Mar 142015


(Having heard of my job-related inability to assemble round-ups of new music for the last week (and the one that’s coming), Austin Weber has once again graciously stepped up to fill the void. This is Part 2 of a round-up of new music, which began here.)

Dawn Of Dementia

Both Islander and I have written about Lafayette, Indiana-based technical death metal act Dawn Of Dementia before. The band traffic in a highly melodic form of technical death metal, and their newly dropped track, “A Subterranean Exposure”, shows them executing at an even higher level than on their previously released (and amazing) EP, Residuum.

I had the honor of getting to see Dawn Of Dementia play live in my hometown of Louisville, Kentucky, last fall, and these guys are the real deal. Their forthcoming album, Immolation Of  Avernis, is shaping up to be quite an impressive debut. Continue reading »

Feb 242015


Existential Animals come our way from Oberlin, Ohio. They made some serious first impressions last year with the release of their debut EP Surrealith (which was graced by one of my favorite pieces of art by one of my favorite metal artists, Paolo Girardi, and also included a guest vocal appearance by Will Smith of NCS favorite Artificial Brain). Existential Animals are now back with a two-song single — “Prism Prison/Apopheniac” — that’s due for digital release on March 3. The artwork for the single, created by Cameron Almasi, Yuri Popowycz, and the band’s Mark M-R, is stylistically quite different from Surrealith’s cover, but it’s just as eye-catching. As you’re about to discover, the music’s eye-opening as well.

What we’re about to show you is a colorful and frenetic animated music video for one of the two new songs, “Prism Prison”, which is itself colorful and frenetic. It’s a purely instrumental form of technical death metal that may bring to mind fond memories of Blotted Science. There’s a lot of fret-wizardry on display, and as the song barrels along its brain-twisting course it becomes increasingly complex, blending start-stop rhythms, call-and-response interchanges between the bass and the guitars, and deranged note swarms that build to a frenzied crescendo.

But here’s perhaps the most surprising thing about the song: cunningly intertwined within the matrix of instrumental intricacy is an infectious melody that you may not even realize you heard until the song ends — and then it surfaces in your head and makes you want to go back and re-live the experience. That’s an impressive achievement. Continue reading »