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Missing the Mark on a Comeback - 39%

GreogianChant, January 12th, 2021
Written based on this version: 2019, Digital, Independent

At a point in your career, there are many pathways you can take to progress. In the terms of music, you can have a band you've worked on for years break up and come back to release a musical masterpiece, or you can come back to release some horrendous garbage. There is a lane however that is split down the middle of the two, and that's to release an album after years of stagnation only for it to just be completely divertive of everything you've put out prior. There's nothing wrong with musical evolution, and there's nothing wrong with calling back to older sounds, but there needs to be some balance if you're going to continue forward.

That doesn't seem to be the case with one man slamcore machine Disfiguring the Goddess. Don't get me wrong, in a sea of endless copycatting and uninspired nobodies, Disfiguring the Goddess stands out as a band that takes heavy influence from deathcore as well as experimental brutal death metal acts like Dripping and Jenovavirus, so in terms of songwriting there could be something. There are heaps of unorthodox riffing styles and interesting samples at points that feel like a deathcore version of "Disintegration of Thought Patterns During a Synthetic Mind Traveling Bliss". However, despite this, we've all heard this done before and done better on previous releases.

Slam riffs galore are a plenty on this album, and when they hit they hit like a sledgehammer. A perfect example is on the track "Don't You Want to Meet Us" that starts off with a hard hitting slam that unfortunately devoids into mindless Meshuggah-inspired riffs that feel extremely processed and not to mention extremely boring. Why you would want your song to start off hard only for it to feel like the whole thing is dragging on is beyond me. Katapiller is another song that comes to mind with interesting ideas. There are a few spots with some unorthodox vocal passages that appear at points, but the whole thing drags on for an excruciating seven whole minutes without anything to break up the tension.

One thing that bugs me the most is the mixing. The mixing on this album is shit, plain and simple. I understand the need for raw production, but it needs to have a balance of raw and. well, being actually tolerable. There are points throughout the album where the drums are so quiet in the mix that I can barely hear them, with the symbol crashes being the most quiet out of anything. The guitars will even feel like they're background noise while Cameron belts out these intense gutturals. Even the atmospheric and spacey samples take up to much of the mix and even feel out of place and forced.

I don't know what happened on this album. There were clearly some wonderful ideas. but the execution should've been done way better. Everything from the instrumental work to the vocals feels extremely familiar, and not in the good way. Like I previously stated, it's fine for a band at this caliber to keep doing the weird experimentation and riffing styles, but it feels like I've heard it all done before and at this point it doesn't even feel experimental. The mixing doesn't help as well, and just holds it back from what it could've been. I'm sure there are gonna be people who enjoy this album, and more power to you, but it does nothing new that the project hasn't already done before.