Year : 2011
Genre : Death Groove Metal Hybrid with Djent elements
Label : Independent
Origin : Canada
Rating : 9.0 / 10
Dissentient's Black Hole Machine LP is a freshly sounding variant of death/groove warfare. While the consorting intent evidently is to eradicate all on spot foolish enough to stand in the way of the organized sonic terror, the form of these rampant tendencies still exhibit a sober tendency to bow down to certain compositional dynamics, primarily taken from the ultimate meaning of raw T-rex meat groove metal, spiced tastily and rather bravely by luscious djent fixations. If you think that a groove metal/death metal hybrid with a djent affection might actually be sexy and worth checking out, then you are not just close to the related truth, but occupy the graceful center of it. Let me assure you in advance that Dissentient's delivery has all the sonic tools in its possession to make your neighbor suffer legendarily, and it is not afraid to use them, either. Read on to find out more about this fine package.
This record, as hinted, is as much groove metal as is death metal, and it remains free of the need to address these influences/agendas on separate rhetorical channels, instead, it manages to come up with audio data striking a delicate-, but relentless balance between death, groove and the madafakin djent. The album, thank God and Affiliates, is angry like a crocodile on wardrugs and won't satisfy until you sport limbs not incorporated in it yet. Talking about "in" and "corpo", track number 3, called "Incorporeal" is a good example, in my opinion, of what the primer elements of the release are : on this particular track, you will hear the band engage various intricate rhythmic deviations from the standard 4/4 rumble without any sign of running out of legit ideas, and the way the riffcraft utilizes artificial harmonics on the guitars, is something even Dimebag Darrell would nod on. No, he did not object against the notion.
This release, 38 seconds shy of 1 full hour in its program length, comes to you more as integral sonic data that exhibits major regularities and relative similarities, and not as a release that seeks to deviate from its favorite, honest affection to punish silence ASAP in ultraviolent fashion. I personally tend to think that this disc looks utterly good with its relentless hyper-aggression engaged full paua 90% of the time. That remaining 10% still is intense music, yet, with a more tame character rendered as the core of the related data. This readiness to deviate - in thought - from sonic aggression at the climax, signifies musical maturity.
It is very easy to join in at any time to this spin, and appreciate the great variation it is ready and able to subject you for an hour. A great deal of this variation, fortunately enough, comes to you via the djent leanings of the record. The djenting, for the most part, sounds to be more melodically sculpted than what you most often hear, and that might be the result of the fact that seldom are the times that you are subjected to less than 3 guitars playing at a time. There is something extra, too : if you listen very carefully, then you will notice that the band often features a Faith No More synth in the background, but, its volume is more tame than that of the synth of Faith No More. A safe, immediate recommendation with a whole lot of quality stuff going on, and you need to be very bitter to be disappointed by this fine release, in my opinion.
Rating : 9.0 / 10
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