This is the second album from this Swiss death metal band.
This is 34 minutes of modern death metal that effectively combines speed and groove.
Cannibal Corpse-esque riffs mix with elements of deathcore and bands like The Kennedy Veil and Origin, as well as sprinklings of thrash metal here and there. The resultant music sounds like none of the above bands too much, although you can hear where their influences come from. That the band can clearly acknowledge this without it being too blatant is only a good thing.
Vocally the delivery is deep growls punctuated by screams and the occasional shout; not a million miles away from the style the singer of Aborted uses in some ways, although they don’t actually sound too alike. The singer of Omnicide sounds like he’s burping out Satanic diatribes. Based on the description that might not sound too flattering, but his voice has a satisfyingly grating quality to it that serves the band well. And the screams are very, very nicely done.
The band throw serrated riffs around with wild abandon. There’s a bit of a thrash influence to some of the guitars here and there, although this is obviously mixed in with the more death metal delivery as a whole. The deathcore elements are few and far between, but they can be heard in some of the slower, groovier parts that just make you want to bounce around. Then the speed picks up again and we’re back in modern brutal death metal territory.
It took me a little while to acclimatise to the singer’s gruff delivery and overall sound of the band, (sonically I mean – the production is a good one, but seems to be slightly two-dimensional in places; a similar complaint I had with the ultimately very enjoyable album Obliquity of the Ecliptic by The Parallax), but these are only minor concerns, and as I listen to it again right now, I wonder why these things were ever issues in my mind. I note them here only for completeness really; Constants and Variables is a very good listen.
Recommended.
Wonderbox Metal 