ENGINEERING THE VOID (2014)
Sweden, Technical Death Metal, Unique Leader Records
Soreption machinates rigid and precise modern death metal that excels in technicality. So rigid and precise, in fact, that Engineering the Void may signal the rise of a new model of music: robot death metal.
Yes, that does indeed say robot death metal. This style synthesizes inflexible riffs pounded out by rock hammers; tight drums sliced out via surgical system; shouts bellowed from a car compactor; bass clanged forth from a locomotive engine; leads transmitted from a holographic projector; and grooves – wait, what? Yes, fortunately for us humans, Soreption integrated glimpses of humanity in some catchy swings and bends.
The robotic quartet continues in the systematic dehumanization rolled out by Decapitated in 2002 with Nihility. The final product both crunches and calculates, resulting in a very realistic sense of the destruction of man (seemingly an audio representations of Skynet’s offensive). Other bands have dabbled into this automated style with mixed success, such as on Calculated by Devolved, which showcases the power of the human-crushing approach. On the negative side, relentlessly rigid music gets really old, really fast.
Soreption makes an effort to offset this intrinsic shortcoming with Gojira grooves, virtuoso leads, and occasional keyboard cinematics, but the attempt to emulate mankind may not fully compute for everyone. Some listeners may find themselves alienated by thin production, jerky transitions, and sharply terminated elements (i.e. the momentary tension built on “Breaking the Great Narcissist”).
Numerous reviewers, this guy included, believe that in five years fans will view Engineering the Void as a record quintessential in the formation of a new style. However, the coldly automated exoskeleton (as totally metal and technically superb as it may be) may not appeal to the fleshlings that prefer something a bit more, well, living.
Reviewer: Witness to the Void