Exocrine – The Hybrid Suns
Release Date: 17th June 2022
Label: Unique Leader Records
Bandcamp
Genre: Technical Death Metal
FFO: Cryptopsy, Archspire, Despised Icon.
Review By: Trina Julian Edwards
French masters of tech death, Exocrine, will release their fifth full-length album, The Hybrid Suns, on Unique Leader Records the 17th of June. Promotional materials for the band note that The Hybrid Suns is a concept album focusing on the voyage between life and death. The album was written and produced by guitarist Sylvain Octor-Perez, and also features Jordy Besse on bass & vocals, Nicolas La Rosa on guitars, and Théo Gendron on drums.
The title track, The Hybrid Suns, dives right in with Exocrine’s typical speedy leads and lightning fast drumming. It’s got some groove to it, and those proggy synth lines are beautifully intertwined with the brutality of the guitars and drums, especially during that huge chorus. There’s a remarkable solo at about the 3/4 mark, reminding you how prolific a guitarist, Octor-Perez really is- not that he’ll let you forget. The Dying Light sees the return of clean backing vocals familiar from their 2020 album, Maelstrom. The dynamics on this track are stellar, and the band seamlessly flows from the furious intensity of the verses to the celestial elegance of the chorus. Horns hits with a blast of sound, then more of that chugging, yet groovy-as-hell guitar work that’s somehow still melodic and even hooky. Orchestral-like elements slink surreptitiously through the soundscape, swooping into prominence before darting again into the background. The moving leads are as intricate and precise as a laser beam, while the frequency and duration of the rhythmic changes keep things lively. This track is definitely a highlight for me, and every time I listen to it, I hear something new.
Watchtower has a surprisingly synth-heavy intro that morphs into this inundation of tempos and techniques. There are so many stylistic shifts in this composition, my brain was continuously trying to catch up to my ears, and that abrupt ending feels like slamming on the brakes at a red light. The musicianship is superb, there’s no doubt about that, but there was almost too much happening too fast to appreciate the nuances of each movement. Vortex of Shadow begins with an ambient intro before moving into the more typical rapid-fire drumming and moving leads. At the chorus, the tempo slows dramatically, but only briefly; however, this highlights the brutal vocals and makes the tempo seem even more frantic when it picks back up. The second time they return to the chorus, they add synth-y strings to the mix, which likewise juxtaposes nicely with the ferocity of the vocals. The track goes totally prog right about the 2:28 mark, with prominent keyboard chords and almost jazzy drums under the lead. End of Time is one of my favorite tracks, with loads of groove and melody crammed into those speedy, techy leads we all know and love. The rhythm section rages through this track with controlled fury, although there is a notable break to highlight the guitar solo before they drive this beast home.
This is followed by Burning Sand, which has a lovely acoustic guitar intro before you’re gripped by the familiar grinding rhythm and the frenetic lead. There are some brief thrash-y sections in this song that are unexpected but satisfying. The dynamics are as agile and enjoyable as we’ve come to expect, but the synth rather takes over for a bit around 3/4 of the way through and rains on the end of the parade. The appropriately named Blast comes thundering in next, and there are several interesting movements in this track. We’re treated to ethereal legato synth lines, and dynamic moving synth lines (both in lieu of and together with the guitars) that play nicely off the rhythm. Around 2:37 the guitar goes off on a proggy-like tangent, and I got some definite deathcore feels from the vocals, not to mention that crushing breakdown at the end. The final track, Shrine, is another highlight for me. This beauty is as down and dirty as you could hope for, giving off some old school brutal death metal vibes in parts of this track. It’s chunky, it’s groovy, and it gets wickedly fast, causing those slower tempo sections to hit like a brick.
Overall, The Hybrid Suns is jam-packed with moments where you’re compelled to stop right where you are and go back ten seconds to listen again. Much like its name, The Hybrid Suns feels like something of a hybrid of 2020’s Maelstrom and 2018’s Molten Planet. The album comes off less experimental and more deliberate. It still leans progressive, but it’s less “let’s throw this new thing in and see what it sounds like,” and more “let’s make the most of what we already have.” I could have done with a little less synth, but it was predominantly well-placed and only rarely detracted from my enjoyment of the track. Exocrine’s technical skills on this release are exceptional as usual, and their flair continues to help them stand out in a genre where it can be tricky to find a niche. The Hybrid Suns is one of my favorite tech death releases so far this year, so if you’re a fan of the genre, I highly recommend giving it a listen.
(4.5 / 5)
