Here we have some scorching melodic death metal, full of blisteringly hot leads and molten solos. In many ways the guitar is the real star of this show, and across 50 minutes of bright, energetic material, it shines brightly. Continue reading
Already an impressive and accomplished technical/progressive death metal proposition prior to this album, Where Owls Know My Name sees the band developing their sound even more than previously. Continue reading
This is extreme metal that’s both atmospheric and progressive, borrowing liberally from many extreme metal styles and sub-genres, including modern progressive metal, post-metal, death metal, and black metal. Continue reading
Now this is an interesting release.
0N0 combine the industrial, death metal and doom genres together, creating an album that has aspects of all weaved into its genes.
How to classify this? Well, extreme metal is the easy cop out, and as these things don’t ultimately matter that much, I suppose that will do. Industrial death/doom is more specific, of course, but there we are.
Think of the something like Continue reading
The closest band for comparison would be the mighty Between the Buried and Me, although to the credit of The Parallax they manage to use the template but don’t sound like a rip off. Another good example of this would be a band like The Odious who also share the Between the Buried and Me influence but like The Parallax they have their own sound built onto it. Other bands that The Parallax are reminiscent of in places are the more recent Strapping Young Lad material and Lascaille’s Shroud.
Like Between the Buried and Me the band are hard to categorise as they have so much going on, but I suppose you could brand them as playing Extreme Progressive Metal, if you really wanted to pigeon hole.
The band have epic, sprawling songs full of high speed Metal and highly melodic riffing, where the solos and leads are plentiful and played better than most.
Keyboards and effects wash over the music in waves. Piano sections and 70-s style duelling synths are common.
Harsh vocals roar and clean vocals soar. The singer has a very good voice and ably manages the vocals whether they be Power Metal cleans, abrasive roars or anything else.
It’s all very well done and very proficiently played. As you can probably tell from the above the band are certainly not lacking in ambition. There are only 5 tracks but there is an hour of music here, including the epic 23 minute splendour of The Reformatting.
The sound is clear but my only slight complaint, (and it’s only a small thing really), is that it could do with a bit more depth to the sound; it sounds curiously compressed. It stops registering after a while, but when you first listen to this album after another band who, say, have a rounder sound to their recording, it stands out. Definitely not the end of the world, and it might not even be an issue for some people, but just a note for next time.
All in all this is a talented band who have produced a whopper of a début. I have no hesitation in recommending this album at all. If your tastes run to the Progressive and the interesting then Obliquity of the Ecliptic is for you. I fully expect this band to be snapped up by some enterprising record label soon, so get in on the action now.