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Death metal encompasses the twisted and surreal side of life that no one wants to notice. With the right execution one can find the deepest and darkest through this form of music. Gorguts conceded this partition so that on this album, The Erosion Of Sanity, we’d all be ready to take it in first hand. Demilich further deepened this approach with their own album the same year as this release, but Gorguts made what you can consider (although inaccurately) a more accessible figure.
No doubt, my first listen through was no less than unimpressive: songs weren’t too easy to grasp, the riffs were convoluted, and the journey felt too dense to comprehend. The flow of this album doesn’t die after the first track; nay, the entire album runs like a recon patrol through the uncovered portions of the psyche – thoughts bordering the land of madness. Therefore, it may take sometime getting used to this particular style and course of direction (especially for those who aren’t fans of technical death metal, such as myself). The first spectacle I took pleasure in was the intro involving the final seconds of “With Their Flesh, He’ll Create” and the beginning of “Condemned To Obscurity.” Back to back, these songs are seamless. You’ll undertake an incredibly brooding undertone followed by a most somber of piano passages. This is the point of no return for listeners – it marks the Rubicon between virtue and blasphemy (melody and tension).
Something that always ticks me off is the sound of the toms on the drum kit on many death metal albums. You’ve heard them: very thin, hollow, powerless, and annoying as all hell. Tons of bands have a ferocious drummer that capitalizes on all other portions of the kit, but no amount of technicality, patterns, or rhythmic changes can alter the sound of those pathetic toms. Here it’s not atrocious like on Lykathea Aflame’s Elvenefris, so in actuality it doesn’t really detract too much from the music. It’s just noticeable and I see bands ruin their sound by letting this mistake slide uncorrected. Blast beats are present here, don’t let anyone fool you, but they’re rarely heard. Provencher managed to keep the drums entertaining and just as psychotic as the winding leads, proving more than a match for showmanship.
It’s easy to forget what’s going on in the songs, since Lemay and Marcoux leave no pause for the slow and retarded. Every second they play means that you’ll be on your feet trying to pay attention to every detail – this album requires you to think about the riffs you hear while interpreting the rest of the music, so hopefully you paid attention in school. The guitars sound colossal, though not overwhelming, in their endeavor to create complete madness within that little head of yours. Backing them is both the production and the bass, but I’ll give more props to the latter for actually being present in the mix. Bass playing isn’t plucky like with Atheist, but more gargantuan, crushing, and sounds vastly more evil than anything coming out of the guitars; it’s the true evil hidden within – the unconscious that must be forced into the conscious.
Lemay I don’t find guttural; his growls sound cosmic, agonized, monstrous (in a sense), but focused most importantly. They’re a little monotonous, but he uses them appropriately and in acceptable measures at key moments. They fit extremely well with the music, giving me an overall picture of the cover art – pixel by pixel. When I hear the music on this album, the colors red, orange, yellow, and black all come to mind and form that exact picture – purple only comes in with the aforementioned interlude. All talk of digging through one's head can be perceived in that artwork.
Gorguts played an important role in giving death metal more abnormality, but I feel as though they kind of slipped under the radar in comparison to big named American and Swedish bands. Most have heard their music, but death metal continues to remain a popularity contest like most other genres. Give this one a listen and I’ll guarantee you it’ll something to remember (in your own special way).