Review: From Canada comes metal conceptualized around warfare at each level of detail including all facets of appearance and recognized constituency of sound.
I. Abstract
Counterpoint in dual frameworks of paced discursive deconstruction of motif and expression of dominant rhythm and mode, as means of riff genesis, forms the oppositional halves in rhythm that adjust the structure behind this work and assemble a linear continuity of narrative in texture and tonal/rhythmic motion. A space created is broken in half, and then those halves split twice into counterpoints which through fusion or prevalence emerge and are recycled into the next level of machinery in the song, at the next vast change emerging once again into fragments of the fundamental themes to which a piece returns en route to its final conclusive charge or explosion, varying with conceptual theme.
II. Structural
The primary implement of structure here is the phrase, as embedded within the riff, that creates an expectation which is itself counterpointed by drums and voice until the internal conflict of each riff is exploited for a change to others, in a frenetic and boundless salad of riff and rhythm converging on a central idea in silhouette made real through an imperfect rendering. Phrases are formed from the structure of power chords as changing in tone and illustrating a "melodic" phrase (often without the internally harmonizing aspects of melody, in the chromatic sense as here) which illustrates a clear pattern relative to central tone as measured in the changes of chords and the number of internal iterations of each used within the rhythmic structure to gain resonance. This structure, old as metal and hardcore, here in information era form is rendered in the fragmentary unified by an overbearing centralized structure, suggestion a tyranny of expectation against which internal motion rebels.
III. Aesthetic
Constant warlike tempo and ranting howl of rasped vocal edge on the churning cycles within these pieces, joining circular and linear in a narrative which reveals potential in nothingness by expanding the most basic riff concepts into epic levels of variation accompanied by concept expressed in lyrics and choices of points and modalities of frequent tonal reference, forming a baroque passion embedded in machine death music for the future. Deliberately similar to Blasphemy and other Canadian bands, this act have much in common with the Australian grinding black metal front as well as local bands Axis of Advance and Sacramentary Abolishment in the framing of drive in nearly constant percussion-centric surging blast of guitar and drum impact.
Twisted fragments of esoteric self-convulsive melody trail off after a complementary rhythmic subdivision and briefest harmonization, forming the violent lead guitar which periodically graces these songs. Instrumentation is perfectly in balance with performance and reasonably technically adept. An overall impression to offer the listener: fast intelligent black metal based on a worldview of eternal warfare.
