DRACO HYPNALIS—IMAGINATION

As much as quotes have become relegated to people who couldn’t be better than adage regurgitators by a mantra’s length; it is Einstein’s (massively paraphrased)—imagination floors knowledge on any given day—that charges my view of Draco Hypnalis’s album. Wouldn’t be much of a stretch to figure how the above mindless perpetrators fare in regard to this aphorism. With the right means of expression, the saying stands, true and solid, as a case in point, Neuromancer—inspired more by thoughtful prediction than thorough tech know-how (and yes, I haven’t read the book).

The furthest of the Metal spectrum shines with touches of uncommonality—album title applying from start to stop, with implication that annuls most of Progressive Death Metal. Not to pass it as riddled with similars, but it sure does emphasiize a lot on forefront guitar work. Draco differs by application of baance, and magnificent Neo-Classical keyboard prominence. Even with its tendencies to lean on Black Metal repository, the keys have perspective—no musical overshadowing (many symphonic bands? check), or unnecessary passages (unmemorable intros/pastludes etc. ? check). Neither should it proceed without a need for expansion. Accruing from a pleasure of leisure, listening and its reward. The intricate and captivating melodies are unmatched.

Being yet to come across cohesive Neo-Classical that sucks, some is much easily ingrained—less implying Drang is an effortless project—while Draco refines with re-runs that clock on the multiple.The Sincere Wander Through Illusion Untouched is a slight shimmering of non complacency resonating with the now defunct Abyssaria, seamlessly running down to track 04—Yet They Come and Leave No Distress—where a touch of Demonic Resurrection kicks in with a pressing prominence. Each instrument biding its time by ultimate prejudice to distinct melodic association; a strange symphony on first play but a sure aeddictive and moreso inspiring grower. Times are when the haunting tunes convey the need for a singer, espousing a what if? picture of someone like Rhapsody of Fire‘s Giacomo just breathing golden. Imagination‘s beauty is that it still works well with mostly non-vox parts though the growls could have been more. And when was the last time a band’s track titles said much than others’ lyrical expanse?

An almost ultra-progressive record that wastes no time in either showmanship and indulgence or catering for low common denominator urges. Symphony in E – Minor—and most of the tracks’ parts—pours its soft, lush templates to what is currently played as Djent, gleaming into Sithu Aye from a likely to be overlooked distance. Key fluctuations at times work conveniently conspicuously like drama, forget not hard to ignore blast beats.

 

 

For Draco Hypnalis, assemblage would be a replicate for knowledge. Classical training with nought diversion or musical practicality procreates redundant technicality. Progressive Death Metal does ofgfer an ensnaring opportunity to promulgate such. Draco magically straddles two fields providing a chance to be musically elitist, with total disregard. Much respect to the trio for rising above such triviality (and neither compromising), as the less imaginative would be wont to do. Fucking bliss.

VIRVUM (ILLUMINANCE)

The warm radiance that is Illuminance shines its blissful intersection in a transmogrifying brilliant resplendence. From the way the Mad Mane Machine has been seeing technically inclined Death Metal bands lean towards glowing/bizarrely gleaming covers has been off-puttingit really recalls every quasi-Djent/Deathcore aims at being super proggy and/or transcendent or something in that line. As a downside, Illuminance jumbled with such releases, barely labeled as progressive stands a huge disadvantage of being overlooked.

An instance of unrepentant dissociation—by indiscriminately indulging overflowing, yet insane progressive Death Metal is what I’d term Illuminance. Solid songwriting, awe-striking musicianship, discipline in instrument handling—or a failure to let dexterity drive urgent points home. Outlasting an experience as this makes Virvum‘s efforts more effective and the album something to really dig into—without demanding one to  wrap around its contents. Which really is a shame, as one tries figuring out why—though not present here—a bassist as Nikola Somborski would go ahead to form a band as mediocre as Cordyceps. Fitting of every Slam stereotype, and then some . . . fun? Saddening.

Asserting to say the high stature that is maintained here, right off the bat, down to the epic closure. Sonically suggestive to create (non queer) uplifting an atmosphere—one that could be enhanced to stimulate creative activities that stretch imagination; painting et. al. The mighty The Cypher Supreme has incredibly catchy leads which floors by clicks of considerable beauty. Even from first listen, it is a stand out that out-listening such craft’s nary a point of regard. A jutting that foretells Virvum are not heady for an all-drawn-out orientation to the jugular. An album I’d vouch fro as a solid progressive Death Metal representative—heck, a testament to why progressive DM is better than technical DM, and more-so on instrumentally articulate progressive DM. Not to state that non technical Progressive DM is a paler strain, but it’s less amusing trying to come around intense song assemblies competing with hooking tech death full of riffs not as impressive as on previous listen.

The tantalizing excellence conveyed is a constant, peaking with II: A Final Warming Shine: Ascension and Trespassing. Matter-of-factly the most appealing track appears to be the first—also containing one of some of the heaviest parts of the album, right at the track’s end. Another heavy traction aids purge the title to iron melting magnitude. Drummer Diego Morenzoni is on a rhythmic urge to complete the snare catastrophe with a gushing speed. Nothing haphazardly spasmodic like Brain Drill, who demand intense follow-up to discern—even recall—their sound structure. This is an almost faultless release and it’s sudden impressiveness on first listen fails to fade away. Aiming for that is only a formula to cater for an ADD audience. I’m willing to believe Virvum are above such—for clarity, it is not only hooks that make music something to recall, with neither of that here—although this album could sit on a couple shelves, gateway progressive DM being one. Which is completely assailed as a compliment.

SINGULARITY (VOID WALKER)

  When a band touts itself as the thinking man’s metal, it leaves more to question than it intends to tackle. Normally, such a case is an effort at best aimed at denouncing if not deriding metal clichés, and only a marketing thoughtful group would really care as much about it. Reason being—a thinking man’s metal is less concerned with typifying  as opposed to to being one and letting whoever comes across it decide. At any scale, that should be Singularity. Compacting Singularity. By Void Walker, its progressiveness is the first pointer to this direction.

  Damning as it is, space euphoria has superseded short impulsive lapses indulging myriad bands’ sleeve art only and captured this four piece—by a sleight-fully, timely, infinite grip. When all the right sounds align, they gravitate towards an up-swelling whole which takes pole position—and eargasm revolves such a perfect assemblage. Album art never escapes the Mad Mane Machine’s exploration, because it is more than just a bonus. Here, it might as well surpass sound simulation. Really neat, surreal inception of far shores—conceiving a Saul Bass angularity and Jon Anderson’s impact. Imposing to preformed ideas of outside space as it would best precede explorations—as sincerely speaking, most of high distance spatial images are reconstructions with a touch of informed predicaments. On such worlds, Void Walker would fare effortlessly—be it in their creations, laying down, conquistadatoring, exploration, sojourning. . . .

  Musically pummeling on the unbound fringes of technical progressive Death Metal, it incorporates classically played keyboards in a style channeling a Black Metal atmosphere. Not exactly a recipe/symphony for destruction, given the measured approach in their embodiment and an affirmative setting—it falls in place as the build-up for the guitars and a support element once the riffs scaffold the song. Rightly mixed where others are content to prefer keys overshadowing accompanying musical sections. That is not to say it is a fully inclusive aspect, as it only keeps segmented in track 01, an instrumental break—the rest being minimal. Keeping an intact soundtrack aura . . . for the space opera. This was one of the rare times when I didn’t fully appreciate a band’s vocals—not a full flung growl, as a deeper one would be sleek—even though the backing’s compensate. They do betray the band’s age, but likely a fault not.

  Void Walker is a rightful contender to quality beats quantity, even for an EP. Such is what I would really care about tech death. A mass of disorienting superbness over unseemly and non eloquent jarring with palpitating seeds—whose only promise is to blossom, never to heed anywhere. Fantastic work.

MUSRUM (ERIC THACKER, ANTHONY EARNSHAW)

 From what the Mad Mane Machine has gathered, Musrum is a highly valued cult book. Considerately, that can be an apex for wrapping up book blogging—especially when a sought after style is nowhere to be found, few entries later. It would be doing the book much worse than good. Shit.
  Schizophrenic and experimental writing—these have managed to be checked before. Musrum ticks the weird-and-phenomenal-without-even-trying box. Reinstating all belying preconceptions towards meaninglessness, implied meanderings, and conclusive misconceptions. The existential world of Musrum. It may convince it is the opposite of a mind trip, yet its realization is an inimitable directory of how not to impose anything. As a rule, it just is—minus mere existence.
  For one, Musrum is a stretcher upon its course. There is a set of images eloquently re-arranged to match the written counterpart of its deranged and determined stylistic humour. The amount of logo creations up-fronts the number of word creations. Many of them recall to the Metal genre; where funly, they were related—as follows—to various sub-genres to an almost astounding precision.

Cover (07) — Death Metal. Very Morbid Angel distortions

COLUMBUS … (09) — Occult Doom Metal/any tribal variation. Woodcraft and symbology

THE ATTIC (15) — Stoner (Doom). Thick text in the vein of Sleep

THE IRON CASTLE (19) — Progressive Metal. Sharp/defined symmetry (far from Thrash’s)

THE EXPLORATION OF THE WORLD (32) — Atmospheric Sludge Metal. Coastline/Island indenting . . . since Pirate Metal is not really a genre. . . .

THE WEEDKING’S PLOT (37) — Raw/Atmospheric Black Metal. Fucking Groot

THE PURSUIT BEGINS (41) — Post-Metal. Cresting with wavelines/rendering to softness

IN ODESSA (52) — Avant Garde Metal. A funny ‘mess’ of objects living and non-living

MUSRUM  A PROLOGUE OF BANNERS — Gothic Metal

MUSRUM’S PLAN TO UTILIZE THE INDUSTRIAL SUBURBS OF THE ESTATE AS AN ARSENAL (69) — Brutal Death Metal heavy on Hardcore/Sludge Metal. Not very stylized, solid font. (Borderline Grindcore)

WHEEL-LORE (72) — Speed Metal. Thrash-like precision meets arrows

THE TREE TELEGRAPH (80) — Depressive Suicidal Black Metal. Trees; Pines in particular

PRINCIPLES OF FLOWERLIGHT (82) — European Power Metal. (Sun)Flower power

THE ELDER TREE (93) — Grindcore. Nasum spikiness with talons. Sweet perfection

PREPARATION AT THE CAMP (97) — Industrial Metal. Wtf  moment as human limbs spell it out



THE ISLE THROUGH THE WOODS (104) — Experimental Dark Metal. Which really is  Industrial Black Metal

THE MUD CASTLE (107) — (Progressive) Groove Metal. Ahem! Toning down/up from (19). The whole logo realized anew as a block




Unnamed (109) — Duckcore. Thank you so much Metal Duck. This would be limbo

THE IMITATION GARDEN (112) — Drone Metal. Beating dunes eaten by time? Fascinating arrangement

FEAR, AFFLICTION – AND STRANGE HOPE (124) — Technical Death Metal. A die; no cast—Hexahedron with impressions/layers

SPOILS OF WAR (129) — Experimental? taken. Avant garde? taken. How do genres start? Not cheating here . . . Boris belongs somewhere?

THE TRIUMPHANT RETURN TO INTERSOL (133) — (Viking) Folk Metal. Through a rugged mapping and sea-faring arises the the nation (and title)

SECOND MOVEMENT: BELLA: LA DAME GENOVESE (134) — Love Metal (hark!). Arrow-shots to the hearts of sentimentalization

THIRD MOVEMENT: ALLEGRO (136) — That Byzantine Metal should be a thing? All above (134), in mosaic detail. Also deduct arrow. Right, Batushka exists

THE WEEDKING’S PLIGHT (151) — Crust loving Powerviolent Grind. Sells itself as Botanical Metal. Caterpillar’s legs espouse the whole disappointing irony


THE WEEDKING’S FATE (155) — This sadly goes to Technical Brutal Death Metal. Fucking tech death heads horse-shitting the genre in alarming retardedness

DOPPELGANGERS XXVIII

 The way of the cenotaph. When viewing older DM band pictures, rampant graveyard shots pop up. In an effort to capture the spirit of the dead shift, below are monoliths of unhallowed spontaneity—kicking off with the most ghastly looking. Grey Mist delivers unhinged Doom, albeit touching on that aspect as Alunah extends on their most doomy—female vocals galloping too. Not far from where the Doom bands illustriously depict gargoyles and burial grounds sculpts. Wolf Dawn—the oddball here, is unrelenting blackened Speed Metal; which is enough to imply major ass kicking. Die already. . . .

Misty Grey
Veteris

XENO (ATLAS CONSTRUCT)

Music—the mad Mane Machine’ll straightforwardly admit—comes in two outstanding varieties. The outright blow-you-away and the sink-some-teeth-first. As an effect the former has less staying power—applying to majority of Pop and bangers (funny thing considering the nostalgic aspect overshadows this some time down the life). The mad Mane Machine’s experience with Xeno is upon this line of distinction. Blown away at first listen . . . degradation with repeat absorption.

It’s always been on the hunt for progressive Death Metal. This had been birthed by a denotable bad habit of back-benching in class and prog/tech deathing by various means. Such lead to an encounter with Xerath, who at the time sounded off-kilter. To the admission of the Xeno guys, they do borrow a leaf from them. Expressively heard pumping and pulsating in the keyboard section, along a mixture of keyboards and grooves. As such, the mad Mane Machine’s view is based on first impression—but judgement is based on a much calmer treatise of the unfoldings aided by replay.

For a young band, it’s a weighty burden to quickly quip with their hats flung into the field of their emulations. Having some Djent permeations that instigate the Gojira-esque groove laden brushes upon the cavernous walls of Death Metal. Here is more of a passing than a missing link between Meshuggah and Gojira; with a keyboard component—the inner section offers no surprise when the listener lends their selves to this. With that said, it is more of a quick blend of the two with more an assimilating effect on the latter band—and the quicker the connection, the more charged its fix; sterilizing long-term stance. And if one started out similarly—endless prog death quests, the hunt will be on faster than they can say gesundheit.

None a diabolical act to say Atlas Construct is a burden that is straining to collapse on itself, for has not the album art professed it in all an earth-bound glory—the band’s choice. Hard to unsee and discord such an impression. The Mad Mane Machine would be more stoked for a second release and actually appreciate to have a definite stand reiterated. hath a quick fire be a sure fire—a hefty fix, or a diverting impression.