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“The Origin of Faeces” in All Its Manic Grandeur - 96%

bayern, May 9th, 2017

“When the shit hits the fan… great things happen”, as people used to say, and these fabulous Poles are a most sheer testimony to this timeless piece of arcane wisdom. And not only, but we are looking at pretty much the finest Polish death metal act of the new millennium. It’s a pity that their ridiculously obscene, and at the same time highly academic, moniker has been one reason for their relatively obscure status, but with my, and hopefully other fans’, help this situation will change.

The band should be highly respected for the fact that they managed to rise in stature amidst the fiercest competition within the death metal circuit, the one provided by its Polish representatives. Their early demo stage was inspired, but rough-around-the edges with a few false starts along the way. Anyway, all could be forgiven after the excellent debut that “Vertex” was, a compelling vertex… sorry, vortex of intricate, spiral-like rifforamas marred by sloppy production. “Severe Hypnoxia” was a glorious follow-up the band pricking the technical death metal layer right in the centre with their flag which was to stay on the front echelon in the company of other premier stylish death metal providers from their homeland like Dominium, Atrophia Red Sun, Vedonist, Sceptic, Redemptor and Devilyn.

A series of splits followed which didn’t quite add much to the band’s now high reputation, the guys slowing down delaying the appearance of the proverbial third opus. When the album reviewed here finally saw the light of day, Faeces had almost sunk back to the deep bowels of the underground. This new showing had to be something really special in order to bring them back in the game. And boy, didn’t it just do that, and then some… “Red Sun Empire” is already an immediate enchanter with its great bass intro delaying the whirlwind of virtuoso technical shreds which commence with full force the forceful, dense throaty vocals marching confidently beside this super-intricate rifforama which also knows its melodic side a shade of it borrowed from the Swedish melo-death movement. “Revolution is Now” is a diverse fluctuator with fast and slow rhythms taking turns in a slightly scattered jazz-like manner, but all is good not without the help of a nice balladic passage thrown in the second half. “Perfectly Indifferent” emphasizes on the bass initially, but the technical chops resume blended with virtuous sweeps of melody, the latter also “duelling” with the bass which will obviously play a major role here. The title-track combines hectic Atheist-like riffs with stomping crunchy ones the achieved symbiosis becoming more and more intricate with time the guys shredding with the utmost precision and meticulousness. “Probe in Ass” will “probe” anyone’s ass with the seamless “marriage” between gorgeous Steve DiGiorgio-sque bassisms and stupendous Coroner-esque riff knots, a more linear fast-paced section alleviating the created complexity only for the latter to return with an even more puzzling application with frantic proto-blasting assistance.

Truly dazzling stuff so far, and “Absolute” only aggravates the dizziness in the listener’s head first with sprawling progressive landscapes, then with Shrapnel-like leads, and finally with frenetic technical riffage and several weird time-signatures bordering on exotic Voivod-ism. “Spiritual Dimensions of Defecations” consolidates the guys’ infatuation with the fecal side of the human existence lyric-wise while in the music department we have stunning Nercophagist-esque acrobatics with a couple of more orthodox shreds inserted among the perplexing guitar labyrinths and the addictive melodic pirouettes. “Spring Time” announces the arrival of spring even on a freezing Christmas day with an officiant doomy inauguration, but the “idyll” gets intercepted by infernal shreds, spiral-like “melody vs. technicality” build-ups, great bass pyrotechnics, and a less busy pacifying epitaph. “Holocaust” is the undeserved leftover from “Unquestionable Presence”, an amorphous shape-shifting masterpiece, one of the biggest achievements of the Polish death metal scene, a glorious riff-fest with stupendous bass support, and some of the most riff-dense “skirmishes” this side of Theory in Practice and Spawn of Possession. For this track alone this album is a must-have, but “Ignorance” is nearly as dazzling not without the help of the omnipresent bass again, and the final ultra-intricate panorama which goes from disorienting proto-blasts ala Anata to nervy, jarring leaps and bounds in the best tradition of late-90’s Broken Bones, the doomy dirge in the second half a most welcome “dessert”.

One can’t help but start taking acts with silly, laughable names much more seriously after this no-brainer. Along with Atrophia Red Sun’s “Twisted Logic” and Vedonist’s “The World of Reversed Decalogue” this is the finest example of immaculate technical death metal the Polish field has had to offer since the beginning of the new millennium. “Upstream” the guys went indeed, and even beyond… It was well worth the time taken to craft it properly also showing how seriously the band take their lustrous so far career. If only they could have thought of a more suitable moniker… Bullshit, or rather bullfaeces; there’s nothing wrong with the name; as long as the music continues to be of such a high quality on future instalments, the only possible indication of their arrival would be the fragrance of greatness.