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Hectic Patterns > Random > Reviews > bayern
Hectic Patterns - Random

Randomly Assembled Leaps and Bounds - 91%

bayern, February 6th, 2018

A bunch of hard-working musicians we have here who started the black metal outfit Ufych Sormeer first, then moved towards the modern thrash kaleidoscope with the foundation of Dead Season, before making their contribution to the death metal roster with the album reviewed here.

It’s not very clear whether this last affair will become a full-time occupation with the other two acts still operational, but it should be as this is by far the guys’ finest hour at this stage. The delivery is on the very technical side of the death metal genre as the album-title perfectly reflects what occurs here, a very stylish cannonade of overlapping hectic riff-formulas that goes on for close to 50-min. There are very few respites served along the way “Vaseline” being a most busy opener with super-technical riffs flying from all sides, the stop-and-go technique applied creating dizziness way before the end, the frequent adherence to the dazzling brutality movement not helping much. “Asylum” tones it down, at least in terms of speed, but don’t expect this to be a much more digestible cut as very seldom is the same pattern played twice; and “Macabre Punishment” may be indeed deemed punishment to some with its perennial hyper-speedy spirals some of which are taken directly from ”None So Vile”, the delightful melodic excursions ala Theory in Practice definitely working as a remedy against the former.

A shred-fest of the highest order, regardless of its undecipherable at times nature, which surprisingly becomes more static and mechanistic on “The Grand Hare Order” threatening to turn into a Meshuggah or Gojira worship at the beginning, and although this particular gimmick doesn’t disappear completely, it works well bonded with the hyper-active intricate melee that ensues later. “Hyperborea” is a superb technicaller preserving the more rigid sterile models from the preceding cut, turning it into fascinating fireworks of guitar wizardry that would make all the Shrapnel performers envious. The title-track bewitches with a supreme dissonant intro, but before this becomes a lost chapter from Gorguts’ “Obscura” starts the energetic riff fountains the guitars jumping up and down to a strong hallucinogenic effect, never stopping for a split second. “Shiva” blends dry, hygienic and more volatile riffage without too much hyper-technical ado, and “Enterprise” largely serves mechanical jumps and jolts carved by brief technical/melodic excursions. “Thailand” would be a feast for the technical death metal fan, though, a conglomerate of complex riff-knots, psychedelic dissonant walkabouts, and brief melodic pirouettes, a worthy finale to this grand, very hectic indeed roller-coaster.

It would be a pity if the guys choose not to continue with this project as it would create very fierce, needed competition to the voluminous technical/progressive death metal pool (Korum, Gorod, Trepalium, Dysmorphic, Dungortheb, Spasmophiliaque, Red Dawn, etc.) in their homeland. This opus is a great, also hectic, example of influences stitched together with vision and dexterity, the band belonging to the not many practitioners from the death metal scope nowadays that are not very easy to pigeonhole and are yet easily recommended to a wider gamut of fans. So why not another random assembly of familiar patterns from these skilful French chefs… for dessert?