DeProfThis London-based band made a positive impact at the recent Incineration Festival with their energetic display of technical blackened death metal. “Frequencies”, their latest four track EP following three album releases since 2007, features material from their set on that day. This release also marks a change of guitarist in the band.

I thought I heard a slight ring of Opeth at the beginning of “A Slight Awakening” but this soon develops into a rumbling and seamless attack. It’s pulverising so don’t expect jollity but the twisting intensity is admirable. Complex as it is, there’s intrigue round every corner. I preferred “Illumination” as it goes even further with its irrepressible bass line, uncompromisingly deep drum beat and exciting guitar passages which transform the sound and fit in to the progression as well as being examples of technical virtuosity. These track titles suggest a progressive metal element but the bass, the drum and the growling never take us too far from death metal origins. The guitar sings to us again flamboyantly on “Singularity” as the bass guitar once again provides the meaty substructure. Meandering twistily at times like Swedish metal, the pace changes again and we’re treated to a well co-ordinated series of mini metal adventures. Not sure about the ending which seems to be in mid-air but this is soon forgotten as we’re quickly transported into the fluid flamboyance of “Crystal Mountain”, a cover of the track by Death. It’s another hefty old slab but it’s all mixed in with forward-driving twists and outer-worldly guitar solos, supported by triggering drums and the deep and dark noise wall to which we have become accustomed. This time the ending’s for real, as if the band are defiantly saying “There, beat that!”.

Not much is going to beat this. It’s unusual to describe death metal as a breath of fresh air but that’s what “Frequencies” is. I’d say there is progressiveness in the way that each track develops, but above all it’s tight. De Profundis leave no gaps. The multitude of rhythms are captivating, breathtaking even, yet it all smacks of darkness and uncompromising fury. More, please.

(9/10 Andrew Doherty)