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EMBRYONIC DEVOURMENT "Vivid Interpretations Of The Void - Review by Metal Observer .com (2013)

EMBRYONIC DEVOURMENT "Vivid Interpretations Of The Void - Review by Metal Observer .com (2013)

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An Awesome review by Metal Observer .com
An Awesome review by Metal Observer .com

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Published by: Embryonic Devourment on Aug 01, 2013
Copyright:Attribution Non-commercial


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hours north of the fabled San Francisco Metal scene. The band’s first full length, released in 2008,entitled “Fear of Reality Exceeds Fantasy”, received favorable reviews in Brutal and Technical Death
Metal circles for combining excellent mu
sicianship with absurd heaviness. The band’s second full length,“Vivid Interpretations of the Void”, was released in 2010 on Deepsend Records, and continues theband’s marriage of top
-notch musicianship and skull bashing heaviness.
“A reptilian, extraterr
estrial race has been controlling planet Earth for thousands of years - to this day -
and putting its genetic compatible bloodlines into positions of power.” That quote is what EMBRYONIC
DEVOURMENT starts their second full length album off with. While the
band’s debut album dealt withconspiracy theories, “Vivid Interpretations of the Void” deals with the biggest conspiracy of all: reptilian
overlords genetically engineering shape-shifting humanoids to serve their twisted agenda. I am not joking; that is what the entire lyrical concept is behind this album.Digging into the music itself, this album is all about controlled chaos, technical proficiency and utterbrutality. To say that the band members are good at their instruments would be a hugeunderstatement, as everyone is on fire for the entire album. The drums are pretty much a nonstopbarrage of double bass runs with elaborate fills and technical, fast paced rolls out the arse. The drummerhas this awesome ability to change tempos at the drop of a hat, yet maintain a coherent flow as if 
nothing ever happened. The only times the drums are running at light speed are when they aren’t
present at all. The bass is punchy, like most bands dabbling in Brutal Death Metal, with flourishes of intricate patterns rising to the surface. The true standouts here, even though both members of therhythm section are insanely good, are the guitarists, who push the limits of technical absurdity. Theguitarists continuously play different tempos and utilize constant time changes to lend an air of chaos toan already chaotic piece. The guitars have a tendency to play at different rhythms and phrasings thanthe rest of the music but somehow keep it from being a giant mass of insipid wankery. The resultingchaotic mass is an extremely heavy, extremely technical form of Death Metal. Both the bassist, AustinSpence, and guitarist, Lauren Pike, share vocal duties. One is a deep, throaty growl, not unlike mostBrutal Death Metal bands, but without the gurgling guttural style. The other vocals sound like scratchymid-ranged shouting, which utterly falls flat by sounding more like some form of shouting backgroundvocals from an old NYC Hardcore album. These mid-ranged vocals only work when they descend into afrantic grind approach like he
ard on “Cleansing the Infinite”. There is a lot of replay value here, as there
is so much going on. Every nook and cranny is filled with precise drum rolls, technical guitar flair orbouncing bass. The band does slow things down at a few places, including the jazz-fueled solo on
“Perceiving the Multidimensional” (a la ATHEIST) or the spacey, prog
rock inspired lead on “We AreChitauri”. Aside from a few instrumental breaks, there is little dead space here.
 EMBRYONIC DEVOURMENT takes the technicality and precision of Technical Death Metal and combinesit with the absurd heaviness and sheer brutality of Brutal Death Metal. Honestly, if you're a fan of either

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