Location: Rome, Italy
Genre: Progressive Metal
Released: November 4, 2014
Format Reviewed: mp3 (160 kbps)
Feature: Global Conquest – Recent Releases
By: Kris Kotlarik
It takes quite a bit for a band to gain my attention before I even listen to an album from an unfamiliar band. The easiest way for this to happen is to be compared to one of the best bands going today (Gojira), and the writers of one of the best progressive metal albums ever released (The Ocean‘s Pelagial). This can be a double-edged sword; while the comparisons are favorable, that means the music will be scrutinized even further than if I go into an album with no comparisons going in. For what it’s worth, the comparisons hold up, especially to Gojira. But this group does not sound like a Gojira knockoff; the strongest resemblance to the their sound comes through their vocals. Instrumentally, you can hear that influence all over “The Burning of Methuselah.”
There is a lot of solid material on Adimiron’s fourth studio release; the opener, “Collateral,” has a strong bass groove in the intro, and the dual octave vocals in the first verse are great and remind me somewhat of Cynic. The closer, “Ayahuasca,” sounds like an homage to Tool. However, some songs, especially “Redemption” and “The Furnace Creek,” come out a little flat. The latter contains a brief, weird vocal sample that could have gone on a Slipknot album, and the rest of the track is rather monotonous, especially with regards to the harsh vocals. “Liar’s Paradox,” meanwhile, has this annoying screeching effect on the guitars that does nothing for me and has a similar vocal issue to “The Furnace Creek.”
“The Giant And The Cow” gets my vote as the album’s best track, partially because of an amazingly aggressive instrumental section that starts at about 2:30 and carries on for over a minute before switching into a different brand of aggression to close out the track. The intro has a five-second burst of energy before mellowing out into something out of a Mastodon album. There is a lot of exploration on this track that works quite well.
In contrast, the title track left me quite confused. The intro here could easily be mistaken for a run-of-the-mill deathcore band; the thirty-second section boasts faded guitars and percussion, but it gives way to a full-blown version of that riff that is among my favorite moments on this album. Then there’s a section which has incomprehensible autotuned vocals alternated with harsh growls. It takes the song out of the flow it was establishing, only to go right back to the original structure as if this section never existed. I can’t understand the reasoning behind using autotuned vocals at all here; if this section must stand, why not get someone a pleasing tenor singer to fill in?
This is also a good opportunity to bring up the audio quality; at 160 kbps, the amount of loss in the audio is quite high. The reason why I generally review albums in FLAC is because there is almost no compression loss. People may think I am a nerd for this, to which I respond: “Yes, I am a nerd. Do not pretend to not be a nerd.” In any case, there more layering an album has, the worse it will sound on lower audio qualities. This album has a lot of complex layering on it, ergo the quality loss distorts the album’s sound. Despite this, there are clearly some solid elements to this group’s sound that should appeal to fans of the many nets progressive metal casts on the metal community.
Overall: Promising thrashy prog metal, but with some confounding songwriting.