Individual Thought Patterns

Human on steroids. That is the best way to describe Individual Thought Patterns. The musicianship and songwriting is tighter and more intricate, the progressive elements are beginning to run deeper, and the overall atmosphere has become more frantic and claustrophobic. Individual Thought Patterns is arguably the climax of Chuck’s technical experimentation with Death. So what’s with the low average here on the archives? At the time of this review, Individual Thought Patterns is the lowest rated Death album. Still a high grade (79% at the time of this review) but deserving of something closer to the rest of the discography which is mostly high 80s and low 90s. What gives?

I’ll admit, Individual Thought Patterns took longer for me to fully grasp and understand than any other Death album. It might be slightly lacking in memorable hooks (among the best are “Jealousy” and “Overactive Imagination”) but it has an abundance of uniquely constructed riffs and instrumental sections, so many in fact that the record at times feels completely overbearing and to some, less accessible. It utilizes clashing styles and changes of pace to create a labyrinth of technicality and animosity with Chuck’s vocals still fairly low and harsh and his guitar work maybe the best it’s ever been.

Chuck is joined this time by Andy LaRocque of King Diamond as his second guitarist. LaRocque’s melodic style contrasts nicely with Chuck’s twisted and athletic writing on this record, his style expanding further from the traditional death metal sound he originally invented. Steve DiGorgio is back with a fretless bass and his performance has elevated further from Human. This is one of the first albums I think of when I think of bass driven death metal because DiGorgio is just as prominent as the guitarists, weaving in and out of their riffs and melodies. He both supports the foundation via a heavier sound as well as gives the record more character by playing so independently. And Gene Hoglan joins on drums, making this a legitimate metal super group. Hoglan is of course technically brilliant behind the kit and his outbursts of fills (best exemplified on “Jealousy” and “Mentally Blind”) gives the record an overpowering edge.

It’s hard to talk individual (no pun intended) songs here. They’re all very unique with so many different riffs but all of them are equally impressive and impactful. “Overactive Imagination” has one of the standout hooks that’s easy to follow along with. “In Human Form”, “Trapped in a Corner”, and “Nothing Is Everything” utilize jazzy and razor sharp riffs with unique structures and mind bending musicianship for some jaw dropping moments. “Jealousy” and “Mentally Blind” feature fast, thrashier moments with higher energy doses. “Destiny” has a nice mellow intro very different from the push-and-pull nature of the song’s many riffs. And the closing track “The Philosopher” has a nice groove to it; once again, a very catchy track but still fitted with enough changes in tempo and ridiculously good chemistry from the band members to make it yet another technical masterpiece of a song. DiGorgio’s bass gets really loud on this one too. It fades out to end the record, not necessarily ending on a high note but finishing things as consistently great as they started.

Since many of the songs are woven together in very unorthodox ways, Individual Thought Patterns feels a bit more ‘out there’ than the previous Death records. These songs are elusive, they’re hard to pin down because they keep wriggling away with a new idea or complete change of direction. However, once you really begin to dissect these songs they become even more impressive, more unique and full of character. This is Human fully realized, in its final form. It’s only a little bit better because Human was already so close to perfection but Individual Thought Patterns takes things a step further, the best of both worlds in Death’s discography: one world being the hints of old school fierce death metal that the band originally was, and the other world full of innovative and technically sound playing. It maybe isn’t the best Death album, but it’s the album that best represents their sound over the course of Chuck Schuldiner’s career.