This is Reciprocal’s second album of Technical Death Metal. They are from the US.
A strong start introduces the band and their heavy, sprawling sound to the listener. It’s complex and interlinked whilst retaining a brutality and nastiness a lot of Technical Death Metal bands are lacking in.
This is Technical Death Metal mixed up with the modern, New-School breed of crushingly Brutal Death Metal. It’s a heady combination that immediately makes you sit up and take notice of them.
The songs are long, (for Death Metal), and the band use this time to explore the labyrinthine riffs and to show off their musical chops.
They appear to have quite the mixture of influences on this release. I hear elements of Cephalic Carnage, Carcass, Spawn of Possession, Arsis, Gorguts, Decapitated and many more crammed into the technically dense songs. There is too much going on here to absorb in one listening, which is a good thing as it increases the longevity of the album.
Vocally the band incorporate pretty much all styles in the album somewhere, although high-pitched Carcass-esque screams are the most used.
The sound is absolutely immense. It sonically shines and the tracks hit home like hammers. It doesn’t get stale or boring as the band have enough variety within their framework to introduce elements of several Death Metal sub-genres; Brutal Death Metal, Melodic Death Metal and Deathcore being the main ones in addition to the core of Technical Death Metal.
New Order of the Ages is an ambitious album; 68 minutes of music with plenty of ideas and enough talent to hold it all together. Piano and samples are used liberally to help spread the band’s message and to provide breaks between bouts of swirling riffs and widdly fret-wizardry.
I heartily recommend this album to anyone who enjoys bold, challenging, heavy, technical music. If this is you then this is a must listen.
De Profundis have recently released their latest EP Frequencies, which has been receiving a lot of praise from every quarter with the band even being involved in a promotional tie-in with fabled UK Extreme Metal magazine Terrorizer. I asked Shoi Sen some questions and here’s what he had to say…
Give us a bit of background to De Profundis
De Profundis started life in 2005 when Craig (Vocals) and our ex guitarist Roman met in a pub to discuss how to take over the metal world, the meeting was interrupted by Roman’s father who wasn’t happy that his underage son was in a pub with a older man, maybe he thought his son would be ‘followed home then killed’! The band released its first album Beyond Redemption in 2007 followed by 2 more albums and more recently our first EP ‘Frequencies’. The band evolved from playing some form of Progressive doom and now is firmly entrenched in delivering bone crushing progressive Death Metal.
What are your influences?
This is always the difficult question because our influences are so diverse. On the metal side the usual suspects like Death, Morbid Angel, Maiden, King Diamond etc. But also our schizophrenic side would come from early Queen and Zappa so you see difficult to really pin down. Its fair to say De Profundis operates like the Borg, we are a collective of musicians, with well assimilated influences and once you hear us all resistance will be futile 🙂
What are you listening to at the moment that you would like to recommend?
We’ve just toured with Demonic Resurrection from India, they are very good and an awesome bunch of guys. Otherwise if I was to recommend you stuff it would more old school music, I don’t tend to listen to current stuff much to be honest, nothing really grabs me. I can tell you what I wouldn’t recommend though, that one string wankery called Tech Metal/Djent with shit autotuned pop vocals.
What did you want to achieve with your new EP?
We have a number of goals for this EP. Musically showcase our new ethos of going for the throat earlier. Commercially although this EP is free we wanted a maximum of people to hear it share it and create a buzz around us, which is actually happening. Generally the reviews so far have been very positive but a few have questioned our more direct approach. What I can say is that the album which is also ready covers the wider range of De Profundis’ music, with this EP we wanted to showcase our more direct songs.
Your style has changed over time; how do you feel this release has progressed your sound since your previous work?
As mentioned previously our songs are more about going to the point earlier in general, that’s the major shift or progression from the previous album. Also with the arrival of Paul (Guitar) last September we had a new toy to play with (I am referring to his musical talents), his riffs were even more crazy than what I came up with so the sound of the EP has a lot to do with the way this new line up just gelled instantly.
Are you happy with how it turned out?
Yes once we got rid of Roman and Paul joined the writing went really quick and it was an awesome creative period. In previous writing sessions I always felt drained with all the infighting caused by one person in the band, and basically couldn’t get myself back in a writing mode for over a year. Now I can’t wait to start writing again.
What can you tell us about the lyrics?
Craig our vocalist is the man to talk to about lyrics but unfortunately he is currently away on holiday so won’t be able to contribute and I don’t want to interpret his lyrics for him.
Give us a bit of information on your songwriting process.
We write as a band. Either Paul or myself will bring some riffs to rehearsal and then we jam the ideas we have and looks at what would work together. We spend a lot of time thinking about transitions, we have a real fear of writing songs where parts don’t transition into each other smoothly, which some prog metal bands tend to do.
How did the link with the Terrorizer promotion come about?
Miranda Yardley the owner of Terrorizer is a fan of De Profundis so when I approached her about using Terrorizer’s distribution to release the EP she was very receptive so it worked out great.
How do you see your position in the wider Death Metal musical framework/genre?
We are here to become a major player in the death metal scene. I think there are too many bands our there playing Death Metal forgetting about writing songs, so we are there for people who want their death metal to be brutal, melodic and technical with full of hooks which makes them come back to our music over and over again.
I hear you’re planning a new album – what can you tell us about this?
The EP and album were actually written and recording during the same session so the album is also ready. We are now trying to sort out a label to release it. Hopefully we will be in a position to get the album late this year early 2015.
How do you see your songs/direction developing in the future?
At the moment its too early to say as we’ve just finished writing this album a few months ago, but I think we will carry evolving into the death metal genre whilst maintaining our progressive elements. I imagine in the future we will come back to longer song structures but at the moment we are enjoying playing shorter punchier songs. And it’s a lot easier to build a set list with shorter songs.
What’s next for De Profundis?
Well we are playing Bloodstock in 2 weeks time which we are very excited about. Its been 6 years since we last played that fest and we have done so much in that time. After that we are currently in negotiations about a tour with a pretty big name in Death Metal so if that happens it would be a great opportunity for De Profundis. When we are planning this EP and Album cycle we had one word in our mind and that’s touring, touring and touring. So our agents Nazgul are working on a whole bunch of potential tours for us so expect to see us everywhere over the next 18 months!
De Profundis are from the UK and this is their latest EP of Progressive/Technical Death Metal.
The band have a deep sound that showcases the technical riffing and aggressive nature of their music.
The drumming is all over the shop, but in a very good way; they’re not afraid of using unusual rhythms and off-kilter beats.
This description also applies to the rest of the music, although the band do throw in some melodies and leads here and there when needed.
Apart from the vocals, which are low and deep, the band remind of Death at their most Progressive and Experimental. Indeed; the last song out of the 4 tracks here is a Death cover of the song Crystal Mountain.
Brutality is still a factor in their sound though; this is Death Metal after all. This brutality is offset with sharpened riffs and fretboard exploration that never allows it to become too bludgeoning; rather this is extreme in a different way. It’s technically precise and musically demanding.
At 20 minutes in length this is a decent showcase for the band and allows them to display their musical wizardry to good effect.
Fallujah are from the US and this is their second album of Death Metal.
But this is not your normal, run-of-the-mill Death Metal by any standards, this is something truly special. Fallujah play Technical/Progressive Death Metal with expansive melodies, daring structures and bold ambitions.
A huge production is a prerequisite for anything like this in order for everything to be clear and exact, and this is what we get.
The songs are hugely impressive both technically and song-wise. There’s a lot packed into these tracks and every second of music seems to have been considered and planned to complete precision before anything has even been played. It’s tight, proficient and worthy of the title master-crafted.
Their material has its brutal side of course, (this is Death Metal after all), but they mainly deal in atmospheres and moods. For example; it often seems like two songs are being played at the same time, with an intricate Death Metal song being played over the top of a haunting Post-Metal track. Fallujah’s genius is to make this fit together flawlessly and with utter precision so that the juxtaposition of styles sounds whole and complete.
Somehow the band manage to be rhythmic, brutal, spacey, melodic and colourful simultaneously, with the songs positively dribbling emotion and atmosphere.
The album is laden with effects and additional instrumentation providing so many layers of depth that it’s almost easy to overlook the phenomenal playing of the core instruments and the rather impressive noises that they make. There’s too much going on here to take in in only one sitting, and like the best albums it grows on you like a welcome disease.
Fallujah have produced a stunning album that raises the bar so high that most other bands will fall by the wayside just trying to keep up.
This is the latest album from US Blackened Progressive Death Metal band Giant of the Mountain.
Blackened Progressive Death Metal? Sure it’s a bit of a mouthful but it is a more-or-less adequate description of Giant of the Mountain’s music.
Their songs have distinct Progressive tendencies with complex riffs and structures congealing around an exploratory Metal core.
Death Metal serves as the largest percentage of that core, albeit a form of Death Metal that relies on melodics and technicality rather than sheer brutality.
And the Blackened part? This is sprinkled on top of everything really. It’s not as if Black Metal is a massive part of their sound, but it’s definitely a feature and they would sound quite different if this aspect of their music was removed. It’s a quality of some of the riffs, it’s in some of the vocals and it’s apparent in the distinctly non-Death Metal recording.
Couple all of the above with a bit of Sludge and a DIY attitude and you have Moon Worship.
Apart from the Blackened vocals we also get Death Metal grunts and some Viking-esque epic cleans.
The involving songs make the most of their play time with melodies and passages that seem to draw you in before going off on another tangent. These tracks really have been well written and the underground production enhances the feeling of listening to something special. This is a very creative and enjoyable release.
If you combine parts of bands like Enslaved, Opeth, Death, Gorguts and a whole slew of others then you’ll have an idea of the Giant of the Mountain sound. It’s refreshing. My only slight complaint is that even though the production on the album is adequate for the most part and for some instruments, (like the bass), it’s perfectly judged; for me the drum sound is a little weak and timid sounding. This is very subjective of course, (like all things music-based), and it’s not enough to spoil my enjoyment of this album, it’s just that it sounds a little flat to me and for a band that are as good as this I would prefer fuller-sounding drums.
Slight sound issues aside though, this really is the kind of album you want to take your time to get to listen to; absorb and repeat. It’s well worth the time.
As you can see, this is not your average release and certainly stands out from the pack. Get your fill of Giant of the Mountain and get worshipping the moon as soon as you can.
Omnihility are from the US and this is their second album of Technical Death Metal.
A top quality album cover is backed up by an album capable of living up to its promise.
Winding, cavernous Death Metal unfolds at speed to create a tangled network of technical riffs, deep growls and intense drumming.
The brutality is firmly in attendance but the technical side of the band makes for sprawling, exploratory songs that expand the potential of the band and draw the listener in.
The riffs are plentiful and abundant, with many flavours to taste. The songs seem to be fashioned from complex weaving of the guitar, threaded through with highly competent drumming and seasoned with a vocalist who has just the right amount of guttural brutality in his voice.
I really enjoyed this album; the Technical meanderings and guitar wanderings combined with the fact that the band simultaneously keep an eye on the overall song structure of each track means that they capably merge impressive playing with actual songs.
This is the kind of album it takes a while to fully absorb and appreciate. So sit back, play loud, and brace yourself for the journey.
Inanimate Existence are a Technical Death Metal band from the US.
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.
Defilementory are from Denmark and play Brutal/Technical Death Metal.
The album starts with a melodically-brutal intro that shows off some sludgy riffs with frenetic blasting drums. It’s an unusual piece and a welcome turn of events to the usual lacklustre album intros that a lot of bands peddle.
As the album unfolds it becomes clear that the intro is no mere anomaly and Defilementory are a band who are not afraid to throw in some more experimental riffs and atypical sections to their songs. Taking cues from an unholy mixture of bands like Gorguts and Severe Torture, this is a seamless blend of Technical Death Metal and wanton Brutality.
Atmospheric riffs rub shoulders with heavier, chugging sections whilst the drums and bass gel everything together into a rotting mass of putrid gore.
Bands like this are a joy to listen to as they’re taking the standard Death Metal template and invigorating it with good ideas; it sounds fresh yet at the same time staying true to what Death Metal is all about.
The singer is no slouch either; as the band riff and heave their way around the savagery he produces a very satisfying deep growl.
Sometimes the technicality/experimentation gets in the way of the actual song, but rather than this be a fatal flaw it merely refocusses the attention so that the atmosphere and mood of the tracks become more important than traditional song structures. This becomes even more apparent on subsequent spins; the warped melodies and twisted structures come into their own as you become more familiar with the material.
Defilementory have produced an interesting, ambitious and enjoyable record. May they continue on this darkened path less-travelled for many an album to come.
Favourite Track: The Mask of Anatomy. The different influences click perfectly into place on this.
This is the second album from Polish Technical Death Metallers Redemptor.
A brief Classical intro segues into frenetic technical mayhem with blastbeats, guitar craziness and harsh growls dominating the airwaves.
The band are controlled chaos with lots of ideas and sounds harnessed into their arsenal of impressive musical wizardry.
Take a band like Gorguts as your starting point, throw in a bit of Iniquity and Meshuggah and the starting blueprints are in place for a band who are not destined for mediocrity.
They have a skilled drummer and the songs are very percussive. The remaining musicians are also suitably talented and if it wasn’t for a good grasp of dynamics and some well thought out songwriting the songs could easily collapse in on themselves in a frenzy of technicality; this is avoided though by judicious use of restraint and energetic riffs.
They allow a bit of Jazzy, seemingly free-form experimentation to creep in on occasion, although I imagine it’s far more thought-through than it sounds. It does the trick though.
Polish band Hybris have just recently released their début EP – this is 18 minutes of Thrash-tinged Death Metal.
The first track Amnesia is the longest of the three and starts with a soft atmospheric intro that builds into a nice Thrash riff.
The songs are memorable and well-executed slabs of Thrash/Death, with a strong Old-School feel to the recording and aura of the EP.
I hear a good amount of influence from bands like Death. In fact this is the main comparator I’m reminded of; Death with a technical Thrash makeover. Other influences come into the songs as well though, such as the Egyptian vibe on Egyptian Darkness.
The music is crisp and technical but without sacrificing the song itself. The sound is precise and even the bass can be heard in a meaningful way.
There are lots of solos and leads; the band can certainly play but it’s not showboating or self-aggrandisement, just a sheer love of Metal and the demands of the song.
A most enjoyable EP that introduces Hybris to the world and promises great things for the band.
This is Reciprocal’s second album of Technical Death Metal. They are from the US.
What can you tell us about the lyrics?
Wonderbox Metal 