Brooklyn experimental tech-death purveyors Pyrrhon returned last week with their new, fourth full-length, Abscess Time. Check out my thoughts in a new video review after the jump!Continue reading
Sometimes you play an album and immediately know that this one is different. I almost didn’t write this review because I wasn’t sure I could even put words to my thoughts and feelings. Despite listening to Stare Into Death and Be Still by Ulcerate more times than I can count in the past weeks, I am left awestruck by this marvel of technical and progressive death metal. Yet even those words seem meaningless in the face of this revelation of heavy music.
Forged at Berklee College of Music in Boston, Mass by a group of highly skilled musicians, Myth of I was born. And now, seven years later, Myth of I is an “…eclectic album with influences from all over the world and is sure to be something you can’t find anywhere else” as described by the band, and I’ve found that statement to be true. It’s a creative blend of musical styles from progressive metal, to black metal, to jazz fusion, to electro—with expert instrumentation by four talented musicians and no vocal tracking. Myth of I bring such strong power and expression through their instruments that vocals are not needed and are not missed, surprisingly. Continue reading
All too often, technical death metal may feel soulless, as if its impressive technicality lacks a pulse. Similarly, progressive strains of death metal may end up meandering without proper direction, impetus or impact. Both styles strive to push the envelope, but frequently fall short. With a new 4-track EP Aletheia, Sutrah shows how all this is done with resounding success and spectacular results. Continue reading
As far as tech death goes I’m not big on the insane extremes bands like Archspire take or whatever the hell Allegaeon did on their latest album that caused me to give up halfway through. Although experimentation is fantastic, amalgamating sounds and hoping it sounds like tech death is just not something I’m going to put myself through. On the other side of the spectrum, a band who has been MIA for a while should be able update their sound and test what else is out there when it comes to insanity levels and a fretless bass. Thus, when a band like Odious Mortem returns with Synesthesia, I have an expectation of grounded innovation, as if they really took the time to fully plant themselves into what they missed. They did that, but, to an extent. Continue reading