“In recent years I’ve shied away from tech death. Sure I loved Origin back in their Antithesis era, but these days if I want noodles I’ll just make some fucking pasta. That said, a band name as cool as Infinite Earths was tough to ignore, particularly in how it invoked notions of parallel universes and promises of sweet purple cover art with a cosmic beast devouring a planet or some shit.” Take all you can eat, but eat all you take.
“God is dead, but what can be done once the corpse is buried? Just to the left of nihilism, HP Lovecraft staked out a territory where divinity was absent and mankind insignificant, battered by forces beyond time and comprehension. Anti-christian, nihilistic, and cosmicist themes have all long been staples of metal, both lyrically and musically – but after decades the fear is gone; the well dry and the water stagnant. To reach ever greater extremes, these tropes must be transcended. Ulcerate did so.” Look busy, the abyss is watching.
“The forefathers of death metal were truly spoiled when it came time to come up with a kick-ass band name. The genre’s progenitors ran wild with synonyms for various acts of violence and bits of viscera (not to mention those nerds who pulled inspiration from Warhammer 40k), but when the thesaurus has fallen to tatters, where does a budding young death metal band pull its inspiration from?” How about Proust?
“Though billed as a technical death metal album, Monument has little to do with The Faceless-core being oozed out of southern California every few months. Instead, Carnophage plays a not unsophisticated mix of early-’00s influenced death metal, taking cues from Suffocation and Hate Eternal. It’s not a fantastic formula, but the band follows through, and there’s surprisingly little to complain about on Monument.” I’m sure we’ll find something.
“The life of a metal drummer is one of near saintly asceticism. Your kit is about ten times heavier – and more expensive – than the six-strings that your guitarists snapped up off of craigslist. It breaks constantly and takes about half an hour to set up on stage, and while you’re busting your ass carting it around the rest of the band just loafs about because they’re too stupid to help set it up properly. And when you finally get to play it, nobody can see the intricacies of your cymbal work or the incredible sweatiness of your torso because a bunch of Rapunzely assholes are standing in front of you on stage. It would be a thankless task were it not for the dedicated few fans that really appreciate your craft. Kronos is such a fan.” The man loves a good beating.
“From a band that’s as much of an institution as any group this century could be, any new release is going to be big news, but it’s extra special for old Kronos, since Revocation albums are de facto milestones in my tenure at AMG. Three albums down, and I’m happy to say that my opinion of the band has yet to take a hit. 2014’s Deathless has stood the test of time despit.” Fanboys be fanning.
“No, Kronos hasn’t died. But yes, this is a Unique Leader record which he isn’t reviewing. Rather than his cold, dead hands, I obtained it via the surprisingly bureaucratic AMG promo distribution system instituted this year by our Weberian overlords. A quick glance at the Unique Leader roster will leave you entirely unsurprised by the record in question: Suffer by Lord of War, a US-based death metal troupe.” Enter the Iron Cage of rational thought!
“As you might expect for a Japanese tech-death band, Defiled make music that’s a bit strange. Their last two records, Divination, and In Crisis were fast and brutal but had an idiosyncratic sound that can only come from a band in relative isolation – think of how strange Ulcerate sounded in 2009 and multiply by wider cultural barriers and you get something that doesn’t quite fit in to preconceptions.” Sometimes strange can be brutalful.
“Another day, another release from Unique Leader; yet there is no release for me. As the de facto tech-death guru at the AMG offices, I’m caught in a near perpetual state of mild frustration as streams of 16th notes tickle my cochleae and bearded men scream putrid nothings into my ear. While the year thus far has been pretty kind to the genre, Sturgeon’s law is still in effect, and Deceptionist’s debut, Initializing Irreversible Process, is my latest helping of the caviar of middlingness.” Somebody needs a staycation.
“After three years plagued by seemingly perpetual setbacks, The Schoenberg Automaton’s second full-length Apus has finally made the journey from a studio in Australia to my speakers in Chicago. The Brisbane-cum-Vancouver-based technical death metal outfit caught my eye with their first EP and took off in 2013 with Vela, which built on their progressive and extreme roots, expanding their unique and abstract sound quite successfully. Yet early-release tracks from Apus had me worried that the band had abandoned just what made their previous releases so interesting and vital. Had the sophomore slump stymied their songs?” Is The Schoenberg Automaton on autopilot already?
