Am I missing any albums? Do you agree?
Sadistik Forest – Mordbid Majesties
Am I missing any albums? Do you agree?
As I stated in my review of Where Owls Know My Name by Rivers of Nihil one of my favorite tech-death bands is Beyond Creation, a band many sees as the forefront of progressive technical death metal. Before that band even existed we had Augury though, a band I have to say I personally haven’t listened to simply because I didn’t even know they existed. The band formed in 2002 and released their debut album Concealed in 2004 (a year before Beyond Creation were formed) with the follow-up Fragmentary Evidence coming out in 2009. Both are said to be milestones within the genre to many but since then the band has been quiet, until now.
The album opens up with the title track Illusive Golden Age and instantly I draw a lot of connections to Beyond Creation and Obscura. Which is a good thing and after hearing their older albums right before writing this review I realize Augury’s sound has stayed the same since the debut. The transitions between solos and change of pace is definitely something Augury has learned to master and throughout the album you get hit with one sweet solo after another. There is one big thing that bothers me with Augury though, the clean singing. I wish they stayed to growling all together as to me it fits a lot better to the music. Which is also a big reason why I for example like The Living Vault a lot better than Illusive Golden Age, because there they stay away from the clean singing and it just sounds hell of a lot better.
Seeing as I just reviewed Rivers of Nihil it was impossible not to have the two albums compete a bit against each other. Fact is the two bands have completely different takes on metal as Rivers of Nihils latest album brings so many influences into their music and in some ways break barriers on how tech-death should sound today. Whereas Augury does what Augury does best, a class progressive death metal album which is basically just as good as their past albums and a statement to the newer kids on the block that they are back in action. The main difference is Augury was one of the bands that were ahead of their time back when they first started and a lot of bands have them to thank for what is the core of prog-death today. It’s expected for them after such a long break to come back and give their fans what they crave for. Me being a new listener to the band I’ve learned something new about the whole prog-death scene with not just having found a great album but a whole discography to keep with me at all times.
In conclusion Illusive Golden Age is a wicked album that showcase everything Augury stands for which will surely bring back old fans and add new ones to their ranks. It’s a rebirth from a band that was once ahead of its time and is now in sync with modern prog-death that might as a matter of fact be to their advantage. My favorite tracks include The Living Vault together with the two most hard hitting, brutal tracks on the album Mater Dolorosa and Parrallel Biospheres.
Label: The Artisan Era
For fans of: Obscura and Beyond Creation
Release date: March 30th, 2018
Favorite song: Mater Dolorosa
Let me start with saying that Rivers of Nihil is as a matter of fact one of my favorite techdeath bands and have been for years now. Together with bands like Beyond Creation, Archspire, Decrepit Birth, and Spawn of Possession it’s a band I always go to when I have the urge for some technical and progressive metal. There’s always been a feeling that Rivers of Nihil has never unlocked their full potential though and in some ways lacked in their own sound and identity. That being said I had really high hopes for Where Owls Know My Name as the singles I’d heard before were really something completely different from their older music which seemed to have sparked something brand new.
For those unfamiliar with Rivers of Nihil the band was formed in 2009, hailing from USA, has two EPs and two full-length albums released prior to Where Owls Know My Name. Their albums are focused on the different seasons, with the past two albums “Whereas the Conscious Seed of Light” and “Monarchy” were about Spring and Summer. Where Owls Know My Name obviously continue walking on this road with the focus here being on Autumn. The music have always had a lot of emphasis on creating an atmospheric feeling to it more than your common techdeath band which makes the band stick out in my eyes but also means, for some, Rivers of Nihil is a band you get or you don’t. Some even going as far as saying this isn’t technical death metal. Each to their own I guess, I don’t really care if they are labeled atmospheric techdeath, prog, jazz or whatever personally I think Rivers of Nihil are doing a superb job creating music that has a lot of emotion to it with sweet melodies and brings harmony, no matter what label you put on it.
Where Owls Know My Name takes their song-writing to a whole other level. Rivers of Nihil have really captured the atmosphere of Autumn with this one, especially with the great use of keyboards, trumpets, cellos and saxophones that makes this album a whole other beast than their previous releases. It’s really impressive and I get a new feeling each time I take the album for a spin. It is an album I do feel you need to be in a certain mood to listen to though in order to fully grasp and understand it though, seeing it is quite different and the influences are many. They’ve left most of their core sound behind and this album has gone even further into the atmospheric sound than ever before, even having a jazz feel to it. Breaking their own boundaries. That to me is a much welcoming move but I can see it perhaps leaving a few fans shaken up by it. Rivers of Nihil have only evolved though and grown even better in my eyes. Where Owls Know My Name is one of the best albums released this year that gets even better with each listen. This is what technical death metal is all about to me, full of emotions through instruments, breaking barriers, creating an atmosphere you could only dream of. Just listen to The Silent Life, A Home, Where Owls Know My Name or the instrumental track Terrestria III: Wither and you’ll see. It might not be for everyone but for me it’s close to a five, the bands best album to date, and I can’t wait to hear what Rivers of Nihil do next after having ascended into a new being.
Label: Metal Blade Records
For fans of: Decrepit Birth and Fallujah
Release date: March 16th, 2018
Favorite song: The Silent Life
I never really went on board the hype train for Inanimate Existence when Calling From a Dream came out last year. I understand why people were loving their stuff as it was a bit different than most techdeath and they are great musicians but it just wasn’t for me (especially the clean vocals I couldn’t get passed). Due to that I wasn’t really expecting too much from Underneath a Melting Sky.
Oh boy was I wrong (again, see Archspire review) though! Inanimate Existence have once again made lineup changes, this time I think it really made them hit the spot for me though. Gone are the clean vocals, it’s heavier than their last album and in general just appeals to me way more than Calling From a Dream ever did. Sure they might not stick out as much as they did before and are now closer to bands like Hideous Divinity, Rivers of Nihil or Beyond Creation but to me that’s nothing wrong because that’s the type of techdeath I enjoy listening to. Forever to Burn and the title track Underneath a Melting Sky instantly makes me change my views on the band and are miles better than any song I’ve heard from them before in all honesty. The whole album melts (pun intended) together well as the songs transition flawlessly.
I am really happy to hear a band that I once didn’t enjoy listening to have now released an album I spin regularly. All within a year! 2017 has turned out to be an insane year for techdeath, I feel like I need to review and change how I grade this genre as there has been so many high quality albums the top scores just keeps pouring in compared to last year. That probably tell more about how lucky we are as fans of the genre than my grading though. Inanimate Existence offers us another album to add for our collection of technical death metal.
Label: The Artisan Era
For fans of: Rivers of Nihil and Beyond Creation
Favorite song: Underneath a Melting Sky
Guess what? There is a third good album that came out April 28th! Hideous Divinity is a band I am sure many of you are familiar with. Being formed in 2007 (in Norway actually) and featuring two ex-Hour of Penance back then they took the brutal technical death metal scene by storm. Since then quite a few lineup changes have happened, one were Mauro Mercurio (ex-Hour of Penance) left forcing Enrico Schettino to rebuild. That didn’t stop him nor the band though as the debut album and sophomore received much praise from the metal community. Adveniens has been on many peoples minds when thinking what album can be a contender for best techdeath album this year.
What strikes me straight away is the punishing drums that keeps on hammering your skull. Enrico hasn’t lost his touch on the guitar either as he has yet another really strong performance. Stefano Franceschini on bass (Aborted) adds a lot of heavyness with his bass play, as expected from a man with his caliber and he already showed it on Cobra Verde, this time he is even better though. There is a lot here that you can hear have the roots from Hour of Penance, which isn’t a bad thing since it’s one of my favorite bands when it comes to techdeath. Ages Die starts off violent with some of the best work Hideous Divinity has done. Hard to top that you would think right? Be sure as hell they do though! Passages starts off slow (one of the few times you get to breath on the album) and it features several different “passages” throughout the song, showcasing a lot of different aspect to their music. The song got a bit of a Nile touch to it that way (I’ve always loved how they change tempos) and it sticks out for me.
All in all this is a great album. Hideous Divinity is definitely one of the best technical death metal bands going, having released three solid albums now. Getting slightly better with each one. Italy might just have Europe’s best techdeath scene right now with Septycal Gorge, Deceptionist (featuring two ex-Hideous Divinity members), Hour of Penance and Hideous Divinity all released top albums these past three years. And they don’t look like they are slowing down either!
Adveniens is out now through Unique Leader Records.
Oh wow. I’ve heard about First Fragment before and seen them on some “best of 2016” lists but for some reason I haven’t taken the time to review Dasein, until now. The Canadians, from Quebec, sings in French which I sadly don’t understand a word of. The good thing is though, you don’t need to! The music speaks for itself and the way the deadly guitar duo Philippe “Pat” Tougas and Nick Miller uses their instruments to open a gateway to a whole new world is nothing short but beautiful.
First Fragment switches the tempo so nicely and smooth like a babies butt, the origin of the music even changes. For example the intro of L’entité sounds like it was the intro to some flamingo dance and then switches tempo to almost an symphony like play, while 3.40 in playing something that makes me think it could be a Castlevania metal remaster. Great musicianship at work.
If you like your metal technical, with a lot of awesome solos and where the instruments are the main focus then First Fragment – Dasein will be the album you want this year.
Some might debate if Dischordia is technical death metal or progressive. It is hard to tell at times however I do feel Dischordia is more towards the progressive side like The Faceless, or even djent masters Meshuggah than lets say Archspire. A bit slower, less brutal with more riff and djent based music for the most part. There are segments that leans more towards the faster brutal tech death sound though. Thanatopsis is my first contact with Dischordia and after hearing James Dorton (Black Crown Initiate) would feature on the album I knew that something special is going on at the Dischordia camp.
James does add some punch to the song The Ruin but I am glad to say that the band stands perfectly fine on their own feet, as it isn’t even the best song on the album. Thanatopsis II: The Ruin is a good song but songs like Thanatopsis II: The Road, The Curator and Bone Hive are masterpieces with djent, tech death and progressive elements to them. Hard to not groove to those bad boys.
Want a good mix of Meshuggah and The Faceless I would recommend giving Dischordia a try.