at all. The guitars are top notch as well, the guitars at the :16 second mark lure you right into the first verse willingly and before you know it you are singing along to “Hammering the nails down! As we each die clinging to the lies that hold our world in place!” Good god almighty this is a Misery Index song that will appeal to everyone Misery Index fan or not. hands down this is one of my favorite tracks off the album, it has gotten the most spins and has the classic Misery Index feel I love. I am however wondering if its a slight play on words from their Compilation titled “Pulling Out The Nails”.
Rituals of Power- Alas, the title track of the album, and what a banger it is. The song is the embodiment death-grind, a sound that is beyond compare, paramount, so well blended that they never need to stray from that sound. The sound is like classic death metal and grind mashed through a meat grinder. The intro with the guitars and drums really set up the pace of the song. They provide a menacing feel right up to the first vocalization on the mic. How can one listen to this track and not feel the power behind the instruments? The chorus alone has me feeling as if I am unstoppable. And I cannot control my urge to sing along; “With a concrete stare, RITUALS OF POWER! The dead eyes of the past, RITUALS OF POWER! Up to the gates of Armageddon RITUALS OF POWER! Until we’re all one with the dust, RITUALS OF POWER!” It has an anthemic death grind feel about it, I never thought I would use those words together, but I’m not surprised that I was able to when writing about Misery Index. Transitioning around three minute mark, the song takes on a slower feel, with a simple and effective solo. It all blends in well to go back to that guitar solo before wrapping things up by looping back to the rhythm at the beginning of the song.
They Always Come Back- This song is so direct, they don’t pussyfoot around things on this track. It has a brief set up and they get right into the first verse rather quickly. Adam sets everything in motion with a snare bass pattern that welcomes the buzz-saw guitars and then the opening line “these bastards never die!” Like some of the previous tracks it features those gang style vocals we do not always expect from the M.I. crew, yet they are perfect. I would list this as one of the songs on the album, that breaks out of the mold from previous albums. Not a single blast beat that I could detect, slightly slower pace, and gang vocals, these are not typical of Misery Index. Nevertheless, I love it; they have not changed their sound at all, not one bit. They simply have adapted their delivery to correspond with the lyrical theme and the state of the world we find ourselves living in today. If you had told me 10 years ago, that Misery Index would put out a song with zero blast beats in it, I would have called bullshit. Because it was such a noticeable characteristic of earlier Misery Index drums. However, it feels right, it absolutely feels right.
I Disavow- Many of you heard this track when they put out the single earlier in 2018; this I would say was a great track to have put out that early. In the beginning, the guitars whip up a grinding driving riff that sets up Adams blast beats in spectacular fashion. If the first ten seconds of this song do not hook you then either you are not using the right speakers/headphones or you are doing it wrong somehow. This paves the way for a cool melodic guitar solo around the 1:44 mark that is simple yet so perfect for the next phase around 2:10 when both guitars are syncopated and mesmerizing with a short shred fest before going right into that infectious driving rhythm from early in the song. Right around the 3:28 mark, they break down to a killer slow, punchy section that causes an unavoidable eruption of fist pumping, headbanging destruction.
Naysayer- This is going to be that one chaotic blast beat filled track that is a fast paced whirlwind of grinding guitars. This is the only track that lyrical content was contributed by both Netherton and Kloeppel. That intrigues me, because there are not that many bands who have two people handling vocal duties, who both have a pretty closely matching style and delivery. Misery Index does, and that’s something I have always loved about this band. The vocals are on point, Jason and Mark don’t look for whats socially acceptable or popular for vocal styles. They just do their own thing, which together is a great blend of mids and lows. Together that vocal delivery fits the driving death-grind rhythm of this song perfectly. This song is what i call the anchor track, every album Misery Index puts out, has a killer song at the end. its not always a fast song, or slow. it may or may not be riddled with blast beats, but the one thing that is consistent is the impact from the song. this is the shortest song on the album, and they jam pack this song with a ton of sound. I challenge you to not move a muscle when you reach the 1:24 mark. as it sets up this killer driving rhythm, no solos or anything just solid riffs and fast drums. there isn’t a single bland moment in the song. They pummel you with 210 beats per minute and never hold back.
As for the two cover tracks, all I can say is they do a killer job on them. I mean any cover Misery Index has done, has never been a disappointment. They have never half-assed a single thing these guys have ever done. I wont be reviewing these tracks as they are not Misery Index originals, but it is worth mentioning that they are killer renditions of two already awesome songs. Man Of Your Dreams has Rob Barret handling vocals which is such an interesting sound. to hear Misery Index the band play another bands song, with someone else doing vocals not in Misery Index, and not even growling vocals. its pretty fucking cool to listen to.
In conclusion this album is a solid addition to the Misery Index catalog. It has a mature sound and great production quality. Yet one thing is for certain, I will never have the opportunity to say anything bad about this band. They have never provided that opportunity, and I feel there is a very good reason for that. For starters, the two guitarists Mark, and Darin. Mark is such a well spoken individual with great talent, and killer vocals that compliment Jason’s vocals. He works for extreme management group and is one of the coolest cats you will meet. Darin is probably the quietest of the bunch and has some mystery behind him. However I have listened and have spoken to people from other death metal bands who have named Darin as the reason they got into metal. That he introduced death metal bands to them and if it wasn’t for Darin, they would not be where they are at today. Also worth mentioning a lot of those killer guitar solos you hear are Darin, and to watch him play on stage is like watching an athlete have the best game of their life. He comes alive on stage and after the show is over, he looks and acts like he had a great night. Almost as if he wasn’t the one on stage, but one of us in the crowd enjoying the show. Adam, one of my all time favorite drummers. Adam is in a small handful of bands, frequently mentioned among Facebook groups for drums, and also appears on sites like SickDrummerMagazine. I will always point out that there are not always a need for blast beats. I love some hearty blast beat filled songs, but not all songs need them. And not all drummers are even good at them. but I find usually those are the “weak” sounding ones, like the drummer cannot maintain blasts for a long period, or there is little power behind the blasts so the sound is not consistent. Adam’s blasts are just like regular blast beats, except that they have brute force behind them. I am always surprised by drummer who can deliver super sonic blasts, but always disappointed when they sound a little weaker and are less distinguished than the rest of the snare hits. Adam doesn’t hold back, and he doesn’t need to impress anyone with how fast he can blast, because whether they are rapid fire or not, the volume and intensity is the same. Consistency rings true with his drumming style. He is consistently accurate, fast, powerful and impressive. Not to mention all his other bands his style may change with the genre, but his consistency never does. And just like the rest of the guys, he is absolutely humble, and will talk to anyone who calls themselves a fan. Last but definitely not least is Jason Netherton, this is a name that every metal head should know. Not only a founding member of Misery Index, but also a founding member of Dying Fetus. He has been touring for about 23 years, and is a world traveler because of his music. He is also educated, not that it means typical metal band members are not. what I mean is, he’s not JUST educated, he has actually spoken at metal conferences. He is an icon, a death metal icon, yet the guy is one of the most humble people you will meet. Someone who has been in two major metal bands, written at least one book that I know of, and has spoken at a metal conference in Finland. One of the most business oriented, yet laid back and humble individuals I have ever met. When I think of a death metal supergroup I cant help but feel the need to put Misery Index in that bracket. This album is proof that they aren’t going to try and mix things up to appeal to more people. They aren’t about to change anything about their winning formula. Instead they are going to continue to raise the bar, tour the world, reach the masses, and make thought provoking death-grind like it has never been done before. This album gets a 9/10 \m/ from me, hands down. If I said it was a 10/10 no one would believe me, but this is one of my favorite albums by them yet. I had Heirs to Thievery in my car CD player for a solid 3 years without ever taking it out. I didn’t think any album would top that, until they put out The Killing Gods, and now Rituals Of Power takes Misery Index to the next level.
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The Background: Stortregn, hailing from Geneva, Switzerland, have been kicking around in the underground for just over a decade, and Emptiness Fills the Void is their fourth full-length. Previous outings failed to make a strong impression on me, as their brand of Dissection-influenced black/death metal has been done to death, and no pretender has ever topped the original. Perhaps conceding this point, Stortregn have emerged from the shadow of their primary musical influence with a massive dose of fretboard fireworks and blistering drumming. They may have been black metal once, but they’re tech death now, and proud of it. Luckily, all that prior songwriting experience was not left behind, which brings us to this album’s main draw: while this sort of flashy, tremolo-obsessed tech death has become considerably more common of late, this band is one of the few in the field with the wherewithal to write good songs.
The Pros: There’s a focus on melody here that can be hard to find in extreme metal, and the band has the important ability to recognize when their own riffs are good; one thing I noticed consistently throughout the record is the re-emergence of only the choicest melodies, often backed with catchy vocal patterns. This trick is immediately apparent from opener “Through the Dark Gates”, which hammers its primary riff with such dedication that it runs through my head for hours after listening. Every track on this album has a selection of such moments, which is what brings me back to them repeatedly. With a roster that boasts a dizzying and somewhat confusing abundance of guitarists and bassists, the subtlety of the two- and three-guitar harmonies and the agile, confidently melodic bass work take center stage. The guitar solos and leads are suitably face-melting, and there’s finger-shattering riffs here (“Nonexistence”) that lesser bands could never keep up with. An even-handed, if treble-y, mix helps to ensure that no band member is completely buried, though the guitars are clearly the emphasis.
The Cons: It’s hard to take much away from this album if you’re a fan of this particular style. They do rely far too heavily on spoken-word passages. This tends to detract from the music and is also a distraction that tends to crop up during the album’s brief quiet patches, making them less enjoyable. An additional issue is that the proceedings are relentlessly one-note. Tempos are almost universally very fast, and “slow” for this band is still a pretty brisk mid-tempo. Though the riffing is pleasantly unrestrained, the bulk of the album is absolutely overflowing with tremolo picking, and even the more death metal-inflected riffs usually have an undercurrent of swarming notes. This sort of constant activity will be a turnoff to some. With the exception of well-placed instrumental interlude “The Chasm of Eternity”, which eases the pedal off the metal to provide a needed breather, the album just does not let up one bit. And at a beefy 51 minutes, there’s not a lot of replay-ability. You’re spent after one trip through these dark gates.
The Verdict: Sure, it’s like an oncoming train gleefully tossing aside the brake lever and shoving the throttle all the way to the wall. But isn’t that half the reason we turn to extreme metal? Bands like this exist for the simple pleasure of spinning our heads around and knocking us flat on our asses, and we’re all fans because we keep coming back for more. Don’t miss this one if you’re into blackened tech death. It’s not re-inventing any wheels, but it is spinning them pretty damn fast. 7.5/10 \m/
Chris – Vocals, Lyrics;
Lars – Guitar, Songwriting;
Sebastian – Drums
Mick – Bass
Rising Nemesis Records
Stuttgart grinding death metal unit Pestilent Reign dropped this album on 03/16/2018, and holy hell does it deliver. Its going to (if it hasn’t already) grind you up, and spit you out. Your ear holes will thank you I am sure of it, but don’t think it doesn’t come with a price. Pestilent Reign set out to assault the listener with a barrage of audio artillery. Mission accomplished as far as I am concerned, they do just that and much more. their blend of death metal walks the lines of grind and death metal. but I wouldn’t call them a death grind band. They make produce a gritty and deathly sounding style of metal. Having gotten more plays than most of the albums I have gotten early this year, this one stands out. Pyres doesn’t fit any cookie cutter mold, there is nothing cliche sounding about them, and they sure as fuck don’t pussy foot around things either. Zealot is a great example of that. Lets break it down.
This song begins with a sound clip and gets things started within only a few seconds, simply laying down a nice rhythm and something to get hooked by. the chugging guitar riff around the thirty second mark is what draws the listener in first, and then they pick up the pace with vocals joining in and the beat has that. This song gives me a Misery Index feel to it, the vocals have that similar delivery style. But it doesn’t take me too far into the song before I get a Psycroptic vibe from it also. This is like technical death grind and I fucking love it. If this is how the album will begin I can’t wait to hear the rest of the album. Right around the 3:30 mark they set things up for a killer breakdown, while I feel they added that bass drop after the bell hit and it took away some credibility. I hate the bass drop thing but they very very quickly recover with the guitars that almost match a track off of Aborted’s “Strychnine 213” album. Just a driving guitar rhythm and drums to match and I think it carries the song out and into the next song great.
2. You Will Kneel In Piss And Blood
Damn, Martyr rolls right into this and this one takes right off, with a more guttural tone to the vocals and its absolutely brutal sounding. Get to that :12 second mark and you can hear the ping of the ride and that subtle bit of change around the kit adds just a little bit more of a hook to sink into the listener. It’s around 180 BPM of constant crushing force, the guitars are chugging along, until around the 1:20 mark and there is a little section where they are transitioning into the next verse that is quite catchy. With one of my favorite things that some vocalists do happening right around the1:44 mark. That vomit spitting exclamation that when done well and at the right time. Is almost like having another instrument. For anyone who says a vocalist is just someone on a microphone. They don’t take into consideration all the different ranges, and tools that a vocalist has with their own set of vocal chords. This song is so simple, but so catchy. You can’t help but move in time with the song. it’s a catchy track. I will say it is only about three and a half minutes long. You will get hooked right away, but it will be over before you wish it was.
This may be my favorite song off this album. The song has such a simple beginning and a simple formula, but the energy is there, the guitars string you along with the chugging riffs at the :28 mark and then the lead guitar come in at the :37 mark that sinks its hooks right into you. and that’s all they continuously do, they play a simple rhythm, nothing complex, but they mix in great guitar work in and out of the song. It seems like every time I check the time only about 10-20 seconds goes by before the next guitar line that pleasures my ear holes. This song has a bit more of melodic edge to it at times. The magic that begins right around the 2-minute mark sets up a very nice thirty second section. A nice bell hit on the 2:04 to set up that cool sequence of guitars and drums no vocals. Right at 2:30 the vocals join in again and bulldoze right through each lyrical line for just over thirty seconds and then we get a quick guitar solo to take us into the next wave of the song.
Boom right out of the gate with that vocal vomit “Blech” and blast beats with a driving riff to take us into the first verse. its hitting at around 210 beats per minutes and has such a catchy yet driving rhythm. This is a song that you just start moving to right away. But its right around the 1:18 mark when these guys really deliver a style reminiscent of Misery Index. I have gotten the Misery Index feel the whole time, but this moment really emphasizes that. Considering Misery Index is one of my favorite bands you can best believe this is hitting me with impressive force. Don’t forget that guitar solo around the 2:45 mark that for being around eighteen seconds long is perfect. It’s not too long of a solo, it’s not to flashy either. Its catchy, long enough and adds just enough to the song to really enjoy this one from start to finish with ease. It’s a very simple track but the intensity is top notch.
5. Cleanse The Flesh
This song sounds like a Misery Index track right out of the gate, simple drum set up and then that grinding guitar riff that instantly makes me start mean mugging it. I love the raw aggressive vocal style with this track. There is no pussy fitting around with this song, it’s the shortest track, the bluntest and coarse sounding also. I think you as the listener should listen to this track for yourself to get the full effect. Three minutes and change long, raw, grinding, and infectious.
Damn this song is one of my faves off this album. It begins with what seems like a very simple beginning. A chugging riff matched with a drum intro matching the rhythm. by the time the vocals join in. This is a song that in the beginning reminds me of Misery Index. the raw, and aggressive vocal stylings, blended with blast beats and the guitars are on point. Right around the 5: 20 mark this song could strike a nerve with many metal heads as it has a clip from Steven Anderson, leader of the Faithful Word Baptist Church at 2741 W Southern Ave #14, Tempe, AZ 85282 talking about the Paris nightclub shooting that happened during an “Eagles of Death metal” show. You know because the eagles of death metal or a heavy Satan loving bunch of blasphemers. https://www.youtube.com/watch?v=sIwJ872CbME. At the time of this review being written, this video was still available. I guess it finally got through to the guy that he is a blithering idiot. During and after the asinine rantings of Anderson, the band gets into a really cool section, full of groove and having more of a melodic death feel. a sound and style that will suck you right in and then the guitar solo to take you from 5:59 through to the end of the song wrapping this one up nicely. This is my most played track, I’m reluctant to say the best song of the album. but boy does this song have a killer affect on me as a listener.
Starting with a bulldozing double bass roll and chugging guitars and the vocals set up the beginning nicely along with the guitars and drums. Right around the :10 second mark you hear that ping of the ride bell and then shortly after its right into the first verse. they maintain the same drive throughout the song until right around the halfway point, which I would consider to be the chorus section. It’s more melodic than any of the other previous tracks or sections. They come out of that chorus and go into the next verse which doesn’t last all that long, but finishes the song out with one last “blech” and then it rolls right into Gutters filth. This is not my most played or even favorite song, but it has a good deal to offer. I am really unable to say that there are any bad songs, or songs I didn’t like.
8. Gutter’s Filth
Coming right out of the gates they hit us with a fifteen second set up to get things going, and it’s not until the :32 second mark the guitars change into a menacing riff that only leads me to believe the next section is going to be fucking awesome. And it is, the guitars and vocals are flowing together perfectly. Right at the :48 mark when they vocals come in they are rapid fire following the beat of the song. they rip the shit out of you for about twenty seconds and then slow it down to a brutal show of confidence with the seamless change and the Goliath-like vocals to bludgeon and hammer you down. Around the 1:52 they work back into that rapid fire vocal delivery fueled to the max with unrelenting blast beats. Right around the three-minute mark they change things up with what reminds me of Redneck Era Lamb of God until they are just about to the four-minute mark. That last minute and change is this rapid fire section with the guitars sounding simply un-containable. They just slice right though you and you can’t help but sit, wait for the album to restart and start the whole ride all over again.
For fans of Misery Index, Soreption, Psycroptic. Leng Tche, and Aborted
This album is so damned good. I have had so many mixed feelings about this album and they all revolve around which track I would consider to be the best track on the album. This is their debut full length and it is simply put, a filthy beast. Absolutely crushing and as mentioned above is for fans of Misery Index and Psycroptic. I could hear little moments that reminded me of Aborted from their Strychnine 213 album, I have heard a multitude of influences and what I can say is they put it all together and made something brilliant. I can tell you this will be one of my most played albums of 2018 and for good reason. Not every track sounds the same, and there isn’t a single dull moment in the entire album. Not a single second of bland, mediocre, or stale sound, its raw, its aggressive, and by the sounds of it they will fuck your shit right up if you aren’t quick enough to dodge this haymaker of a heavy hitting album. 8.5/10 \m/
1. Dead Dialectics 2. Mitral Genesis 3. We Who Wander 4. Cornerstones 5. Paragon 6. Mechanical Gods 7. Grave 8. Lunar Cradle 9. Mountains of Stoke (Hidden Track)
Inverted Serenity began their journey back in 2009 to create an eclectic blend of all things metal to be molded into a form of heavy music that will appeal to the masses, from the black metal, death metal, and even some hardcore and thrash mixed in. They are like an eight headed beast ready to rip through all barriers and norms to deliver an album that can be played start to finish without hearing the same thing twice.
Inverted Serenity had this to say about the album:
“For us, this album represents a great leap forward both in terms of production quality and song writing. We were more familiar with the process of writing and recording this time around and that experience went a long way in making this album better sonically and musically. With that said, we don’t really have a consistent formula for writing songs nor do we really limit ourselves to a specific genre or style. This translates into a varied album that pulls a little something from our diverse influences. It’s eclectic but cohesive, at least we hope so!”
With that said, lets get listening and break a few tracks down.
This track starts out with a really good solid melodic acoustic guitar and around the :30 mark you get a little bit from another guitar and then the drums join in and it just slowly builds and builds until you reach roughly the one minute mark with vocals at 1:06 in and this song has a bit an extreme metal feel already. what a cool build up to listen to and it really gets the listener ready for whats to come (or so I thought). The vocals are chaotic and you can hear there’s multiple vocalists at this point sounds to be about three, all handling their respective ranges and I really dig how right around the 1:50 mark the song starts to build up and then as soon as we reach the two-minute mark things have gone even more chaotic.Right around the 4:30 second mark we get a little bit of a guitar solo and it sounds like the guitar solos are swapping and they’re just building off of each other. Right around the 4:53 mark I like how the drums follow the particular guitar solo riff. The song is not bad, and clocks in around 6:11 minutes long. The song ends just as melodic as it began, such an interesting track to start the album with, but next we got to check out Mitral Genesis.
This song starts out with some heavy fuzz on the guitars and some heavy drums sounds almost like its going to be heavy on the extreme metal spontaneity. When the vocals join in around 20 seconds in, it just sounds as if two of the guys or trading off lines and shortly after they build up a little bit more. However the sound of this song is not like the previous track, it’s got almost a different feel to it, and a different sound but I’m interested to see what this one plays out to be like. Around the 1:10 mark, they play this section where they build up until what sounds almost like a chorus up to the 1:30 mark. This is a really catchy section it’s similar to extreme or blackened melodic metal sounding with a guitar solo that comes out of that right around the 1:40 section. I am really digging the sound of that guitar during that solo also its captivating to listen to, it really grabs my attention. Coming out of the(roughly) 2:30 mark they come out of that infectious section and then go into a different sounding section altogether where the vocals are like almost rapping the lyrics yet still maintaining the vocal characteristics for a heavy hitting song. The song is actually pretty good, I like this so far better than the previous track it’s a little catchier, though I do find that these guys are a little bit out of the norm with their sound in delivery. That is what is compelling me to keep on listening.
We who Wander
This is the third track and this one has a slow chugging guitar riff with drums that follow nicely with a double bass roll. They play out a few bars of this rhythm, and then coming in right around the :23 mark they get into the next section with vocals joining in at the :36 mark. Again this song doesn’t sound like the last one, so far in three songs I’ve heard about seven different styles of metal played. It really is quite interesting to see a band that’s really an amalgam of all different styles of metal and even some hardcore characteristics in their music. Blending the extreme sound that they’ve got with what sounds like a hardcore/metal style from the early to mid 90’s. They come out of that with a guitar solo starting around the 1:45 mark that’s actually surprisingly melodic doesn’t even sound like it fits the same song but yet it does fit. In how they placed it and how they play it. This song is pretty badass and right around the 2:20 mark they get a little bit melodic and then they they bring up the speed with some fucking blast beats right around that 2:40 into it where it’s almost like a blackened melodic death metal sort of chorus and it is very catchy. This is going to be one of my most played songs off this album I’ve found myself to be spinning this track the most I just really dig them a lot exception in the middle it’s captivating in chaotic yet soothing.
Cornerstones starts off like a hardcore metal song you got the the floor tom to snare that classic sort of hard core build up beat and then they go into a hardcore grinding sort of rhythm. Again another track that’s nothing like the previous ones. I wanted to break down all the tracks, but I want the listeners to check this album out themselves. If you find yourself to be a fan of any metal genre, you’re going to find a characteristic from Inverted Serenity that you will like. They appeal to so many different listeners with all the different styles that they are fusing within their own music. Cornerstones starts out with that hardcore sound then they get into radio rock similar to like clutch or something bluesy and then right around the 3:20 mark they throw in these clean vocals that are not like pop sounding clean vocals at all. They’re not like emo sounding clean vocals either, these are essentially cleans and they’re also being yelled at points so while they are clean vocals they’re not your typical cleans and as odd as I thought they sounded at first I’ve spun this track a few times and it fits I don’t know how these guys develop their music but they piece so many things together and make them fit and it’s quite impressive the only way I can describe it as they are essentially a band of organized chaos.
Paragon starts out with a slower and heavier feel to it, but i love the accents on the cymbals during that beginning sequence. when the first set of vocals come in they hav a direct approach and maintain a specific range before the second set of vocals join in and set up the next vocal segment. i am loving the vocals on this album so many different styles and sounds. This song is yet another one that still sounds nothing like the previous track, and that really excites me because I don’t know what the next song will be like either. Not to mention the absolutely best moment of this song is around the 2: 38 mark where they pull of this Iron Maiden sounding riff with some echo to it, and then boom guitar solo and then the vocals come in an join in the melodic metal fashion to match with the guitars. I am not sure what is my favorite track now just because of the similarity to an Iron Maiden song. That pretty much bumps things in a positive direction for me as a huge Iron Maiden fan. So, bonus points go to Inverted Serenity for bringing that to the album.
This album has been a trip to listen to, I’m not even sure what song I like most because every song is so damn different you know I mean? The last song on this album which is Mountains of Stoke is a completely acoustic track and again absolutely nothing like any of the other tracks this has made this album to be so interesting for me. Or Paragon which has moments of brutal death vocals. yet melodic guitar sections that sink the hooks in you deep. I take pleasure in listening to things that make me want to think, that make me curious and often perplex me. If the music is simple, and anyone can do it, then it’s not really that talented, and it’s not really that enjoyable to listen to. When you have bands like Inverted Serenity that are pushing the boundaries and basically taking little bits of every metal genre and some other non-metal genres to make their sound unique. It’s quite pleasurable to listen to. I would strongly recommend to anyone who says that they are an extreme metal fan to check out Inverted Serenity because you’re going to have extreme metal, black metal, death metal, technical metal, hardcore, and a few bunch of other genres strewn about in it. I’ve got to give this album and 8.5/10 \m/ rating because the music is on point, these guys are very talented. I mean it’s very odd how well these guys play together with all the different sort of styles that they are playing. From multiple vocalists with multiple vocal ranges and styles, different funky things from time signatures to sounds in the middle of songs. All the while having the three guys with the guitars are doing vocals. I’m not even sure if the drummer joins in for any of the vocal duties but I wouldn’t be surprised if he did. At any rate, Inverted Serenity are talented, they are unique, and they’re going to play a blend of metal that just about anyone’s going to like. I did find that most of the songs were quite enjoyable considering how different they are from each-other. 8.9/10 \m/
Douwe Negenman – Vocals
Nathan Bonkerk – Lead Guitar
Frank van Rijswijk – Rhythm Guitar
Jerry Kamer – Bass Guitar
Jeroen Mostert – Drums
Hey there everyone, today I bring you the Netherland based technical death metal team Spectrum of Delusion and their recently released album Esoteric Entity.
Forged in 2013 by drummer Jeroen and Nathan they built the band up from performing covers until Frank joined and then they began their journey into creating killer music. Now the interesting part of all this is they actually had another album written and ready back in 2014 however after reviewing everything they scrapped it because it didn’t adhere to their level of acceptable standards and their sound. A whole album with seven string guitars and a five string bass, scrapped because it wasn’t true to their core. They set off to create something more pure to their sound and decided to put a fretless in the hands of Jerry and upon that brilliant idea, Douwe joined and everything came together to get Esoteric Entity finished. This is the debut Album of Dutch Technical Deathmetal band Spectrum of Delusion.
The intro will take you for a melodic stroll into the music with very slight progression, and the only hint they give you is the bass only seconds before the intro ends and “Beyond Affliction” begins. I am really digging the levels of all the instruments especially the bass. It is right there and not hiding behind anyone; they deliver a nice simple guitar solo around the thirty-second mark before jumping into the verse with a blasting rhythm from the drums. Damn this track is awesome, melodic, technical and has a great mix to it, what a great song to start the album with. It really hooks the listener, especially with the bass, these guys did a killer job on this album.
This track has a nice build up period lasting just shy of sixty seconds, but I really get hooked by their melodic and captivating sections with the instruments before the first verse begins. The verse seems to sink the hooks in further. They keep the song length around four and a half minutes long but I would say about two minutes of that is music without vocals. Nothing wrong with that though, showcasing the talent of all the musicians in the band is a great way to flex their muscles and give listeners like myself a solid idea of what we are working with here.
It has a much quicker set up, not much build up or progression before the first verse however they simply get right down to business this is one of my favorite tracks off the album, and yet it has some of the least instrumental sections of the album. The song as a whole is very catchy, and the ability to really hear the bass is what draws me in the most. Spectrum of Delusion is not one of those bands that has a killer guitarist, a drummer that can keep up and then the rest of the guys just fill in the blanks. No, each and every member of this band has talent worth the attention they get. This song clocks in less than three minutes in length, but damn does it pack a mean punch. I do wish it had a little more instrumental time however this is such an efficient track I respect the fact that they are able to hook me without the same tools as the previous tracks. This is a track that has no filler, catchy with some tasty riffs, and still has a bit of a wow factor.
This one seems to pick up almost the way Illuminate ends, it’s almost like “Reverie” should be a part of illuminate, it just follows up Illuminate so well. Tempo is nearly the same unit the first vocals are heard. They slow the speed down for dramatic effect, and I find it to be effective right around the 1:36 mark Douwe adds another layer to that slowed down section, really emphasizing the vocals being held long. This song is one of those songs where typically I hear it’s not as fast as the previous track. My mind begins to wander thinking that the song will just not keep my attention for long. That isn’t the case with this song, I did need to listen to it for a few spins. But the slowed down section grew on me, and it was all because of the vocals. I went into this track not enjoying it as much, and then let it grow on me, and now I enjoy this song in a different light.
Ruler of Cruel
This song has a bit of an ominous buildup, but right around the :09 mark you can hear the bass hit a high note. And delivers two bars of that bass note, a few vocals and then back to that bass note. Jerry Kamer has taken my expectations of this album to a new level, but it’s the saxophone that has piqued my interest now. Not many bands can pull off a cool album or a cool song and then also incorporate a saxophone into it and maintain the same level of heaviness. Cephalic Carnage, and WRVTH have been able to pull it off. But Spectrum takes things to a different level with the sound of the bass, then the saxophone and a jazzed up section in the middle of a heavy track. Damn kudos to the guys for pulling it off and then also to Erwin Van Wieringen for playing the saxophone. Which brings me to another item, session musicians don’t have to be guitarists or drummers they can be saxophonists that add another spicy level to some badass music.
This song really unearthed similarities to bands like Beyond Creation, and Necrophagist and I find myself really impressed by this album. This song starts out slower than the others, and it has a bass filled melodic introduction that sets up the base layer of the song, and when that bass fades out the next section is up tempo and builds up that next layer in which the vocals are going to start, with a faster energy and a heavier attack. The tempo changes several times in the song, and yet each transition is very fluid. There is one section of the song I am not 100% sure I dig it or not. But halfway through the song they have a section that is a bit repetitive and while it’s not sloppy, it’s not hooking me either. The saving grace for this track is the drums and the bass.
The song begins with a quick set of blasts, and then a heavy bass line with a guitar over that making some sweet melodic build up. When the vocals start in, shit has gotten real at this point. The song heads into a fast paced tech death barrage of blasts and just when you have succumbed to that catchy section, they change time and direction slightly. I am not sure what impresses me the most about this album, there are too many things to list. But I find with some bands too many changes can ruin it for the listener. We want to be pulled in and stay with the song the whole time. But with this track the changes are so subtle that they just flow into each other with very little set up for each transition. They just flow right through the song. from 3:10 to about 3:49 there are no vocals but a killer instrumental section. I love these instrumental sections Spectrum have added to some of the songs. I find I enjoy these moments so much because the instruments all blend in well, there is no overshadowing, every instrument is clear, and it adds to the quality of the music.
This is a great follow-up to Mixotrophy, because of the seamless transition from one track to the next. This is really the only track I can say has some chugging coming from the guitars, the tone is a bit darker sounding to me, but the actual pace of the song and intensity is right around the same level. But I really absolutely dig the part at the :52 mark, where the vocals have an old school style to their delivery for just a few lines before the blast beats begin. The head movement starts to kick in and you are already hooked by the 1:10 mark. And the song has really only just gotten started. This track is the longest running track on the album but only by a second. The reason I bring that up is because there is so much packed into this song, and it really could have gone on longer. But Spectrum takes the last forty seconds of the song to finish the song out, but at the 5:15 mark they kick off a guitar solo and then fade out. Really leaving me wanting more to come out of my speakers.
All in all, this album kicks ass, this was my first time hearing Spectrum of Delusion, and I am glad I did. They remind me of a mix between Beyond Creation, Virvum, and Necrophagist. A truly nice blend of melodic, yet technical/progressive death metal.
This album is great, the production, the balance of instruments to each other as well as the vocals. These guys don’t make up a band, they make up a team. A team that come together and don’t have any one member pulling the most weight through sound and musicianship. The intro track does a solid job getting the listener warmed up and then everything after flows perfectly. This is an album you can hit play and leave all the controls alone. Push play, listen, rock out, repeat. The production of this album is well beyond expectations considering what these guys are asking for in price. Because who doesn’t have two dollars to spare for nine tracks ( eight and an introduction track)? I am digging this album, and I will be keeping my eye out for more from this badass bunch. 9.2/10 \m/
Hey guys, got an early album review for you! One we are all super stoked for ,and that I have already pre ordered…
That’s right, the brand new Inanimate Existence album ‘Underneath A Melting Sky’ which comes out this Friday, August 25th!
Inanimate Existence line up:
Cameron Porras – Guitar & Vocals,
Scott Bradley – Bass & Vocals,
Ron Casey – Drums
Barely a year after Inanimate Existence’s 3rd album ‘Calling From A Dream’ was released, they unleash their The Artisan Era debut. This is also their first release as a 3 piece and damn, Inanimate Existence is not fucking around. They explore new horizons with each release and they seem to absolutely master each new direction they take. This album combines the dark brutality of ‘Liberation Through Hearing‘ as well as the fantastical soundscapes and atmosphere of ‘A Never-Ending Cycle Of Atonement‘. This is a very different album from its predecessor (I personally really enjoyed ‘Calling From A Dream‘).
There is plenty of apparent keyboards and synth that is mixed in perfectly. The synth is done very different than ‘Calling From A Dream‘. Here there are several different tones used throughout and some really fantastic melodies as well. The vibe created this time is entirely different and rather epic. The guitar leads are immaculately written and just soar with the music, and if you thought you liked the bass tone and work in ANECOA, wait until you hear this! Tracks like Forever To Burn, The Old Man in the Meadow, and The Djinn will blow you away! The riffs and overall songwriting is phenomenal here though. The riffs are some of the catchiest in the Death Metal subgenres that I’ve ever heard, and the quality doesn’t drop for a second. There is no lame filler riffs and it all flows really damn well.
There are also some deadly grooves in this album. The title track, In Moonlight I Am Reborn, Blood Of the Beggar & Formula Of Spores all have outstanding groovy parts that will have you keep coming back and will be irresistibly stuck in your head. They leave you no choice but to get right into the music.
Ron’s drumming is completely insane as per usual. I particularly like the grooves he lays out on this album. Super creative with excellent cymbal work. It fits the guitar amazingly and the listener can easily got lost in his sick tightness and creativity. His cymbal and ride and hi hat work in particular just mesmerize me.
Every song is simply outstanding and completely unique. Not only this, but the album flows song to song absolutely perfectly. This album is an absolute masterpiece. Add the amazingly well thought out story behind the albums lyrics and the quite possibly best art I have ever seen to coincide with them, Inanimate Existence has the full package right now. This album is everything they need to solidify their name on some of the sickest tours and get the respect a hard working band like them deserves. Absolute album of the year contender!
There’s still time to pre-order the album!
For fans of The Zenith Passage, Decrepit Birth, Soreption, Virvum, Arkaik
Music and Lyrics by Cameron Porras
Engineered, Mixed and Masted by Zack Ohren at
Shark Bite Studios in Oakland, CA
Artwork by Justin Abraham
Rapid fire blast beats, and guitar sweeps set the song up with just shy of fifteen seconds of that chaotic yet intriguing set up. Until the vocals start spitting lyrics. I absolutely love this song; they sink their hooks into you within the first minute of the song. It has a solid tempo, but the guitar work is impressive. Check out the guitar riff around the :53 second mark, the riff itself has a solid set up, and the actual tone is fitting with their popular concept of nuclear armageddon. The more I listen to this song, the more I realize they set themselves up for something killer several times before the song is halfway through right around the 1:19 minute mark is a cool set up, and then “We are the Same” and then the brutal groove begins. For about thirty seconds they deliver on a steady groove from the guitars and drums. Meanwhile “we are the same, condemned to perish” can be heard, all the while the song begins to build off of that. Eventually they hit a peak and the rapid fire blast beats and riffing begin to burn a hole in you from the intensity. Right around the 3:00 minute mark the song hits the apex of the song. The section that will repeat, and build until the song reaches the end. That solid minute long end is brutal, ESPECIALLY at the 3:48 mark when you hear “MASSIVE RADIATION DETECTED” and the drums are playing a bulldozing groove, that fucking fits like nothing else could. HOLY SHIT is this what the whole album will be like? If so I am ready for some technical brutality that will be sure to mutate me with the massive radiation detected.
The song begins with a single guitar, a bit of drums and then a quick set up with the vocals before the blasting begins. This beginning sequence sets up the song well, it leaves the listener ready for how they end up breaking out into the first verse. Right around the one-minute mark, they head into a chorus like section. Simple yet catchy and then hits us with some guttural vocals, before transitioning into another section, this time a bit more intense than the last. I find myself really enjoying this album with each transition throughout all songs. This song is great for that, right around the 1:21 mark coming out of that catchy chorus. The blast beats begin and the guitars sink their hooks in with ease. While the vocals continue to bludgeon with well-timed attacks that jive with everything going on. This is one of the things I find myself enjoying more about this album that previous ones. Grimo uses them a bit more sparingly with this album, but the delivery and the timing are on point. Right around the 2:40 mark, the song rolls right into the same section a little over a minute before only to blast that out in short time before hitting the point of wrapping things up. The last thirty seconds of the song tie everything up well. They manage to make ninety percent of the song technical, catchy and impressive and the last ten percent is a slower paced section with some groove and still packs a punch. I love it, but I am sure that the title track is going to be following the trend and raising the bar some more.
The song begins with an almost chaotic yet brief three second set up from the guitars and drums before starting the first verse with the vocals joining in. it actually reminds me of something Despised Icon would have done in their earlier albums. The song will certainly generate some head and body movement as this verse plays out. By the time we get to the 1:25 mark we get a section with a killer riff and the intensity of the song builds up. I mean now I am ready for anything. That amps me up big time, and it lasts about fifteen seconds. But man the song isn’t even half over yet, they continue to completely destroy me sonically with this killer track. They hit you at the 2:11 mark with that same killer riff and blasting section to satisfy my withdrawals from the moment before. This is such a killer track, I’m sorry the rest of this review is going to be hell after this song. The last little drum solo is sooo very simple, and yet that’s all it needs to be. In that moment you can hear the drums crystal clear, I feel as though I was in the same room. Now that, I find impressive they have posted a few studio videos and they did the recording at. But the sound on this album is one of the more impressive aspects of this album.
I feel as though this is a good time to insert the video for Gammageddon so you can see what I mean.
Now this song right here is the song that has gotten the most spins by me all around. When I first listened to this album I had it on random and this is the first song to play. Just listen to that beginning. It has this ominous set up, with just enough progression from the drums and guitars to give the listener the feeling that this song is going to beat them to a pulpy mess of body parts. For a solid forty-seven seconds the beginning sequence just sets up the tone, while they come out of that with about another twenty seconds of even more buildup to transition to the first verse. I have listened to this beginning several times alone, how this song makes me feel is that I can’t stop the song before that beginning sequence has played through its entirety, and then by that time, I am now invested in the song completely. What a killer way to start this song off. It’s a bit more calculated and slower paced. But the intensity of the drums, with the guitar riff makes this a no brainer that this is going to become a fan favorite. The vocals join in around the 1:11 mark and they have the low guttural delivery before bulldozing the first verse with lows. This song is a slower pace but it has a groove about it, that will have many moving to the rhythm. But not before reaching the1:57 mark where the guitars pull of another riff that sets up the next section perfectly, only to have that section build up even more. What I am finding more and more from this album is the natural progression of the songs. I love it, everything is mapped out well and has me amped up to extreme levels. Not to mention the guitar solo at the 2:48 mark. Damn I want that guitar solo to play when I get a call or text. That solo is badass, it’s not a flashy solo, but it is a sweet lick that holy shit if that doesn’t cut right through you and have you ready to throw some horns up and hit the pit. Right around the 4:19 mark the guitars hit us with another badass lick that gives off an alarm vibe but still has a badass feel to it. They set up a section of complete and utter filthy gutturals that make me turn the radio up louder roll down the windows and welcome all the surprised looks I get. This song has renewed my faith in Cytotoxin, as the last album just did not have as much of an impact on me as I had expected. They deliver a soulful guitar solo around the 5:46 mark before wrapping the song up and ending it to transition into Deadzone Outpost seamlessly
Dead zone outpost is just a track that offers some imagery to the album. They do a killer job with this as it’s not just something to skip through. Not every album needs a track like this to offer theatrics, or imagery. But I find that if done well, makes an impact on the album. I will admit at first listen I was just too eager to wait, I saw the time and realized it wasn’t a song. But the fact that Deadzone Outpost rolls right into “Redefining Zenith” which features Svencho as a guest vocalist.
And it begins with a signature sound found often with Belgium blasters @Aborted, this is an unmistakable introduction by Sven De Caluwe. They hook us with that driving rhythm from the guitars and the blasting drums. Just shy of half a minute they begin to transition in to the first verse. Which is going to have the listener head and or body moving, because goddamn that’s catchy. Right around the :38 second mark. Sven lays down his first line of the song. And it compliments Grimo very well. Fast forward to the 1:55 mark where the song is getting ready to transition again. There is this moment when Grimo lays down a phrase, and then Sven responds with his line. The back and forth as well as the blend of the two vocalists sounds awesome. I’m not entirely sure what I like more the majority of the song which is fast paced lots of blasts and fast guitar lines. Or the heavier slower sections of the song. I sure as shit hope they have Sven as a guest again for future albums because this track is catchy as hell. Not to mention how they finish this song up. The last line spit around the four-minute mark with a few growls but the guitars and drums sound sick. But I have to say, this track is so good. It may not be my favorite off the album. But just to clarify, this song is so damn good it would score a 9/10 due to the compatibility of the two vocalists and my ear drums.
I will admit that there are songs with a beautiful roll out on the drums before bludgeoning us with heavy hitting double bass and blistering blast beats. The type of roll out that could be simple, it could be complex, but it’s perfect. And the sound quality of the drums is so clear. It only lasts about one full second, and then guitars come in. So I have just played a loop of the first ten seconds of the song for about a minute and a half. Wow, what an introduction to the nuclear madness that these guys unleash upon the listener. In just a short period of time they hook you, the guitar riff in the beginning continues for the first verse, and the vocals have some mean lows in a few accented areas. The guitars are impressive on this song, the riff around the 1:03 mark is a great example of the caliber riffage they are slinging on this track. Just when I think they can’t play something as infectious as the last section, they gut you at the 1:55 mark with a section where the guitars are playing this cool rhythm, drums are emphasizing the footwork for a solid thirty seconds. The whole time if this is being played anywhere, I am pretty sure it could summon a circle pit in any location, at any time. I mean, teeth are probably going to be knocked out at many shows to this song. they come out of that with a solid final verse. Then around the 2:42 spot they hit us with the final solo of the song. A wisely placed squeal to set up the last thirty seconds of awesomeness, and the song ends. I have played this song so many times because of the beginning and then by the time the song ends. I was just in metal head mode stuck in that “awe” feeling when you hear something so badass. I am loving this album so far.
Julien Truchan from Benighted guests on this track so I am interested in the vocal delivery and blend of Grimo and Julien on this. The chaotic guitars in the beginning give you that sense of alarm that they seem to be projecting into the music. Adding to the imagery of the music, the band pulls off guitars like this and its impressive how the delivery is. This song is the shortest song with vocals, and I can respect the fact that I have not been let down with this album yet. I just got hooked by the guitars and drums of this song, I wanted more of those. But to be honest I wasn’t feeling the vocals as much as I had anticipated. I dig the rapid succession squeals around the 2:21 spot but it was because they really flowed well with the other instruments. The song as a whole is badass, I ended up gravitating towards the instruments more than the vocals on this track. Nothing wrong with them, I was just more impressed by the instrumental aspect of the song. Contagious just like the first half of this album has been.
Some low vocals set up the song with a killer riff that follows and a cool rhythm that just lays down a killer groove with that solo. Grimo delivers a few more squeals in this song, and early I might mention. Not even half way into the song and executed those rhythm matching high pitched eardrum splitters. I like the section of song around the 1:38 spot. The song builds up, the vocals have a cut up section and then, they assault you with this heavy section that is probably the easiest for them to play. simply put, it just grabs you, they did a great job on this song, and this album. Another few squeals around the 2:20, a growl and then a guitar solo. The song throws down the gauntlet with the change at the four-minute mark. This is the song ending sequence right here. probably the best part of the song for me, i really enjoyed the second half more than the first.
This song is an instrumental track that delivers heavy doses of image inducing riffs and killer drums. This song will have anyone within earshot, moving to the song. and what’s that some sort of sound like an alarm around the 1:08 mark. I like this subtle way of ending the album out, it really adds up. They hit us with things like “Massive Radiation Detected” Dead zone Outpost, and then this alarm sound. I love this album.
I love this album, while I didn’t get moved as much by Outearthed or Antigenesis as much as the other tracks. this album has so much packed into this album. It is catchy as hell and I am sure it can make some AOTY lists with ease. I feel as though they took a look at their sound and style after signing with Unique Leader Records, and determined that the only thing to do is continue to hone their craft with every note being scrutinized and investigated to determine the worth of that one note, because they sure as fuck made sure to make this album a gem. The guitars on this album are incredible, I am impressed with this album. The drums are crisp and sound great. The actual sound quality of this album is something to be happy with. These guys put a lot into Gammageddon, the production is great, and there really isn’t anything I am not happy with or didn’t enjoy. You only have about less than 23 hours to get on the pre-orders for this album so if you don’t want to miss out on any of those, you can find some links below for getting your copy of this absolutely killer album.
The EP begins with an ominous build up. A drum fill begins the music in “The Silent Prophecy” and takes us into the high paced and catchy riffage with powerful and heavy vocals. Not too brutal, but deep for sure. They beat us apart for the first fifty seconds until we get our first taste of real melody, (besides the touches used in the riffing). Then really nice soaring lead. We get brought back into the catchy fast paced riffage. About a third of the way through the song we get some more really nice melodic touches over the riffs. The vocals seem to go along with the music really well. As this lead part with vocals ends, we get somewhat of an interlude like section, that is spacey and ambient. Slowly they build back up starting with the bass and then a pick scrape into the slower heavy riff. This section is quite dark. It feels brooding, and it flows into the next, brief faster section really well. As that section ends we get another interlude section similar to the one in the middle of the song but it begins with an acoustic guitar. It is a nice way to end the song and also flows perfectly into track 2.
“Ethereal Majesty” begins with an almost white noise building up type ambiance with some more sounds that really remind me of Nomatic era Fallujah. Just after a minute they begin this riffage. It also begins brooding and slower, there is a doomy vibe almost. The vocals are killer and heavy as fuck here, then a nice pause into a sick good paced riff. The drums are constantly switching it up and really keep this section’s pulse. They briefly pause and transition with what sounds like some sitar and go into a slammy riff/ tremolo back and forth riff and the drums continue to switch it up and keep us on our toes. They slightly simplify it near the middle, but not for the worse, its pretty groovy and catchy, right before they pick it up to full force briefly again. This is indeed brief as they fade down to a drawn out chordy part with a really lovely lead, into an almost blackened chordy part with equally almost blackened vocals into – WOAH – definitely a breakdown. They just morphe so many genres and totally killed it. The breakdown does do the classic ‘more dirty’ part and then they nicely flow into a prefectly head bobbing riff to end the song. They slow it ever so naturally and open fade into the last song ending perfectly.
“The Nebulon Abhorrency” begins a lot sooner than the others. The open fade soon brings some synth and eerie screams. They make us know some change is coming and begin the high paced and catchy verses. There is some sick melodic double picking riffage going on! I absolutely love it. This song seems to have the most notable synth though it is in every song. This one has almost synth leads at times. After one synth lead part over a cool riff we have a sweet groove! They then slowly let it breath with more synth and then totally melt our faces with fast technical ridding and powerful in your face vocals. The drums have some wicked blasts and are coming at a good pace with the blasts and thrash beats. There is also some really killer guitar fills in that section. They then slow it down to a more doomy vibe once more before the end. Fast double kick and powerful slow riffing which fades into synth that takes us to a close.
Godeater has made a strong impact with these three songs. They are catchy and well structured and have enjoyable production. I can tell there is room to grow but I have no quarrels with this EP whatsoever.
For fans of Fallujah, Bleak Flesh, The Odious Construct, TETHYS, Vale of Pnath
Andrew Morris – Drums
Fernando del Valle III – Guitar
Ibrahim Jimenez – Bass
Reece Deeter – Vocals
Ian Burnside – Guitars
Releases on June 22nd, 2017
This song begins in an epic sounding way. This is something you put on right before you are ready to start something big, whether it be weight lifting, sparring for boxing or another martial art, to just getting yourself in an amped up mood and ready to attack all obstacles that life will throw at you. If there was going to be entrance music for someone and they wanted to be able to effortlessly project their attitude without a single word expressed. This track gets this E.P. set up very well and based on what Apotheon have delivered in the past. I can say that without a doubt the songs that follow are going to be erupting with some tasty riffs, and killer blasts.
This song is the song that will make any gamer past or future feel some connection to the music and also vivid scenery. Just wait until the one-minute mark where you will understand the last statement and then you will be immersed in a world of metal, and video game like imagery. Now come back to the track titled Premonition, it really jives with this song. Again you get that uplifting and melodic style form the music and also creates a perception of imagery, scenery, and a different dimension or world. I feel as though Reece is hitting a lower range than on the previous songs but then again. I keep getting wrapped up in what sort of imagery you get while listening to this song and having the dialogue at the 1:09 that sounds straight out of a game. Apotheon are taking the metal making game to some new levels as they are creating music that is not only heavy and addicting but also energizing and spawn images from words and musical notes. However as great as this song is, I know that my favorite track is about to follow.
This song begins quietly with a really a subtle amount of notes being played almost at random, before a stringed instrument like a cello lays down what one might expect from an old movie, a horror or thriller to be exact. But then the drums and the distortion begins and the pace of the song goes into high speed. This song is my favorite off the E.P. in my opinion this is the heaviest track, it has the most jarring riffs, and the vocals are on point. The hardest part for me is to narrow down what section I like the most, which part of the song gets me the most amped up and excited to listen. The whole song has that effect on me. For example, right around the 1:43 mark the guitars and drums set up a badass section that is contagious. And it hits right before a solo, the vocals give way for the guitar solo, but only for so long before they are layered over the solo and really add to the reasons why I love it. Now if that was it I’d say you have a solid track, but it’s not. Because right around the 2:50 mark they slow things down to an almost sideshow or circus sounding section. Under most circumstances I would have heard this and thought “gimmicks” or “ yea why did they do that, it doesn’t even sound right with the song” but I can’t say that in this situation. It works, it sounds odd, and if they started or ended the song with it, it would have been a flop. But its smack dab in the middle of the most badass song on this E.P. and you haven’t even gotten to the second solo of the song. And this song is minutes less than the previous two tracks. Apotheon have again packed so much into the song it’s almost unbelievable that they managed to make another killer E.P.
The Flesh Machine
All you need to know about this song, is that some things should be left to mystery, I typically will not breakdown the last song on an E.P. only because there aren’t that many songs and I want at least one song to be a little bit of a mystery. I just can’t find it in me to do that for this one. It is just too damn good.
The song begins with a subtle progression of the guitar playing a riff that’s panned from left to right while the drums are playing a jazzed up beat to go along with the guitars, while the bass is holding things down. A keyboard strikes a note at the :18 second mark and continues playing with the other instruments. leading up right at the :44 second mark Reece slices through all that buildup with a growl that sets up his next few lines perfectly. Right around the 1:14 mark they have a section of solid riffing before the next verse. I’m beginning to have conflicting thoughts on which song I like more “Mechanically Consumed” or this one. Right at the 2:43 mark the song takes a deep dive into an uplifting and euphoric section that lasts just shy of a minute and then the vocals attack again. At what is roughly the 3:50 mark, the listener begins to become activated by the music. Whatever you may be doing at this moment in time, whether it be driving, walking down the street, rocking out in your room, or getting your jam on at the office. This is where you lose all of your collective shit and fucking throw some haymakers, air guitar or air drums and rock the fuck out. I dare anyone who listens to this E.P. to not get ready to take on the world when this song reaches this point. As they come out of one of the most badass moments on this, Ian pulls off a whirlwind of a guitar solo. There is no better way to put it, this song wraps everything up brilliantly.
This E.P. is an awesome little banger to be dropping at the beginning of this summer like this. There is soooo much killer music coming out in 2017, but summertime is the time of year where I look forward to killer tunes and having speakers blasting with the windows rolled down. This E.P. follows their 2016 E.P. titled The Acension (which gathered attention among Facebook groups following the Technical metal and deathcore scene) and then also the single Tyken’s Rift from January. Apotheon are making a name for themselves, and in a very short amount of time I might add. I am very pleased with this E.P. and has been some solid music to listen to while working on projects. While the E.P. is great I must admit, I have been listening to the advance copy, including instrumental tracks. Whether or not the guys decide to release this with the instrumental versions or not, my recommendation would be to do it. The music is so damn good. An amalgamated blend of equal parts technical, melodic, and and heavy. I strongly suggest anyone and everyone who is looking for something new to jam to this summer. Get yourselves over to their bandcamp page and get your copy ordered up because this drops on Friday. 9.3/10 \m/
I had to find out about the instrumental versions and I cant tell you how happy I was to hear from Fernando that they will be releasing an instrumental version of this E.P. as well.
“On streaming sites (Spotify being one of them) will have the ep + the instrumental tracks. Bandcamp will be vocal and instrumental versions sold separate.” “Going forward we will always be offering instrumental mixes. We love the offering, and while we love our vocalist and what he brings to table, we also write this music without vocals considered! And as fans of instrumental music ourselves, it’s always cool to hear A different version of a song!”
So there you have it, there will be instrumental versions available. Now imagine how many, videos can be made by people doing vocal or other instrument playthrough covers over the instrumental copies. I think Apotheons view on instrumental versions is a brilliant idea. Metal fans, and metal bands, lets make that a thing shall we?