Ad Nauseam - Imperative Imperceptible Impulse review
Band: | Ad Nauseam |
Album: | Imperative Imperceptible Impulse |
Style: | Technical death metal |
Release date: | February 12, 2021 |
A review by: | RaduP |
01. Sub Specie Aeternitatis
02. Inexorably Ousted Sente
03. Coincidentia Oppositorum
04. Imperative Imperceptible Impulse
05. Horror Vacui
06. Human Interface To No God
I feel like I'd need a lot more time to dissect all the intricacies of this album.
Technical death metal doesn't really sound like the genre that should be a big umbrella term, so it's not surprising that what it all has in common is that it is death metal that is really technical. But death metal itself is pretty varied, so then you have tech death that is old-school and takes from Death and Nocturnus, or tech death that is brutal, or that is more deathcore-ish. You get the point. And then there is tech death that is more on the avant-garde side, either through an emphasis on atmosphere or through some unconventional songwriting. It's easy to see Ad Nauseam as just another band walking the lineage of Gorguts and Ulcerate, and for the most part they are. But there's something about Imperative Imperceptible Impulse that feels different.
I listened to a bunch of avant-garde tech death albums (usually in some way associated with Colin James Marston) that really went all in on sounding suffocating and being intricate beyond human comprehension. There are moments on Imperative Imperceptible Impulse that do remind me of those, but much more in the "intricate" than in the suffocating part. And I realized that for an album walking a lineage that has dense atmospheres in its DNA, it's really neither dense nor suffocating. That's partly due to the production that emphasizes the intricacies rather than the pummeling nature, but also the songwriting itself feels like, deep under, has a meaning behind all the intricacies.
Why I mentioned that I needed more time to dissect this is mostly because every time a metal artist claims to be influenced by classical songwriting and then they start naming more composers that you've never heard of than ones you did, it means two things: that I don't listen to nearly enough classical music, and that they take the songwriting very seriously. The most recent case might be that Void Paradigm album I reviewed, where a lot of the avant-garde feel came purely because of the classical music techniques in the songwriting. There are a lot of moments in III (ironic that they went with an title abbreviated as "III" on their second album, missed opportunity) that are drawn-out atmospheric bits reminiscent of Deathspell Omega, that contrast really well with the atonal complexities of the meatier parts, and it is in those meatier parts where the riff changes and all those music school rhythmic mambo jambo feels way too calculated not to be noticeably out-there.
It's like Ad Nauseam found a sound that was already celebrated as innovative but that was already showing sings of stagnation and found a way to take its innovation very seriously. It's avant-garde elements are not as in-your-face as the blending of two disparate genres, but this soft avant-garde approach of having the differences in songwriting lurk beneath the surface is something I can't not respect. Especially when it makes something familiar feel odd again.
| Written on 23.02.2021 by Doesn't matter that much to me if you agree with me, as long as you checked the album out. |
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