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Lago is a death metal outfit from Phoenix Arizona. Dumping a subgenre tag on these guys or simply comparing them to other bands would prove difficult and a disservice to the band. Just “death metal” will do. I can say that they draw on the old-school, but they definitely sound in the here-and-now. There are shifts in the music between frantic tempos and doomier sections, but the majority of the material sits at a nice mid-paced, head-banging, riff-churning level, and never gets bogged down or boring.
Speaking of riff-churning, Lago are pretty close to masterful at playing concise, catchy riffs that carry that familiar death metal sound while containing a subtle complexity and uniqueness in their composition. There is some good tight palm-muting and fast chug-heavy riffing amongst some nastier tremolo picked chaos. They also make excellent use of some dissonant ringing chords (think Gorguts or Ulcerate minus anything avant garde or too weird). I see the connections that can be made to Morbid Angel, but never does it sound like the band is sticking too tight to its influences. In fact, the songs sound a lot more ‘inspired’ by OSDM than ‘influenced’ by any band in particular.
The bass and drums pound along nicely to the massive guitar riffing and add their own little twists and embellishments. Drummer Shawn Reiterman shows his talent especially in the slower dissonant sections of “Arbitrary Conflict,” giving the wonky, jangly chords a solid foundation groove with some really original fills. Manuel Dominguez’s lead work is just excellent, melodic while complimenting the disharmony of everything going on around him. I can hesitantly compare him to Trey Azagthoth and James Murphy, but he is definitely a force all his own.
Cole Jacobsen’s vocals fit the music well, they are low and guttural, full of power. Nothing particularly new or interesting going on here, but well-executed. However, I find Garrett Thomas’s higher pitched and more manic backing vocals to be ill-fitting and somewhat off-putting. Thankfully they do not intrude too often and they don’t do much damage to the songs.
This is a solid EP that sports some really fantastic elements. The songs are all memorable, but more variety or experimentation would be appreciated if the band tackles a longer release format.
(Originally written for http://abloodredpath.blogspot.ca/)
I will start this with a little background on my experience with this band.... I was in a local record store called Plan 9 in Richmond, Virginia, and I was looking through the "METAL" section. I was rather disappointed, actually, because I generally find like 3 or 4 albums at a time, and I buy them. Well, I couldn't find anything worth it, besides a copy of Dark Funeral's "Attera Totus Sanctus," which I already have... So it would be pointless to buy another copy. I was just about to give up, when I find something promising: Lago's "Marianas" EP. I had never heard of this band before, and the cover art and logo looked interesting enough, so I bought it. Honestly, I thought it would be a black metal release, due to the somewhat black metalish logo, and Old English of the EP's title, and the track listings on the back. So I bought it and went home, and put it in my stereo. Well, fucking hell... My fucking neck hurts from headbanging too hard. Lago is a death metal outfit from Phoenix, Arizona. They are very new, formed in 2010, about two years ago. This EP, entitled "Marianas," was released the same year of their inception, and it is the only release they currently have available. And oh shit, is it amazing...
So basically, what we have here is modern death metal heavily, and I mean HEAVILY influenced by the classic bands of death metal, such as Morbid Angel, Suffocation, Autopsy, etc. This EP even thanks 90's death metal in its "Lago would like to thank" section on the back of the booklet. The band also thanks weed, but why wouldn't they? Weed is awesome. That set aside, let's indulge into the music again... The tremolo picked riffs, which sound black metal influenced, are here, and they are especially good on the title track (which is also the first track). The drums on here are furious, but not too furious. They are pounding, and, when the bass on the stereo is turned up, they shake the entire fucking room. Very bass heavy record in general, but of course, it is death metal after all. The music could be described as slower, less chaotic death metal, somewhat like Autopsy's "Mental Funeral," but not quite that doom sounding. It is influenced, at least to me, by Morbid Angel's "Blessed Are The Sick" with its slower tracks, but still consistently fast riffs. These riffs are not overly technical, however, and they do not sound like the guitarist is simply wanking off his guitar. They are basically your standard edgy death metal vocals, nothing too special, but very fun and very fucking heavy. And that is what it is all about: the sheer brutality.
Vocalwise, this album has some variety. You've got Cole's traditional raspy-as-fuck vocals, and then, you have additional vocals preformed by Garrett. His style of vocals, is, however, very much different. These vocals sound much more akin to black metal, specifically depressive/suicidal black metal. He uses high-pitched, painful screams, which are included to send chills down the listener's spine while he/she is already hurting from headbanging too hard. This helps to add a better flavor to the already savory music.
This is recommended indeed, for fans of death metal. It's got it all: fast tremolo riffs accompanied by slower, melancholic riffs, pounding bass, blast beats, all the good shit.
Since these guys are pretty new I suppose I should place more emphasis than usual on describing their sound. Lago is straight up death metal, without a doubt. Their most obvious influence is Morbid Angel, but they aren't the usual clone band; they've absorbed and reinterpreted the sound, doing what M.A. does (or, sadly, did) rather than copying their style. It's a response, not an homage. The influence is evident in their sinuous riffs, their marriage of consonance and dissonance, and their crisp, tastefully technical approach to playing. These songs are a lot simpler and more driving than M.A. songs, though...it's like they really dig Blessed Are The Sick but made sure to avoid creating anything that resembled it superficially. Lago pull off some pretty satisfying chugging (check out the beginning of "Center of a Wounded Nation"), and the songs have that continuous grind that M.A. seemed to deliberately avoid on their most interesting material. Overall, the feel is austere and martial.
There are definitely "outside influences" at play here, but they are organically related to the death metal and work at the service of the songs. In fact, this stuff goes a long way to setting Lago apart from any existing death metal clique. First, there are some straight up blasting/tremolo sections that have much more to do with Mayhem or Axis of Advance than clean, technical death metal. These have the coolest melodies on the album, and they are cunningly deployed. Lago drop them in past the halfway point in songs like "Marianas" and "Youma," once you think you've already heard all the cool riffs, and you're just like "OH SHIT! Here we go!" They really stand out from the other riffs, which are anchored in palm-mutes, and they sound great played on the low end with thick production. Second, Lago incorporate nice chords and arpeggios that remind me more of Neurosis or Isis than anything. They pop in places like 2:42 of "Arbitrary Conflict" and 1:59 of "Center of a Wounded Nation." It's cool to hear some harmonies hanging over over the bleak landscape of towering riffs.
These outside strains of sound get excluded by default from Real Death Metal, but there really isn't any reason why they don't fit. The whole point is that they are mere stylistic gestures, they don't have any intrinsic musical meaning. It's one thing to confuse them with the essence of a genre or to force them together in a pathetic attempt to "be original," but another thing to use them wisely within appropriate contexts.
The even more abstract point I want to make is that Lago have really nailed the inner logic that guides Blessed Are The Sick--they've digested an influence in the most meaningful way possible. THIS, more than anything else, is why I keep harping on the comparison. Like M.A., Lago makes architectonic music. Its power lies not so much in its kinetic drive (though Lago does have this) as in its awe-imposing structure. It's the difference between the power of a charging cataphract and the power of a Roman temple. It's the difference between the horizontal and the vertical.
Maybe you already know what I mean, but I think this is worth exploring a bit more. Lago's riffs are written and arranged so that each stands forth in its distinctness. They're set off from one another. Even when they are not the most original patterns, they're phrased in a way that makes them compelling and memorable. The best example I can think of is the main riff of "Wounded Nation," which drops at 00:37. You hear it at first and you're like, "oh it's one of those riffs," but it has a structural clarity that makes it stay with you. It's simple, even standard, but it could never be mistaken for any other riff. And then, these riffs--which are in themselves powerful sonic forms--come together in a really cool overall structure that only brings this out. Lago have translated the fiercely abstract language of M.A. into a much more physical music, without losing the feeling that you are listening to a musical edifice.
Aaaanyway, foray into aesthetic philosophy aside, I gotta make some constructive criticism. First, the black metal backing vocals are lame and kind of awkward. There's something a little off. They're either too "depressive black metal" or too deathcore, but I don't know either genre well enough to know which. This is definitely a delivery problem, but the production doesn't help...they jump out and distract from the other shit going on. The patterns could use some work too. Either polish these up or leave 'em out. Second, I think Lago could use a different production. The very clean, polished sound is clearly a nod to their tech-death heroes, but in music that is more about repetitive, colossal riffs, I say go for the guttural. Keep the low end beefy, but boost the buzz and grind. Let it take up more space. Basically, give this a war metal production treatment.
So, Marianas is massive, and you should check it out. It was released by Pale Horse Recordings, who are a dope underground label, and they did a nice job with the packaging. The red text is so dark you have to struggle to make it out against the black. I never thought a reading experience could be "metal as fuck," but there you go. This is a great debut E.P. by a band carving out their own niche. Should appeal to fans of classic death metal disappointed with the "retro" trend, open-minded war metal guys, and even crust punks and sludge guys looking for something riffier. Posers and nerds should look elsewhere.
(Slightly adapted from my original review at www.trialbyordeal666.com)