Blood Incantation – Absolute Elsewhere
Release Date: 4th October 2024
Label: Century Media
Bandcamp
Genre: Progressive Death Metal
FFO: Gorguts, Immolation, Horrendous, Ulcerate.
Review By: Jeff Finch
In 2022, Blood Incantation dropped an album called Timewave Zero: a synth driven progressive ambient record. Coming from a death metal band as critically lauded as these guys, the only reason it wasn’t a surprise is that they told us they were doing it. Going into this, their newest album, Absolute Elsewhere, based on the nearly non-existent pre-album build-up courtesy of no singles or verbal hype, the moment of having pressed play was going to be a shock to the system no matter what. Was Blood Incantation going to Timewave us again, or were they going to Starspawn us again? The answer, as only Blood Incantation would have it, doesn’t require much waiting.
The band wastes no time in getting down to business, immediately dispelling the fears of another synthwave album and reminding us they’re here for interstellar domination. The riffs, the rolling drum fills, the deep growls, the chord progressions, the all out assault emanating from the speakers, courtesy of blast beats and screaming lead guitar, the bands love for progressive rock and metal is worn on their sleeve, that psychedelic death metal sound imploring listeners to simultaneously sway with the music and bang their head, lest they get confused. The band takes an Opeth approach to the opening track (one part of a larger track), where the chaotic rhythms and aggression morph into calm, an ambient soundscape rife with moments of contemplation reminiscent of Pink Floyd, the guitars popping in and out, the drums hit with laser precision but never overwhelming the rhythm, the sound of flutes a calming presence, the group jamming just as technically but not as loud. 80s synths straight from the Aldo Nova playbook shift the focus but never at the expense of our intrigue, the mind and ears in sync, eagerly awaiting the next chapter, taking in the soundscapes that wouldn’t be out of place in a Spielberg film, as the guitar shifts gears into a solo meant to extend our emotions, enough chord progressions to shift the rhythm but not take over, lower in the mix to keep the song from over focusing on any one part. One last elongated note melds with fading synth, bringing the band back to the opening moments, those deep, cavernous growls of Paul Riedl taking charge, leading the riff and rhythm assault, as a chaotic, shredding, effects laden maelstrom of guitar noise pierces the sonic veil, the band expertly transitioning from unrepentant chaos into full-blown fury, the shifts so organic that even with a tone and tempo change, those inherent differences out in the open, nothing can sound more necessary than what we’ve been given.
As the band shifts gears into the second track, part II, an entirely different sound has taken over. After having been taken on a wild ride for part one, part two approaches the soundscape from a cinematic vantage point, synths and keyboards ripped straight from sci-fi television and video games, dialogue interspersed where listeners can easily pull words like “the universe” and “aliens,” the entirety of the listening experience a meditation of sorts, the keys and various sounds increasing in intensity as the dialogue shifts to a dramatic climax, the music dissolving into ambience again, the buzzing and humming of guitars just under the surface, a clean acoustic lick breaking through, the ethereal sounds of a flute hovering nearby, cymbals crashing signifying a change in the atmosphere, melodious electric guitar teaming with the percussion eliciting a stark shift, as an animalistic scream ripped from Reidl’s soul find the band coming full circle, an off kilter beat teeming with crushing riffs and no regard for standard beat, the ending as dizzying as the album has gotten, a primal burst of whammy bars creating a cacophony with the main riff and pummeling percussion to lead us into part three, where we’re immediately treated to a deep grunt with fuzzy riffage and tribally intense drumming, a simple beat intertwined with spastic outbursts of blast beats and double bass, leading us headlong into dissonant harmonies, the guitar restrained and notes elongated as the drums fire at full intensity, vocals pulled straight from the depths of hell. Spoken words overlaid over acoustic guitar and spasmodic drum fills leads into unrepentant fury, the riffs briefly taking part before retreating back into the solitude of their restraint, the melodies breaking through the wall of noise to stand out amongst the maelstrom. Suddenly the band has gone fully tribal; bongos, acoustic guitars, and animalistic drumming briefly taking hold but ultimately giving way, these gnarly side trips displaying impeccable transitional properties, warp drive from one sound to the next as if nothing has happened. Alice In Chains harmonizing one minute, discordant, jarring melodies and utter bedlam the next, giving way to harmoniously satisfying thrash, the band takes us on so many chaotic rides this first half of the album that it feels as if it couldn’t possibly keep this up. Right?
Wrong. If you enjoyed part one, as told in three tracks, you’ll love part II. Twists and turns abound right off the bat, bass rumbling through, the band, less the drummer, briefly exercising restraint with a swift shift back to full bore, the stop start rhythms continually present, time signature changes a theme rather than a surprise at this point. Reidl sounds like he’s in a cavern, vocals echoing intensely, then we’re back to blast beats and little else in tandem, soon followed by cleanly strummed guitar and a rumbling bass line, a melodious solo with a voiceover bleeding into deep, doomy riffs, the constant transitions into and out of bedlam the turning of a musical page, relentless blast beats and quick bursts of tremolo riffs giving way, once again, to another tempo shift, guitars slowing down and getting chunky, where they leave a lasting impression on listeners with their tone and creativity, the latter of which bleeds into the next track; a jazzy opening, tonally thick bass, clean harmonized vocals for a brief spell, off kilter time signature shifts in guitar. Suddenly, the band slows down; guitar feedback, restrained drumming, a clean, subtle guitar melody, David Gilmour singing for the majority, yielding a song that sounds just like Pink Floyd for the next couple of minutes, the bass the clear star of the show here. It seems like we’re merely biding our time until the next onslaught, which brings us to the finale.
For two minutes we’re back to ferocious death metal, only to be greeted by that calming flute as we transition out of the chaos, layered clean vocals and a very tribal vibe supplanting the calm; the bongos have come back, clean acoustic guitar pops in as the drums kick up in intensity in tandem with the flute, reaching a crescendo with a deep grunt, the band shifting between death metal, soft prog rock, and back again without once missing a step. Mid-tempo riff fests become unrepentantly ferocious thrash fests, the sound of strings peek in sporadically, an operatic feel to the whole cinematic experience, the last few moments of the song hitting us with lightning quick chord progressions in sync with the rhythm section, all as Reidl lets out one more primordial scream, a vibrant synth melody contrasting brilliantly with the technical death metal prowess of the group, the two cacophonous in nature both in sound and pace, the synth slow and steady, the band as fast as they’ve gotten on the album, the entire last few moments the end of a long journey, a deeply low vocal tone emanating from the background, hymnal in nature as the music fades out, leaving us to the sound of crashing waves as the song goes black.
Not only did Blood Incantation go back to their roots in writing this, the space alien themes with the blistering energy and musicianship, but they made the entire thing fun. As a listener and lover of the genre, I have not taken this much enjoyment from a death metal record in ages. That’s not to say that death metal hasn’t dropped excellent releases of late, they have, but the progressive tendencies of the band mixed with the overt technicality that’s always on display has yielded an album that isn’t simply a death metal album; it’s a death metal journey and experience that, even though there are moments on here I wouldn’t actively seek out, has set the bar insanely high for any death metal band in 2024 and beyond. Do not miss this one.
(5 / 5)
