Inanimate Existence have always impressed. Their blend of progressive, technical, and atmospheric death metal has always been well-written, inventive, and thoroughly enjoyable. So far, they have a prolific streak of high quality work, and Clockwork only adds to this, I’m pleased to report. Continue reading
Featuring current and ex-members of bands such as Decrepit Birth, Scour, Deeds of Flesh, Arkaik, Allegaeon, Inanimate Existence, Pathology, and Rings of Saturn, before even listening to Designed Obsolescence you know that there’s a wealth of extreme metal experience that’s gone into its forging. Continue reading
Winds of Plague aren’t your average deathcore band, I’m very pleased to tell you. Here’s a band that have kept the core brutality of the style intact, while spreading their wings with symphonic/orchestral elements and bursts of melodic aggression. Continue reading
Inanimate Existence return! I like this band a lot. 2014’s A Never-Ending Cycle of Atonement and then last year’s Calling from a Dream demonstrated a band that are not only willing to experiment and push their sound, but one that continued to develop and progress over time too.
Well, hold on to your hat, because you won’t be expecting this.
The Ritual Aura’s 2015 debut album Laniakea was a favourite of mine. At only 26 minutes in length it was a supremely enjoyable blast of cutting-edge death metal. Tæther is, to say the least, a lot more ambitious, lasting over 70 minutes in length. In many ways this seems like a different band altogether. Continue reading
Starting off softly, with ambient sounds and female vocals, this album is a different beast to the band’s last album A Never Ending Cycle of Atonement. Sure, the band haven’t completely changed, but they’ve definitely progressed a significant amount.
So if you take their Continue reading
An exotic intro and equally exotic album cover set the scene for this otherworldly adventure in brutality and technical wizardry.
Long songs and fretwork dexterity are the order of the day here, although the band never lose sight of the aggression and brutality that is the hallmark of Death Metal.
A good sound means that all of this frenetic widdling can be appreciated and the drums are punishing, proficient but not overpowering. I mustn’t neglect the bass either, as it’s actually audible and has a part to play in these tracks. There are also some shredding solos and leads.
The singer’s vocals growl and grunt like a windswept vortex causing destruction wherever it goes.
Slower parts occasionally appear, allowing the band to show restraint and to maximise the moments of atmosphere they foster. They also experiment with percussion, lighter moments, Progressive Metal and even some female vocals. These parts enhance the songs making them more than they might otherwise be, as well as stopping them becoming too repetitive or predictable.
The songs are highly enjoyable and expertly crafted.