![]() Comparisons can be drawn to the schizophrenic nightmares found in the demos of Sweden’s Crematory, Goreaphobia, Texas’ Severance, and Thou Shalt Suffer. There’s a surprisingly level of coordination involved in this sound that while highly chaotic, is so in a way that has little to do with the monotonous one track mind hyperblasting chugthuggery or scattershot dissotech skronkgrind of today. While it’s not necessarily the most complex death metal out there, it does constantly stay on its feet, cycling through a wide variety of sections in a way that can make it feel faster and more aggressive than it actually is. They never let anything repeat for too many measures, refusing any kind of accessibility in the place of their own putrid idiosyncrasies. Much of the riffing sounds ambiguous in its contorted phrasings and the songs fracture into bizarre subdivisions of horribly bent tonalities and rapidly collapsing phrases. With their name referencing the cult classic demo and EP by Californian claustrophobes Immortal Fate, these Australians set forth on a strange and misshapen pathway that encapsulates the deranged intensity of the grindcore and punk that had a heavy role in death metal’s early days along with the wealth of knowledge being uncovered on both the classic Scandinavian and American domains. Granted it’s definitely not being advertised as such and to most ears it’s definitely not going to sound that way either but to more experienced ears, what we have on this short five song EP is equal parts ravenous and surreal, capturing both the savage wilderness that was the genre’s legendary early 90’s period and the cryptic mysteries hidden behind the numerous crevices and caverns therein. A band as ugly and throwback sounding Faceless Burial definitely don’t sound like they would belong in this kind of discussion yet listening to their latest EP and I find a far fresher take on death metal than almost everything from the more dissonant or technically oriented crowds. Nevermind that everything once fresh and exciting will quickly become mundane, ordinary, and frequently tiresome. A lot of it essentially boils down to an edgier form of pop novelty where anything even marginally “new” (read: something you’re familiar with from another genre now slapped onto a more supposedly mundane one) is treated as some sort of groundbreaking experiment in redefining boundaries and norms. One of the pervasive issues I find in a lot of discourse surrounding the future of metal, “originality”, or its current progressions is the very nature of what constitutes such itself.
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