treghet
07-24-2010, 02:00 AM
Well, I bought the album last weekend at the Summer Slaughter Tour and have since listened to it about 15 times. So, I think it's time I write about it...
http://hostthenpost.org/uploads/5b6f3b587223e888c803e7d9869ff84b.jpg
RATING: 8/10
After releasing an astounding record in 2008, the California technical death metal band Decrepit Birth has returned with their third full length album, Polarity. With their previous release, Diminishing Between Worlds, the band began to move away from the straightforward brutality of ...And Time Begins. Many of the fans applauded the progression of their style, but some rejected it, leading to a lukewarm reception. The band had created their own sound within the genre, which allowed them to expand their fan base further into the realms of metal. Polarity continues this trend, with even more progressive and technical songwriting, but maintains the overall feel of Diminishing Between Worlds.
Polarity has intense solos and instrumental passages that will transport you beyond our planet and into the expanse of space and time, making it a challenge to completely digest in a single listen. Guitarist Matt Sotelo perfectly combines elements of melody and technicality in each track, with a tinge of brutality. While there is plenty of exceptional guitar work, many of the songs feel too brief. In general, their lengths do not allow for them to progress enough to reach their full potential, which may leave the listener slightly dissatisfied and wanting more. Also, there is a noticeable issue with the production. The bass guitar is particularly low in the mix, making it almost inaudible. Many death metal albums suffer from this, nevertheless, it still greatly detracts from the music as a whole.
To back up Matt's methodical riffs, KC Howard pulls off some incredibly precise and difficult patterns on his kit. With KC's accelerating double bass, concentrated blast beats, and acute fills there is never a dull moment. The only issue that arises is due to the production, once again. It can be straining to hear all of the cymbal work, as it is quite low in the mix as well. Otherwise, the drums sound perfectly sharp.
It is necessary to balance out the talent of Matt and KC with some equally adept vocals, and Bill Robinson does just that. The low growls never feel tiring throughout the album. Lyrically, Bill has preserved his esoteric writing style, which keeps it interesting and original in terms of metal. When Bill's vocals are combined with the other aspects of the band the product is truly authentic metal.
While the album is definitely one of high quality, it does have flaws. While some of these troubles are due to the production, others are due to lack of song structure. Aside from that, Matt's occasional synthesizer programming (specifically on "A Brief Odyssey In Time") can be annoying and feel terribly misplaced. While Polarity takes the band a step forward in terms of progressive material, it takes a step backward in songwriting and production, causing it to fall short of surpassing the band's crowning achievement, Diminishing Between Worlds.
http://hostthenpost.org/uploads/5b6f3b587223e888c803e7d9869ff84b.jpg
RATING: 8/10
After releasing an astounding record in 2008, the California technical death metal band Decrepit Birth has returned with their third full length album, Polarity. With their previous release, Diminishing Between Worlds, the band began to move away from the straightforward brutality of ...And Time Begins. Many of the fans applauded the progression of their style, but some rejected it, leading to a lukewarm reception. The band had created their own sound within the genre, which allowed them to expand their fan base further into the realms of metal. Polarity continues this trend, with even more progressive and technical songwriting, but maintains the overall feel of Diminishing Between Worlds.
Polarity has intense solos and instrumental passages that will transport you beyond our planet and into the expanse of space and time, making it a challenge to completely digest in a single listen. Guitarist Matt Sotelo perfectly combines elements of melody and technicality in each track, with a tinge of brutality. While there is plenty of exceptional guitar work, many of the songs feel too brief. In general, their lengths do not allow for them to progress enough to reach their full potential, which may leave the listener slightly dissatisfied and wanting more. Also, there is a noticeable issue with the production. The bass guitar is particularly low in the mix, making it almost inaudible. Many death metal albums suffer from this, nevertheless, it still greatly detracts from the music as a whole.
To back up Matt's methodical riffs, KC Howard pulls off some incredibly precise and difficult patterns on his kit. With KC's accelerating double bass, concentrated blast beats, and acute fills there is never a dull moment. The only issue that arises is due to the production, once again. It can be straining to hear all of the cymbal work, as it is quite low in the mix as well. Otherwise, the drums sound perfectly sharp.
It is necessary to balance out the talent of Matt and KC with some equally adept vocals, and Bill Robinson does just that. The low growls never feel tiring throughout the album. Lyrically, Bill has preserved his esoteric writing style, which keeps it interesting and original in terms of metal. When Bill's vocals are combined with the other aspects of the band the product is truly authentic metal.
While the album is definitely one of high quality, it does have flaws. While some of these troubles are due to the production, others are due to lack of song structure. Aside from that, Matt's occasional synthesizer programming (specifically on "A Brief Odyssey In Time") can be annoying and feel terribly misplaced. While Polarity takes the band a step forward in terms of progressive material, it takes a step backward in songwriting and production, causing it to fall short of surpassing the band's crowning achievement, Diminishing Between Worlds.