Whenever I get French extreme metal bands to review my first thought is to throw away the rule book and await the twisted ingenuity that often comes with them. However this death metal project rests firmly on solid tested ground within death metal which was slightly disappointing I must admit. The cover art offers some clue as to the style of the bands death metal which washes on the shores of technical extremity to some extent as the band taps into the lyrical concept of the human psyche which saw the band explore phobias on the debut but whereas here the focus is on dementia
Opening with an intro piece which sets the tone for the concept of the release with a disturbing sample of spoken vocals, screams and panic before the hyper speed of “Encounter With The Doppelgänger” forces its way in. There is an intrinsic atmosphere of accessibility that is provided by the guitar riffs and hooks which are catchy though executed at insane speed at times. The drumming is of course battering, fast and ferocious but the production of their sound is a little sterile which I have criticised in death metal previously. Nothing wrong with sharp precision but not at the expense of the organic feel as the tune veers from one lurching riff to another complete with rabidly insane vocal insertions. “Body Cell” has a familiar feel to it, maybe because it has a similar style on the riff to latter era Cannibal Corpse though this is in no way a clone of the said US band, far from it as the band prefers to tilt, rotate and diametrically turn your world upside down with a tsunami of riffs and lead breaks. Occasionally the repeated guitar fret tapping acrobatics suffocate the riffing lying beneath them and also deluging the bass somewhat that you forget it’s there and when focused upon the technical ability is very apparent.
Parts of this listen like Nile due to the density of the sound and also the vocal styles which have a resonating deepness but still preserve a clarity often lacking in death metal as on “Helter Skelter”. The title track breaks the album in half by allowing a serene acoustic passage to start it off with some deftly played bass guitar that add substance to the fabric of the acoustics. The song possesses sadness and when you read the lyrics you can feel the torment and psychotic anguish the band is trying to convey. As the song gathers momentum and gradually intensifies the vocal characterisations are performed supremely well as though you’re living the pain yourself. The plea for help on the chorus break is heart juddering and I’m certain that most of us can relate to what the band is saying either personally or through someone else. Returning to fierceness on “Paranoid Visions (Pt.2)” the opening lines are terrifying and conjure up the skin crawling feel of paranoia the band is aiming for. The snare speed may create that aura of panic but it is a little too fast for the riffing underneath but is a minor point overall. “The Other Me” is massively dense with a sound like Immolation where the snapping snare beat is coupled to the guitar riffing as though handcuffed. As the tune develops that pace coupling slows marginally only for it to snap shut and hit the gas again. As the release hits its closing couple of tracks the violence is lifted partially on “Voices” created by the bass work but is blasted to one side when the riff comes in. “Insania Lupina” that ends this album is excellent and has Nicolas Alberny (Gorod) playing a guest solo as a myriad of tempo fluctuations enable the song to demonstrate various facets of the bands playing ability which are top rate throughout. This is a quality death metal album and should appeal to technical fans equally as much as fans of the brutal side of the death metal genre.
(8/10 Martin Harris)
http://www.facebook.com/pages/Antropofago/259668169507
Leave a Reply