Red-Dawn-Algorithm-of-DestructionFrench tech-death five piece Red Dawn’s debut full length Algorithm of Destruction is a powerful tour de force of an album that all fans of the more complex and heavier side of the metal spectrum are bound to enjoy. Whether it’s furious, twiddly solos or insane levels of speed, Algorithm of Destruction has something for all tech-death fans to sink their teeth into.

Hailing from Rennes near Brittany, Red Dawn are set to become a domineering force on the death metal scene pretty soon. Tech death pioneers Necrophagist and Obscura are obvious influences on the album, along with the heaviness and brutality of bands such as Decrepit Birth and even Whitechapel in places, with slight smatterings of Fleshgod in there for a good bit of progressive measure.

Despite a very ominous and orchestral opening, Algorithm of Destruction soon descends into some tasty heaviness. The heaviest track is arguably the seventh number Alter Ego, a brilliantly crafted tech death song from start to finish. The following song Fall of Curtain is also one of the fastest and heaviest onslaughts the album has to offer, packing in plenty of speed and oomph to satisfy the listener.

Vocals wise, the band’s vocalist Nours employs a variety of vocal techniques throughout the album to keep the listener hooked. The diehard death metal fanatics will be pleased, as there is no clean singing on the album. Instead, both deep, low guttural vocals are used as well as higher, throaty screeching. The second track, Cracked Clock and the fourth Strange Dreams are the best two examples of Nours’ showcasing his talents on Algorithm of Destruction.

There’s plenty of guitar wizardry on the album for the guitarists to enjoy too. Again the fourth track Strange Dreams contains some impressive solos curtesy of guitarists Flo and Chris as does the title track, which has a most twiddly solo on offer too.

Algorithm of Destruction is both a complex and enjoyable listen. Whilst the album is predominantly tech-death, there are brutal elements thrown in there throughout that will excite a wider variety of death metal fans. The album draws itself to a close in a neat circle, after opening with orchestral sounds the final track Infinity of Time also fades out to a gentle, orchestral noise too, which makes for an incredibly satisfying listen. Throw in a smattering of prog and you have a rather innovative and fascinating album.

(8/10 Eilish Foxen)