Another great year of metal has come to an end!
My mental dialogue earlier this week:
Me 1: This has been a great year for metal.
Me 2: Yes, yes it has. But wait, you say that every year.
Me 1: True, true. Maybe you are right. Maybe I would just say that every year …
… but wait, at least I’m not saying that this year was a bad year for metal. Now that would be bad, wouldn’t it?
Perhaps I will always find top-tier releases and memorable surprises in a yearly list of metal, but 2012 had some particularly relevant heavy-hitters. We saw new releases from technical mainstays such as Meshuggah, Hour of Penance, Gorod, Cattle Decapitation, and Dying Fetus, as well as a collaboration on 2012’s Spawn of Possession release so wicked it seemed unreal. As always, 2012 brought us some newcomers to watch in coming years: the galactic destruction of Xenocide; the decadently Necrophagist-esque sophistication of Sophicide; and the usurpers to the throne of Cryptopsy, Desecravity. Oh, and speaking of Cryptopsy, we saw a return to form that will not be forgotten anytime soon. So, without further schizophrenic commentary, here is the top 10 technical death metal releases of 2012, as seen by The Witness to the Void.
Continue reading Witness to the Void’s Top 10 in 2012!
The Perdition of the Sublime (2012)
Germany, Willowtip Records, Technical Death Metal
Although *noun* followed by -cide is a fairly common moniker in the death metal world, Sophicide, meaning the death of knowledge or wisdom, is refreshingly thoughtful. And what of the album title? Perdition being synonymous with damnation, and the sublime being of something supreme and lofty. So here we have eternal torture of something that would be awe inspiring or elevated? That’s quite a bold statement, coming from the death of wisdom.
And Sophicide does not disappoint.
Perdition of the Sublime embodies the Necrophagist school of neoclassical high-brow death metal, and does so in a masterfully complex yet memorable manner. There are pace changes aplenty, but the songs are never disorienting – quite the opposite, as dynamic song structures and a light melodic splash define Perdition. Intrigued? What if I told you that the project operates as a two piece, and began with only vocalist/multi-instrumentalist Adam Laszlo? Of course, that isn’t to discredit the head-turning technicality and perfectly executed neoclassicism of guitarist Sebastian Bracht. Continue reading Review: Sophicide – The Perdition of the Sublime