Z euforie vězení

Some of the coolest bands out there are the ones that aren’t afraid to play a combination of styles and meld them together into a successful hybrid. For fans of deathgrind and its variants, the Czech group High Purity are sure to impress. Their new album, entitled “Z euforie vězení” is lean and focused attack that stands at just above twenty minutes in length. Some extended length acts would barely consider this release an EP, but being amongst a grindier class that celebrates brevity, it is right at home. At the same time, the work is technical and powerful enough for the Death Metal crowd. And effective use of hardcore shouts co-exist with the usual metal roaring to create an entertaining mixture. As a result, a tangible energy of creativity colludes with an audible sense of enthusiasm for a signal of great promise.

“Z euforie vězení” translates (thanks to that wonderful little thing called Google) to “The Euphoria Prison.” Bringing to mind cult Christopher Walken vehicle “The Happiness Cage/Mind Snatchers,” the cool cover artwork is given further context to the non-Czech speaking crowd and furthers the atmosphere of protest suggested. After all, what good is euphoria when it is expected or even enforced upon a populace or test subject? The title track likely begins with a musical sample from said film, and while being completely furious and awesome also suggests more development to come in the future. This band is also very well equipped to kick some serious ass; the mosh-pounding of opener “Hlanvne zdarvi” reminds of the power of the NYDM formula when done correctly. Breakdowns and chugging are best when they don’t distract from the momentum of the song as a whole. Again, there is a lot of variety in what is offered.

Case in point, each track is great as part of the whole, but it is ‘Oběť doby’ that ends up being the highlight. Beginning with a soundscape that transitions into a melodic passage that serves as the main motif for the duration. Alternating powerful blasting sections with a striking bridge pattern stimulates a strong set of emotions in the listener. The manner is similar to legends Rotten Sound or Nasum’s use of punctuating melody, and is employed elsewhere to great effect (‘Křivda’ and its moderated textures or the title track’s emotive conclusion). Taking the speed up a notch or creating deeper chasms of sonic dissonance could make the effect achieved on ‘Oběť doby’ to even more fascinating levels.

As with individual stylistic choices, the production of the album could benefit from a more decisive choice to bring the carnage forward or suspend it even further in oblivion. This is because the album exists in a somewhat airy and distant universe that lessens its potential impact. Atmospheric death metal and grindcore grow ever more popular with the resurgence of old-school aesthetics; and this could be a good place for a band with melodic inclinations. In the other direction, increased rawness and extremity would push them elsewhere. The snare drum production might be a potential snag to those who find fault with its “popping” as a distraction from the rest of the instruments (think “Blasphemy Made Flesh”). This can be rectified or lessened with subsequent recordings, but it can help or hinder depending on the preferences of the audience. The aforementioned use of hardcore gang shouts and the air of conceptual righteousness might bother the more fantastical imaginations out there. That shouldn’t stop this radical band from doing what they want to do.

Originally Published In Metalegion Magazine:
www.metalegion.com/content/issue-1/