The blurb attached to this young experimental UK outfit from Basingstoke raised both my eyebrows as they profess to playing film score style metal that is balanced by the polished technical proficiency of Meshuggah, the intensity of SYL and bombastic song arrangements akin to Dimmu Borgir. In all honesty that description is more or less spot on but the band is far from being a pure Strapping Meshuggah Borgir amalgamation though the prospect is mouth-watering to say the least.
The grandiose entry marked by “Intrenity” is symphonic and Sci-Fi like and you can imagine watching the intro to some sort of epic space film set in some distant galaxy complete with comparable visual effects to match. The experimental stature of the programmed orchestration is met by macho barked vocals and chugging riff density. “Alterra” has a progressive angle with complex rhythms and tons of symphonic melodies which led my thoughts into the experimental nature of Devin Townsend and his solo work.
Technical death metal erupts on “Nocturnum” and here the Meshuggah influence is forceful and obvious though the speed is reined in. If you pay enough attention the influences are plenty, such as Therionesque choir dynamics and Dream Theater/Opeth bass work. Though the band is a four piece they all have their input into the orchestration effects and indeed most have an input into the instrumentation apart from their own speciality.
The soundtrack quality is firmly displayed as each song overlaps with the next making this one continuous composition as “Nocturnum” merges into “Consequences” with an increase in pace and heaviness with an underlying SYL current, especially in the guitar sound. The symphonic interlude called “Interlude” is pure Sci-Fi material, being atmospheric and slightly clichéd before a bruising encounter with “False History”. The caustic riff employed has the modernistic appeal of present-day thrash. Whilst listening to this track on good old fashioned ear surrounding head phones the vocals regularly changed positions making you look inside your head for where they will feature next. The lead is far more noticeable, being clean and simple before it is swept aside by yet another corking fat riff.
A slower and powerful aura begins “Abiogenesis” and here the bass work reminds of Aghora as the orchestration permeates the song to saturation point. The progressive stance is in full strength making the track perversely romantic and outlandishly hypnotic, which probably makes no sense at all unless you hear it. “Reform” parts one and two returns the band to denser territory yet still featuring an array of rhythms not too far from an Arcturus album on the first part. The haunting female vocal and manly screams reach crescendo point and segue with a Dimmu Borgir pulsating double bass kick and a Behemoth demonic vocal tirade on part two. The song feels far simpler until the short guitar solo emerges and the rapid tempo changes all met by penetrating orchestration. Finally the album closes with “Right To Exist” and a classical music beginning that acquiesces to heavy throbbing guitar hooks and thick driving bass work that are firmly entrenched in experimental Devin Townsend terrain.
This album may have many familiar influences but Xerath have skilfully harnessed each into their own terrifically complex song structures to create a tremendously captivating and superbly executed opus.
http://www.xerath.net
http://www.myspace.com/xerath
