“Ah, Unique Leader records, what would we do without you? I’d certainly be out an unpaid reviewing job, and I’m sure Par Olafsson and Zack Ohren would see a lot less business. Tirades and drinking games notwithstanding, I’m always game to snatch up Unique Leader Records next release, and in this case it’s the sophomore effort from Sacramento-based Alterbeast.” Tech-death pong.
“How about a group of Danes playing a core influenced brand of djent that flails at Meshuggah on the verses and Fear Factory on the choruses?” Djent you hear?
“Melbourne’s Hadal Maw made waves in the Australian metal scene with their Senium debut in 2014. Although the album exhibited the band’s considerable potential through a frenetic blast of noisy tech-death, the compositions and production left ample room for improvement.” Has the improvement room been accessed?
“What now?” That’s the question Akróasis, unfairly or otherwise, is supposed to answer. Obscura in 2016 is solely within the hands of founder, guitarist, and vocalist Steffen Kummerer. With the core of the band as we knew it between Cosmic Genesis and Omnivium gone—and that’s an impressive list: Hannes Grossman on drums, Jeroen Paul Thesseling on bass, and Christian Münzner on guitars—Akróasis is a moment for a new statement of intent.
“If 2015 has been skimping on anything (other than good death metal), it’s spheres. Whereas I researched for months in order to compile a list of 2014’s roundest and most symmetrical album art, we haven’t seen enough roll past this year to play a game of nine-ball with. They’re so infrequent that even semi-spherical album covers, like this one for Apotheosynthesis, the debut of Canadian tech-death outfit Fractal Generator, have started to ping on my radar.” Sphere today, gone tomorrow.
“Angry Metal Guy hates this album. He hates it so much that he won’t even deign to put to paper how much he hates it; and thus has commanded me to do so in his stead. Given how bad At The Gate of Sethu was, I was sure it wouldn’t be difficult to do so but was nonetheless displeased.” When AMG gets hostile, Kronos gets busy.
“Krallice is a band that often gets misunderstood. Forcibly shoved into a conveniently labeled drawer of “black metal,” the New York group was an easy target of both the trve black metal kvltists, condemning them for “mocking and desecrating the genre,” and the mainstream public, that couldn’t stand such “noisy wankery.” They’ve been cynically called “controversial,” “divisive,” “hipsters,“ and “ostentatious,” often being mentioned in the same breath with the likes of Deafheaven and Liturgy, with whom they have little in common.” Notice how New York is becoming the Mecca of interesting black metal?
“Before I progress further, I want to make something clear: I’ve long held the belief that the letter “V” is not a vowel. Yes, I know, look at my screen name, but bear with me here. Call it being stubborn from years of having it drilled into my head in elementary school, but when I see it used in words like “kvlt” or “trve,” I cringe. Or if it’s used in place of an “f”, I also shudder. Case in point: Cali tech-deathsters WRVTH. How do you even pronounce that? “Ruhth?” “Rooth?” “Rivith?”” Spelling is fun.
“After naming The Mother of Virtues 2014’s best album, it can be unambiguously inferred that I have quite the soft spot for New York’s strangest and most horrific four-piece, Pyrrhon. After Relapse dropped them from their roster earlier this year, citing, of all things, a “lack of commercial success,” the group was quickly snatched up by underground micro-label Handshake Inc., who are doing the world a service by releasing the new EP, Growth Without End.” The Walrus of Approval has been given.
“Longtime readers will have gleaned of my general distaste for the post–The Faceless tech death scene of modern times. While there are still a lot of cool acts out there producing great tech death that doesn’t stray into the territory of the growing dissonant/experimental death scene (more on this later), such as Origin and Archspire, there are even more bands jumping aboard the proverbial white fifteen-passenger van and opening up their very own, cash-only, cut-rate ramen emporiums.” Kronos is unhappy and somebody has to pay.
