USA, “Our own damn selves” (Self-released), Progressive/Avant-garde Death Metal
Padded walls. Straight jackets. Anti-schizophrenic medications. Shock therapy. Full frontal lobotomies.
This is The Conjuration’s second full-length, Tragedy. The self-released record is a jazzy and proggy amalgamation of the experimental and avant-garde. It’s driven by a kaleidoscope of metallic and non-metallic influences (the band even sites Nobuou Uematsu as an influence on their Facebook page), and features creeping keys, introspective slow passages, and maddening spoken word sections.
Tragedy takes “spastic” to new heights. These guys waste no time in maniacally genre jumping: Opeth’s prog, Dillinger’s math, Alchemist’s keys, Suicidal Tendencies’ stream of thought, it’s all here.
Metalheads who find brutal death metal monotonous, or really enjoy the far weird, such as Unexpect, will probably enjoy The Conjuration’s auditory insanity. At 46 minutes, it makes for a unique listening experience and has some memorable songs. However, it may leave some listeners wishing the band would stay in one gear for more than 10 seconds – or even in the same vehicle. Tragedy may have some less adventurous metallers checking their watches, but it is definitely worth the price of FREE. Yes, FREE. SO GO CHECK IT OUT NOW! (http://theconjuration.bandcamp.com/album/tragedy)
Examples of when the lucid intervals work well are the hissing prog and scathing sickles of “Azura;” the Blood Red Throne-esque galloping crunch of “Nuceria;” the blackened tints on “Pandora;” and the mathy dissonance of “Caustica.” In contrast, the sing-songy vocals dispersed throughout the album illustrate what happens when the style goes wrong, as does the extensive dead space on album closers “Gaia I” and “Gaia II.”
Tragedy is a non-sequitur collision of cool ideas wrapped in madness. Is this the sound of losing your mind?
Yes. Yes it is. Then again, we all go a little mad sometimes.
Rating: q.m / bippity bop
Author: Witness to the Void