The track in question, “Septuagint,” personifies the rest of the album right away. It has the complex rhythms, mix of death growls and clean vocals (which, fortunately, are not overdone), and sections of the song that give it enough variance without turning it into avante garde. Overall, the album is very much death metal, despite these small excursions. This is rather surprising upon the first listen; with the potential they display one would think they would try to show off. Thankfully, they know how to hold back. The less heavier parts of songs which go with less distortion and sometimes showcasing fretless bass are brief. Yet they are not so brief they leave the listener feeling unfulfilled–they’re just right.
Despite the complex harmonies and rhythms, there is usually a simple, driving melodic line underneath. This provides an element of clarity to the music. It also adds some propulsion to the feel of it. This is death metal, after all, and keeps the listener headbanging throughout.
Normally in my reviews I’ll list different songs that stand out from the rest of the albums they are from. Aside from the one I mentioned earlier, I’m going to pass on this one. The entire album is excellent. In fact, this album is so far is a contender for my album of the year (and its only April). There’s only one thing that keeps it from being a perfect metal album.
For the most part, the production on this album is excellent. Every thing is clear and properly balanced. The bass tone on the bass drums is up enough without being too overbearing. So what’s the one problem? It sounds as if Hannes Grossmann is banging on a plastic bucket instead of a snare drum. His drumming is excellent, and he’s using the snare in the right places, but the production quality looses points here. It’s possible to listen to this album without fretting too much about it, but if one is to listen critically, it gets distracting. It makes the album sound slightly “cheaper.”
Overall, though, horns way up for this one.