Written by: Slammey Stanley
Dwelling within the bowels of Maggot Stomp trucker-bros and old-school thrashers lies Technical Death Metal’s most tired and abused insult: it isn’t brutal. These folks could admit the talent behind a minor-7-diminished-13th-whatever-the-fuck arpeggio being played at 300 BPM, but where’s the core of the brutality? Where’s the connection to the very heart, gore, and soul of the genre? Despite their arguably bland position as a staple motif, there’s an undeniable power to caveman riffs that isn’t present in a flurry of notes, or at the least, not in the same regard. Looking past the subgenre itself, the majority of modern, cutting edge Death Metal is bound to contain some extent of Technical prowess; to deliberately avoid the technical element would be to shut oneself off to most of the genre. But what about a perfect conjunction of Brutal Death Metal and Technical Death Metal? Odious Mortem have proven it to be a possibility on their past two records, and with a thirteen-year gap between Synesthesia and Cryptic Implosion, one would think that the Tech-Death titans would only strengthen that bond. And so the question remains: do they?
Written by: Bane Ov Silence
The Artisan Era is a label that has put out some of the best tech death releases of the past three years. Bands such as Equipoise, Mordant Rapture, and Aethereus have established themselves as some of the most interesting and talented groups in extreme metal today. That is why I had very high expectations for this Warforged release, particularly since the band has been working on this record for the past five years.
Sadly, when the first single came out, "We’ve Been Here Before," I realized that the album was probably going to be a disappointment. While the song has its high points, particularly the solo that reminds me of something Inferi would have written for Path of Apotheosis, it is mostly disappointing and forgettable. The piano interlude halfway through the song was unnecessary and broke all the song’s momentum. Most bands on The Artisan Era have very clear production, where every note and drum hit can be easily heard, which is why I was surprised that Warforged opted for a much more disorganized and chaotic mix. While this works for many other bands, it ends up muddying Warforged’s sound, and hinders certain aspects of this record.
There were a great deal of albums I should have reviewed last year, but simply never got around to. A significant number of these lost reviews were booted aside in favor of year-end-list festivities, so now that those are largely accounted for and we have a few weeks before the promo pit is overflowing with 2020 releases, it's time to exact a little justice and tell these bands how much I like 'em.
Thus, let's kick off my apology tour with a death metal band that deserves far more accolades than they have received: Mexico's CRS, who hath returned from self-exile to deliver their sophomore album after a Very Long While. Legacy acts are tricky to review, particularly when A. the reviewer has no frame of reference for their previous work, and B. their previous work, such as it is, consists entirely of a debut album released 20 years ago.
Providing thoughtful reviews of music that is heavy, gloomy, and loud enough to wake us from slumber. Written by a groggy-eyed, highfalutin peasantry.