The Time Traveler's Dilemma

The title is obviously humorous. I despise slam metal, even if this record describes that subgenre, I still couldn’t stop myself from trying this record out. You can say that it’s technical/progressive/brutal death metal, by whichever definition of these subgenres you see fit. It’s brutal, all right, but it’s as technical as 2014 Demo/Maggots in Her Smile was and somewhat progressive, too. No wanking, recycled and mainstream technicality that you’d realize in the majority or modern technical death metal records. Finally, this is Afterbirth‘s debut full-length, featuring the new vocalist Will Smith (ah! Will Smith...) from Artifical Brain, Buckshot Facelift, and the Demilich-worshiped Biolich (these are other New York bands I ought to check).

What stopped me from not wanting to listen to this record was the passing of the original vocalist, just the year prior. I didn’t deem this as a worthy listen because he wouldn’t be in it, anyway. But finally, when I tried it and heard the technicality of the bass and the instrumental tracks, I couldn’t say no, and damn, I’m sold once again by this band! This does justice to what Matt Duncan would've probably done, had he lived to this day. The Time Traveler’s Dilemma’s primary plan was to be out as instrumental work only, with no intention to add vocals. That was until Will joined the band and offered his voice, and presumably wrote the lyrics. So this record offers two re-recorded songs: Eternal Return (formerly titled Sombre Cirque Noir from said demo) and Maggots in Her Smile, five original songs with Will, and four instrumental tracks. For this kind of record, it’s quite mouthful (pun intended).

The record begins with the re-recorded songs. Will more or less sounds similar to Matt, even though he also approaches with varieties of growls and gutturals throughout the entire thing. The initial start with Will’s work is from Drills and Needles. In this particular song, he makes comprehensive slow death growls before the chorus. Another notable song is Timeless Formless, where he slowly growls in the intro and chorus, and the bridge features Frank Rini, a former Internal Bleeding vocalist, along with a phaser-like effect applied on Will’s growls. Devouring the Hungry Ghost contains some low-toned shrieking.

Once again, in the band’s fresh addition to their discography, no guitar solos are present. However, the guitar still has a lot to offer. The regular-sounding riffs and rhythmic melodies, while advancing to a more technical approach and creativity within the guitar’s neck. Natural, yet bizarre harmonics and single-note riffs. The former example (regular riffs and melodies) applies to Eternal Return, Multiverse Dementia, Timeless Formless (with a calmed 20-second intro), Devouring the Hungry Ghost, and the second instrumental title track. Transcendental Object at the End of History is probably the best two-minute instrumental track I’ve ever listened to! So calm and imaginative, accompanied by simplistic drum fills, the beauty of it blew me away. The latter example (creative and technical approach) applies to Drills and Needles. Once again, it also applies to Multiverse Dementia, which sounds so clever, the guitar sounds like something you’d from a Mission Impossible movie, and the last minute (not including the last haunting thirty seconds) of basic but lovely power chords. This also includes Devouring the Hungry Ghost. Additionally, I noticed the guitar works in Maggots in Her Smile was better than the original version on the demo.

Over the years, the bassist has improved so much he adds a lot of technicality and unity within the music; helping in making a remarkable record for his bass work, to be memorable, intriguing, and joyful. The production between this record to the last demo might sound the same, but they decreased the volume. Fortunately enough, Eternal Return sounds excellent, and as I said above, the guitar’s work for the re-recorded Maggots in Her Smile applies the same for the bass. His best work is in Eternal Return, Drills and Needles (hearing the beautiful, jazz-like bass effect in the chorus), the first instrumental title track (having one minute of the dominant bass effect, followed by drum beats), Timeless Formless (groovy notes alongside the drums), and Devouring the Hungry Ghost.

The drums sounded the same since the band’s inception, so there’s not much to comment about them. But obviously, they’re good and interchangeable. Sifting Through the Sands of the Unholy has an interesting drum opening; army-like stuff (don’t remember what it’s called) and technically advances to the cymbals. Also, splendid work on the first three songs, Multiverse Dementia, Devouring the Hungry Ghost, and the second instrumental title track. Criminally underrated drummer and I’ve always enjoyed his work behind the kit, especially them blast beats. I’ll never get enough of those…

The most experimental tracks are all the instrumental tracks, period. As for the songs, Multiverse Dementia (which starts normal, but progresses into becoming catchy and slammy later on)’s last two minutes offer some sick blast beats, standard death growls, more natural harmonics and guitar riffs that sound like something you’d hear from Deftones (no joke; specifically on the record White Pony). Timeless Formless, with the variable vocals of Will, and Devouring the Hungry Ghost - the most sonic song.

The Time Traveler’s Dilemma is not a record you come across every day, no sir. New Yorkers’ obscurity is something remarkable in music, and Afterbirth earned that status. All the five new songs are quite long for brutal death metal and sound very different from each other, along with having four instrumental tracks which, despite their lengths, they’re exceptionally good! The album cover is very original, stylistic, and unorthodox in brutal death metal; to my knowledge. This makes you question its existence, on what it takes to make such a creative record and concept that tells the tale of a time traveler and their dilemma, instead of flesh and gore. Of course, you still have Maggots in Her Smile (whoever she is), Drills and Needles, and Devouring the Hungry Ghost (whoever they may be), but this goes to show you can be innovative and experimental and try something unique, instead of always having to stick to the same stigma.

Afterbirth proved they can experiment, while maintaining their brutal signature with this masterpiece, and all the guys in the band made a spectacular job! I hope this innovates other brutal death metal bands to try to be creative and sing about other subjects. All the tracks are the best. What are the WORST tracks, however, is the interlude Discarded Astral Body because it didn’t have any meaning and sounded repetitive, unlike the other three instrumental tracks. Sifting Through the Sands of the Unholy was the weakest song. Not as awesome as the rest, regardless of offering plenty of vocal range and bass.