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Origin of the Next Generation Death Metal - 100%

Nuclear5641, September 15th, 2007

They came, they saw, and they conquered.

If that doesn’t tell you much about one of the most-adored, unmitigated, exceptionally singular and accomplished brains in death metal as a whole, then maybe you need a bit more info on who’s who of this quintet from the nether regions of existence. 1998 was the year when the creators of Origin, Mr Paul Ryan and Mr Jeremy Turner hit up an individual intension of framing something that had never been done before, that had never been even thought of, and hell, that can never be imitated by anyone else. Coupling their adept guitar thrashing knack and combining the thus obtained combative fury with Mr John Longstreth’s inexorable aggro-drumming animosity, Mr Mike Flores orgasmic basslines and Mr Mark Manning’s redefined vocalizing technique, Origin had risen up to a standard that’s not merely unthinkable, but unattainable too.

Delivered through this self-titled debut, released in 2000, is an episode of consistent technicality, intricate song-writing and acme musicianship that is very much likely to crush your subliminal senses and leave you begging for more. Unlike most bands in the thrash and death metal era, Origin steer clear of guitar solos and swap it with, well, more wicked dynamic grooves, torrential blast beats and intense time keeping. Quite candidly, the time keeping is so ridiculously profound here, sometimes it’s hard to believe that the instrumentation is not being generated by a fucking software or something. It’s not – that’s a given constant. Origin make no mistakes, and this is what separates them from that ocean of talentless random guitar fretting death metal b(l)ands. What’s even more commendable about this album is the non-goresplattered yet sharply misanthropic lyricism under the subtext of cold-blooded savagery, vicious barbarity and relentlessness atrocity, all in the name of extreme hatred for humanity, lack of sympathy. And like that wasn’t enough, the lyrical verses and song segments have a very tight chemistry between them with respect to hand-in-hand overall rhythm emphasis. No dissonance, only consonance.

Section-wise dissection would be no further from revealing what may seem to be a flawless streak of incessant riff tornado utterly storming down a sonic assault, or something like that. The album opens with Lethal Manipulation clocking in, like the average song length of the album, at 2:26, and all the bolt in the air surges at you in one single neural blow! And then, soaring your way though colossal clusters of decimating riffs, you are greeted by Sociocide, which is a to-be-heard-to-be-believed category song. Maybe a few aeons ago was the last time I heard a death metal gem and fell in love with it in less than an instance…prior to Sociocide. Almost the entire length of the album is constructed in an array of song-writing similar, not similar in terms of structure, but similar in a sense of surface texture, to Sociocide. Pinch harmonics, sweep-picking, accentuated downbeats and the absence of rubatos & sharp key signatures are the highlights of Origin’s death metal brand. But considering that tri-harmonized synthesizer riffs and pinch harmonics are pretty common in (technical) death metal these days, Origin’s way of doing the same again distinguishes them from the lot and gives it a rather longed sense & expressionism. Another bit to be taken heed of is the opening of the song Disease Called Man - a soundclip from the movie The Matrix – Human beings are a disease. You are a plague, a cancer of this planet. And we…are the cure, soon after which all insanity breaks lose and mind-blogging metal discharges in abrupt proportions. The finale, Inner Reflections, comprises a shift of tempo towards the tail end which is unlike any other section the stretch, uniting three different vocal styles appearing throughout the album.

Origin, as mentioned earlier, is a quintet. This is one of the chief reasons for the flawlessness of their music, as every band member can concentrate on his field of instrumentation in it’s entirety, including vocals. Like most fans of this band coin their music, Original death metal underlines the coherently formulated and meaningful work of ingenuity. What was once known as the Utopian grade of musicianship has finally been materialized by that stature of death metallers who have deeply and acutely understood death metal along with it’s very purpose. Suffice it to say, it’s only this stature of death metal that thrusts forward the genre to it’s Herculean extremities, and then some more. Nine songs of implicitly deviated lineament all packed into one CD of rip-roaring Original diatonic digest rising above the mighty forces of the Universe. Melody is out of question, get fucking slaughtered!