Apoptosis - Allegaeon

Too much of the good

To listen to the Apoptosis is that to get a jumboisvaffel with six balls, candy, whipped cream, jam and a flødebolle. Delicious it looks, and if you are a pig, you will probably labbe the individual ingredients in themselves without shame, but let's be honest. It is all too much to yawn over, and it is predominantly Allegaeons big problem this time. They have a tradition of complex music, and their previous releases are clear examples of their ambitions commensurate with their talent. But they wanted too much in too little space, and the lack of direction is ultimately what draws down in this place.

All the good times five?

Allegaeon has all days been able to deliver solid musical craftsmanship. Their latest release the Proponent of Sentience blew our reviewer over backwards, and a short review of the archives shows that, in general, have been generous with the skulls, every time there is released new from the quintet from Colorado. This time is certainly not totally different, though. Even though the quality is top notch, and not spared, it is still not enough to pull top honors home.

Svenskerdød with melocore

For this time they have pressed and rotated on each of the buttons, with the result that the whole album feels like to try to listen for four different plates at once. The red wire is really just a show of how many scales you can play, and the technical skills end up being more in front than the music. It starts promising. The first track, "Parthogenensis", sounds like a shot MDMA in espressoen, before it collects on a species melocore, that evokes associations to both In Flames and Within the Ruins. It is not altogether bad, and the subsequent "Interface Meiosis" is a klasseeksempel on the good interaction the musicians in between, and djenten peeks out, not for the last time. But already by the third track, "Extremophiles", begins metaltrætheden to sneak up on me, and the first signs of problems at the plate begins to show itself. Riley McShane has a good squeal and growl, but he quickly becomes monotonous to listen to, and his clean vocal is hesitant and uncertain. The aforementioned number is, however, rescued by a supernørdet bass and a bit of inspiration from Meshuggah, and is possibly the album's most easily accessible cutting.

"The Secular Age" is one of the kind of numbers where you must take care tremendously together to remember why you actually volunteered to notify it. The vocals are monotonous, and even though the rest of the band does their best to create a little elbow room, they end up just repeating itself in infinity. It is impeccably put together, but it's damn a little like watching paint dry for the length. A number as "Metaphobia" is quickly and sharply, and once again delivers McShane a good vokalpræstation, but for all my praise, and the good soli, it is clear that Apoptosis is suffering from ADHD. There is, as mentioned earlier, no thread other than the delicious production, the rest has just been a matter of to see how much smooching you can bog on a plate. However, for the last number, the title track, a brilliant example of how to fully exploit the band's brilliant timing. The clean vocals are no longer pjevsede, vocal and tempo values are perfectly balanced, and the veltimede blastbeats is the skeleton that carries the design.

>> Check the songs and lyrics here