An album worthy of both Canada and Australia’s death metal lineage.Īpus is out now at all respectable music retailers now in physical and digital formats. Though a balancing act of extremes could be said of Apus, given the unbridled aggression of chords and the complex, but emotive layering of their guitar work, a hyperactive level of drum technique and the frankly terrifying growls that tell the tale, it does nothing to detract from the spectacle of one of the most courageous and fascinating metal bands around today.
#SCHOENBERG AUTOMATON FULL#
A delicate symphonic undertone is subtly introduced into the final minute, amongst the full effect of the metal barrage that is only in its first full-length track, which grows in grandiose as Swarm closes out, making the transition into what is to follow all the more satisfying.
Much as the sight or experience of a swarm should feel. But a lot of the chaos is dictated by guitars and drums going mano a mano, matching pace and intricacy by every individual note and beat running parallel one another, spawning harmonies and melodies to stir heightened emotions in their listeners. A brief, bone-shattering breakdown even gets squeezed into the action. Melodic wails spill from the guitar following a guttural, primal howl just as drums enter a sugar rush of tempo clashes and meter shifts, peeling the veil off just a mere fraction of the band’s technical ability. As statements of intent go, it certainly leaves very little to imagination as a tremendous display of fortitude and showmanship. Double kicks rain down furiously, while the punishing, distorted blades of guitar rev up the engine, strum by unrelenting strum and deep, petrifying growls set the tone and the journey’s course. Though Year Zero paints the scene, the first few chords of Swarm set up a metal rampage for the ages, drums below generating energy with swift beatings and fills to transfer into a frenzied full frontal assault. The universe that The Schoenberg Automaton have crafted is one of surprising atmosphere given the carnage they themselves create, but an enthralling one as Apus progresses and from the outset, it is opening track Swarm that is the greatest footnote to this revelation. That story is woven into the fabric of an expansive death metal powerhouse with a dizzying amount of shifts in tempos and time signatures, performed with the heaviness and ferocity of a butcher in open-heart surgery. But it continues the same plotline from the end of Vela, exploring philosophical and science fiction themes as the ground concepts of the band’s storytelling and lyrical content. Second studio album Apus certainly seems to have benefited from the change of scenery, as the maturity and confidence has certainly grown in the years of development between Apus and debut album Vela. Gutsy, driven and unflinching in the pursuit of your passion. And that’s a word that sums up The Schoenberg Automaton’s output perfectly. No matter what walk of life you come from, a career and life decision that gigantic is gutsy.
But how many of them move to the other side of the planet? Relocating from Australia, one of the global hotspots for deathcore right now, the band opted to take their monstrous tech-death juggernaut and establish themselves in Canada, a land known in underground circles for its outstanding death metal exports. So where do The Schoenberg Automaton fit onto this scale of risk? Well, artists and musicians are often known to relocate to places where they feel their creativity can best thrive. In a reversal of fortune, Capitol Records wanted more airplay from Megadeth in 1999 and the band released the critically divisive and experimental album titled Risk, often considered to be the band’s worst work and could have even ended their careers. Iggy Pop, despite being great friends, rejecting David Bowie’s production of Raw Power in favour of his own and becoming one of the great rock albums of all time. Bob Dylan’s switch to electric guitar attracted the ire of the folk community, but it did nothing to dent his legacy as most of the most acclaimed songwriters in music history. Some of the most famous and infamous moments in music history were all made on taking a risk. Musicians are far too familiar with this concept.
Risk is something at the very fabric of our being, a primal fear or instinct that can separate us from doing something good, and doing something great. All through out the mainstream, backstage, behind curtains and face-to-face, musicians take risks for their art.
0 kommentar(er)
