ALBUM REVIEW: Aumicide – Atræ Bilis
In a genre as saturated as death metal and its adjacent categories, it’s hard to stand out amongst the brutal lashings and technical widdles. But ATRÆ BILIS’ sophomore album Aumicide does exactly that.
Following its monstrous predecessor Apexapien, Aumicide is beautifully disturbing and overflows with innovation. Where their previous record demonstrated the enigmatic prowess of the band, this latest release continues to build on their ferocity. Bizarre otherworldly effects and unique guitar structures provide a much needed fresh take without compromising any of the punishing brutality, all within the sweet spot of 40 minutes. Deepening the creativity of the record, the unnerving cover sculpture and lead single Salted In Stygia introduce its conceptual foundations. As if the music wasn’t ominous enough, the underpinnings explore terrifying experimentations in faith removal by inoculating simulations of hell to detach the subject from the multiverse. Pretty horrific.
In only three releases, ATRÆ BILIS have managed to elevate their sound to a level some tech-death bands could only dream of. The songwriting on this record is outstanding. Each element feels intentional and even the most dissonant sections feel confidently directed. Instrumentally, Aumicide is impeccably tight and engaging. Angular riffs acrobatically bounce off each other, the bass providing much needed funk while the drum work harshly pummels throughout. The oddities that flitter through the tracks add authenticity and, thanks to the influence of Christian Donaldson of CRYPTOPSY, the extremity of this album is unparalleled. As one track ends, you are left eagerly anticipating the chaos that is about to unfold in the next.
Despite commencing with an instrumental opener, Aumicide starts as savagely as it finishes. Protoxenesis isn’t a typical eye-roll worthy opener that feels like a waste of time. Instead, it flawlessly launches into blunt heaviness, setting the tone for the rest of the album. Aside from the incessant annihilation, Aumicide delivers on the technical front and is ridiculously captivating. To Snuff The Spirit Guides is an endless barrage of complex, intertwining hooks; it packs so much into four minutes that by the end you’ve forgotten how it started, compelling you to experience the track all over again. Similarly, Monolith Aflame swirls and loops around the same riff, hypnotising you as you sink deeper into the track. Offering a momentary break from Jordan Berglund’s vocal assault, the unexpected cleans make the chorus in Salted In Stygia relentlessly catchy.
While Aumicide explodes with vibrancy, there exists a harrowing atmosphere that seeps into the tracks. Berglund’s vocals are venomous yet emotive, adding to the distressing ambience with elongated growls that pierce through you. Acting as a calm before the storm, the title track delivers three minutes of unsettling instrumentals before crashing into the thundering drums of A Kingdom Of Cortisol. In contrast, this track includes a remnant of atmospherics but plunges straight back into pulverising intensity and features arguably the tightest guitar work on the album. The final tracks mercilessly conclude Aumicide. Despite being delightfully crisp and solid, the remorseless blasts and violent tempo changes leave you feeling battered to your core.
ATRÆ BILIS are, in short, criminally underrated. Leading on from their prior exceptional offerings, Aumicide ascends the band into the upper ranks of the genre. It is a phenomenal execution of an ambitious album and at no point does it feel monotonous nor overworked and pretentious. By borrowing elements from other genres and floating in unique extraterrestrial-esque effects, Aumicide swerves away from sounding like just another tech-death album. Even with the flood of colossal releases this year, there is no doubt Aumicide will land a spot in many album of the year lists for 2024 and hopefully garner some much deserved attention for this band.
Rating: 9/10
Aumicide is set for release on April 19th via 20 Buck Spin.
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