Described in the press blurb as a mix of deathgrind and mathcore, Mūto is pretty much exactly that. It’s good stuff. Very good stuff, in fact.
Hyper-violence, brain-melting complexity, twisting song structures, blisteringly technical riffs, and intimidating attitude all permeate this release down to its very core.
The songs seem to writhe in pain, burdened by the intolerable violence of their own birth and the bewildering complexity of their continued existence. They seem to agonisingly mutate and warp as you pay more attention to them, changing what they are and what they mean as time goes on.
This is complicated and difficult-to-approach music that nonetheless has a wealth of rewards ready and waiting for those bold enough to brave them. Onryō show a lot of good ideas and interesting touches across these four songs, and they also have the talent and skill to execute them competently too.
There’s more here than just complex violence, insane time-changes, and atypical structures though. There’s also a certain depth of songwriting ambition, as well as moments of atmosphere brought about by clever use of sounds and broken, unusual melodies. This is a band that have clearly thought long and hard about the form and structure of the music they make, and all aspects of these songs have surely been scrutinised thoroughly before being unleashed on the world.
Think a mix of The Dillinger Escape Plan, Cephalic Carnage, Crowpath, The Summoned, and The Red Chord. Think of this and be happy, as Mūto is extremely enjoyable.
Very highly recommended.