Technical death metal – Page 38

Emeth – Aethyr (Review)

Emeth are from Belgium and play Technical Death Metal. This is their fourth album.

Emeth tread that fine line between brutality and technicality and manage to successfully incorporate both into their savage Death Metal assault.

Ultra-aggression and lightning speed riffage work together to melt faces whilst fretboard wizardry takes the technical side of the band to new heights of carnage.

Emeth can certainly play and play well, and they’re no stranger to brutality, but what sets them apart though is that they don’t purely rely on speed and technicality; they know when to inject a bit of atmosphere and quality instrumentation into the proceedings via some sharply written riffs and colossal guitar work.

The guitar work as a whole is a particular highlight of this record; there is plenty of inventive and interesting riffs and whether they are playing fast or easing off the speed slightly everything is precise, crisp and dynamic.

The singer does a great job and has a focused growl. He picks and chooses his vocal patterns well and knows when to let the music do the talking. This is not an album where the singer is the vocal point; rather the riffs take centre stage and the vocals are an enhancement, (albeit an important one), to the songs.

What an album! A whirlwind tour of destruction and creativity. Emeth have clearly put a lot of hard work into Aethyr and have been rewarded with an extremely strong album.

Into Death Metal? You need to get this.

Hideous Divinity – Cobra Verde (Review)

This is the second album of Death Metal from Italian band Hideous Divinity.

Here we have a blistering Technical/Brutal Death Metal band that plays crushing music with furious abandon.

Mixing elements of Hate Eternal, Decapitated, Nile, Behemoth and Hour of Penance; Hideous Divinity have come to destroy.

Hideous Divinity have a powerful sound and seem more than comfortable with their playing skills. Importantly, the band never neglect the songs themselves; although they have a Technical side to their sound they know that a song is more than just playing in a complex way.

As such, these songs are structured well and use their playing time to good effect. Emotive riffs and studied brutality is the name of the game here, and the band do it expertly.

The band’s twisting, dark music is an exemplar of what intelligently crafted Death Metal can sound like in 2014. Songwriting skills, technicality, brutality and the occasional nod to subtlety – these are key elements in the Hideous Divinity sound and the band have really taken them to heart.

This is an album the band should be proud of, and one I’ll be spinning for a good while to come.

Annihilation – The Undivided (Review)

Annihilation are from Portugal and this is their latest EP. They play Death Metal.

Their début album Against the Storm was a very enjoyable slab of Death Metal with plenty of brutality and top vocals to enjoy.

So what does The Undivided give us? More of the same?

Not at all.

In the years between releases it seems Annihilation have been busy refining and updating their sound. It’s still Death Metal, of course, but now they’ve added in more technicality and dissonant riffing that takes them away from the Deicide influence on their début and moves them closer to a more interesting, Progressive Death Metal style in line with bands like Gorguts and Execration.

This time the songs are more involved and intricate. Dark, expansive melodies dominate rather than the fully brutal riffing of the first album. They still do have a brutal aspect to their sound but it’s now clothed in grimier materials and surrounded by lurking menace and sinister complexity.

The songs on this EP are real growers and have genuine depth and longevity. Seeing a band spread their wings like this and embrace their potential is a very rewarding sight and bands such as this should be supported at every possible step in their journey.

I must say I heartily approve of this change of direction. Although I really enjoyed Against the Storm ultimately it was nothing different, just an enjoyable Brutal Death Metal album. The Undivided, however, sees the band reaching for something different, something more individual. The results speak for themselves.

I genuinely can’t wait to hear what they do next.

Well done Annihilation.

Diskord – Oscillations (Review)

Diskord are from Norway and this is their latest EP. They play Death Metal.

Diskord play Death Metal that’s fused together with technicality, atypical guitar workouts and strange musical shifts. The result is a band who definitely have their own identity.

Oscillations is 26 minutes of Progressive Technical Death Metal that never takes the easy or simple route.

Diskord may have a dense and forbidding sound but it’s surprisingly accessible, considering. Amongst the violence and tempo changes lurk Doom-influenced passages and a subtle Black Metal influence that work alongside the more brutal and frenzied parts to bring harmony and a sense of vicious gloom to their work.

The sound is warm and apoplectic with seemingly random bouts of violence juxtaposed with a more lurking malevolence. All of the instruments are audible and the bass has a good role to play.

The songs are well-written and constructed with the crazy instrument-heroics never getting in the way of the song itself. Not an easy thing to avoid happening.

The vocals are quite varied, ranging from the Death-esque to the Blackened that are entirely appropriate to the music being played.

Diskord sound like Old-School Death Metal, (think Cynic, Death, Atheist), mixed with a more modern ultra-technical and eccentric influence. It’s a very meaty and enjoyable release that has a lot of nooks and crannies to explore and learn from.

A quality EP from a talented band.

Check them out.

Rings of Saturn – Lugal Ki En (Review)

This is the third album from US band Rings of Saturn. They play Technical Deathcore.

This is hyper-technical and full of crazy time changes and enough complex riffery to send even hardened Metallers into hiding.

Rings of Saturn have an extreme Deathcore aspect to their sound that lends them that ultra-modern edge whilst retaining every single aspect of brutality that any form of Extreme Metal has. In this way they’re similar to the excellent Infant Annihilator; this is modern, complex and devastatingly heavy music.

Vaguely Electronica/Sci-fi-influenced melodies abound and stick out from the studied chaos like serrated knives ready to carve up the unwary. The band combine frenzy and precision like few others and these songs are exemplars of what happens when a clearly talented band combine Deathcore with Technical Death Metal and proto-Progressive tendencies.

The sheer mind-numbing extremity of this release is a joy to behold. Some may criticise the band for this and they may find certain aspects of the band’s sound distasteful or too fashionable, or whatever, (poor, much-maligned Deathcore), but it’s hard to care about such facile remarks when the music is this energetic and outright extreme.

My personal complaint with a lot of Deathcore, (and also Djent), is that it’s a style that lends itself to mediocrity too easily. Mediocrity is a word that could never be applied to Rings of Saturn though; love it or loathe it, Lugal Ki En is an album that is bright enough to transcend the mediocre and shine brightly with a thousand burning stars.

Me? I love it. Bring on the chaos.

Gory Blister – The Fifth Fury (Review)

Gory Blister are from Italy and as the name of the album suggests, this is their fifth album.

The band play Technical/Progressive Death Metal and take the listener on a whirlwind journey.

On The Fifth Fury we hear influences from bands like Carcass, Death and Morbid Angel. Gory Blister make these their own and use them throughout the 35 minutes playing time to create an album that is involving and complete.

The band manage to be sharp and aggressive in their assault whilst tempering this approach with restraint and more considered passages that show their Progressive Metal influences. Although they have plenty of Technical Death Metal in their sound the Progressive edge and the Carcass influence never let this side of the band get in the way of the songs themselves.

This is music that likes to explore itself. For a relatively short album there is plenty of variation around the central theme and lots of nice ideas scattered around to engage the listener such as the subtle synths that add further feeling to some of the tracks.

The riffs are largely inventive, with plenty of leads and solos to sink your teeth into. Melodies and Progressive tunes punctuate the brutality in a way that works with the flow of the songs rather than against them.

Serrated screamed vocals are the main mode of attack but satisfyingly deep growls are also used.

A strong sound and strong songwriting means this is a strong album. Strongly recommended.

Septycal Gorge – Scourge of the Formless Breed (Review)

Septycal Gorge are from Italy and play Technical Death Metal. This is their third album.

Ahh I love a good bit of Technical Death Metal. I mean, who doesn’t? The insane time changes, the technical wizardry, the fretboard workouts, the sheer, flattening hurricane of intricate chaos that such bands typically unleash.

Well, Septycal Gorge aren’t as brain-searingly chaotic as some bands in this genre but this is because they also have a firm love of all things utterly brutal. This is a devastatingly aggressive record which combines intricate technicality and pure heavy Death Metal into a scorcher of an album.

This album features satisfying brutality and technical depth which means that it’s a release to savour over multiple listens as you get to fully appreciate all the different things going on here. Yes it’s mind-numbingly brutal, but there’s more than just that.

These songs have what it takes to stand out in a sea of Technical Death Metal bands all struggling to get noticed. As this is their third album the band clearly know what they want to achieve and have the talent and know-how to do it.

Scourge of the Formless Breed owns a stellar production that allows both aspects of the band to shine. Whether the riffs are fast, slow, simple or complicated, the guitars never lose their bite and everything continues to sound on form.

The vocalist deserves a mention also; he has the kind of deep growl that is surprisingly expressive for someone who essentially sounds like he’s trying to vomit ghosts.

This is a top-rate, top-drawer, top quality Death Metal release. You should hunt this down and listen to it today. Go on. Now.

Innsmouth – The Shadow Over Innsmouth (Review)

Innsmouth are from Denmark and play Technical Death Metal. This is their début album.

This is Technical Death Metal with programmed drums and added subtle keyboard highlights.

Think bands like Nile, Necrophagist and Obscura and you’ll be in the right place.

The musicianship is impressive with shredding guitar solos peeling off all over the shop. The solos feel like an integral part of the band’s identity and they make a good impression.

The music is nicely varied with a healthy amount of brutality offsetting the technical capabilities of the band. Quality riffs and some good atmospheric sections rub shoulders with moments of chuggery and melodic leads. Inssmouth seem more than capable of keeping the listener interested and the songs on this album show a high degree of maturity of delivery and composition whilst simultaneously keeping things aggressive and direct.

The band have plenty of energy and show that they can use dynamics to good effect. These songs actually feel like songs rather than stitched together riffs, which is always a danger with the more technical side of Metal. Thankfully they seem to realise that the song comes first and everything else is just enhancement.

The vocals are quite daemonic and evil sounding, both deeper growls and higher screams.

The album’s production values are good and the music has a satisfying sound that hits the spot.

A most enjoyable release. This is Death Metal with interest, depth and a whole bucket-load of guitar shenanigans. I Like.

Solace of Requiem – Casting Ruin (Review)

This is the fourth album of Technical Blackened Death Metal from Solace of Requiem. They come from the US.

It’s fairly unusual for Technical Death Metal bands to have anything to do with the Black Metal style. It’s not unheard of of course, just relatively rare, so I was looking forward to hearing this band to see what they did with the style.

Straight away it’s apparent that they are very technical and they do wear their Black Metal influences on their sleeves.

The music is a dense, twisting affair. Technical Death Metal riffs fly everywhere at the speed of thought whilst Blackened keyboards and sounds add to the cacophony. High pitched Blackened screams add a further layer of evil and the entire thing reeks of a complicated rot.

It’s impressively harsh and the addition of the Black Metal influences to the Technical Death Metal core is atypical and done rather well.

The higher screamed vocals are joined by more traditional growls, once again sealing the deal between genres.

There are some great riffs here and the technicality doesn’t become overbearing or done just for the sake of it. Sometimes the band hits upon a great sounding mid-paced riff and they just let it settle in for a while and lot it flow naturally, which is a great thing to hear. This is frequently added to by keyboards and solos and the end result is very satisfying. As songs they work, and the entire album is top work by this band.

Everything is recorded well and the music is crisp and clear. These songs whirl by at lightspeed and you can’t fault the performances. As this is their fourth album they clearly know what they are doing by now and have the talent to achieve their goals.

This band remind me of someone like The Black Dahlia Murder if they had a lot more blazing technicality and Black Metal in their sound. It doesn’t completely describe Solace of Requiem of course, but it’s a good starting point; throw in some Spawn of Possession, Immolation and Arkhon Infaustus and you’re on the right lines.

Casting Ruin is a monster of an album and quite an achievement. By incorporating Black Metal into their sound they successfully differentiate themselves from hundreds of standard Technical Death Metal bands and immediately set themselves apart.

This is an album that is better than most and won’t settle for being ordinary. Solace of Requiem have their own identity that serves them well and they’re just waiting for you to discover them.

Do it now.

Phobiatic – Fragments of Flagrancy (Review)

Phobiatic are from Germany and this is their second album of Technical Death Metal.

Phobiatic’s Death Metal is both technical and brutal and takes cues from the likes of Dying Fetus – huge brutal riffs combine with intricate, swirling leads to create a monster of a Death Metal assault.

The songs are largely short and sadistic affairs, averaging about 3 minutes each; every track makes a virtue of aggressive complexity juxtaposed with a simpler and more brutally direct attack.

The production sounds fine and the band know what they’re doing with their respective instruments.

The vocals are deep, guttural and in your face. A band like this, however, has no need for subtlety and the forthright approach goes hand in hand with the nature of the songs.

Fragments of Flagrancy is an enjoyable album that’s short enough to satisfy the urge for instant destruction and technical enough to satisfy the desire for a deeper chaos.

Give the album a listen and see what they do for you.