ALBUM REVIEW: Beneath the Cosmic Silence – Atlas Entity

Contrary to what an outsider might typically expect, death metal does not exist in a vacuum. In fact, it is arguably as broad as the term ‘metal’ itself, coming in all shapes and sizes and encompassing a seemingly infinite number of different styles and influences. Outfits such as RIVERS OF NIHIL and FALLUJAH are some of the current poster-boys for this principle, but one-man project ATLAS ENTITY is making a fairly convincing claim. Florida-based Alex Gallegos creates death metal with a twist, utilising a basis of straight-down-the-line, no-nonsense blackened death, but with some striking, progressive embellishments flickering above. Debut album Beneath The Cosmic Silence demonstrates this eclectic blend in absolute abundance. Let’s take a closer look.

To put it simply, ATLAS ENTITY is death metal with a twist, and opening track Adorned In Red makes this patently clear. Conceptually speaking the title is apt, artfully coupling the red rocks and misty sky of the album cover’s mountain scene – and the content follows suit. The track acts as an introduction to build atmosphere and suspense, with shoegaze-y leads filling the backdrop, and wild-west esq acoustic patterns sauntering over the top. Not only does this introduction perfectly epitomise the progressive nature of the sound, but it also very much sets the tone for the record. Adorned In Red tiptoes seamlessly into the bulk of the album, being immediately succeeded by the epic, two-part movement In The Shadow Of The Mountain; another nod to what already appears to be a conceptual motif. This is where the record really comes alive. Commencing with more of a traditional death metal approach, technical lead work dances over the top and dominates the mix, as ferocious, low growls flicker ebb in frequent intervals. Completing the picture for what is a shimmering example of the record’s more aggressive tendencies is the helping hand offered by DEVIN TOWNSEND and DECREPIT BIRTH drummer Samus Paulicelli. His blast beats, technical fills and relentless double bass work offer a robust spine for the sound, accommodating the pace and aggression with grace and ease.

Though this segment represents the album’s first foray into death metal territory, the heavier aspects certainly don’t bloat the content. Part 1 draws to a temporary halt at roughly the three minute mark with the acoustic guitar work making an intermittent return, Gallegos‘ soft, clean vocals making their first appearance, and the song concluding with a patient buildup and a slow, atmospheric crescendo. This section offers a neat microcosm of the record’s most remarkable quality: namely the ability to not overwhelm the listener with relentless brutality and to frequently slow things down in order to inject a heightened sense of passion and musicianship.

This said, if you’re a fan of pure death metal, Beneath The Cosmic Silence certainly shouldn’t leave too much to be desired. Fourth track Murmurs Of Dissent exemplifies this perfectly, the five-minute affair predominantly comprising technical riffing, blast beats and low growls, and the BPM frequently reaching giddy heights. This is also an instance in which Gallegos‘ competence as a guitarist is allowed to really shine through. Not only does he seem to possess an ability to perform riff after riff in relentless fashion, but he tends to splice infectious melody into his work at every opportunity. This feature acts as one of the key hallmarks of the record, and adds a great deal to the progressive nature of the ATLAS ENTITY sound. The incessant aggression and heaviness of death metal can become mundane and wearing, and Gallegos appears to be all too aware of this. His ability to weave catchy hooks into an otherwise death metal-based sound is uncanny.

Windswept is perhaps the ultimate example of this. For the most part the track shy’s away from the harsh vocals and the blast beats, taking an almost prog-rock approach in the process. The delicate, intricate, and by this point familiar acoustic guitar makes another major appearance, shuffling through the backdrop as clean and whispered vocals dominate the mix. Of course, the stock features stage a grandiose comeback during the song’s crescendo, with another biting guitar solo taking centre stage, but this is what Gallegos does so well on this record; he instigates a powerful sense of patient and balanced musicianship, making for a truly eclectic experience.

Seven-minute finale Celestial Noise acts – as a closing track always should – as a neat package of everything mentioned above. At times this is arguably the heaviest song on the record, but in phenomenally crafted synchronisation it also succeeds in acting as the most melodic and the most atmospheric. A guest solo from OBSCURA‘s Rafael Trujillo goes a long way in complimenting a frantically brutal opening few minutes, but in familiar style the song slows to a canter, and builds up to another serenely ambient conclusion. Not only is Celestial Noise a patently successful song in itself, but more importantly it acts as a culmination, an accentuation and a celebration of the record’s best qualities. Though it hardly needed affirming any more by this point, this is the hallmark of a truly accomplished album.

Beneath The Cosmic Silence does everything that a death metal album should do in 2019. Though it frequently tips the cap to the genre’s roots, its most notable moments are more left-field, and are typically characterised by an exploration of different styles. Though it certainly does well to remain earnest and simplistic when required to do so, it does still strike as truly progressive in nature, akin to so many of modern death metal’s most celebrated acts. In short, Alex Gallegos‘ ATLAS ENTITY has ticked all the boxes here, and one would expect this to be a preeminent moment for band, ultimately propelling them into positive repute within the genre.

Rating: 8/10

Beneath The Cosmic Silence is set for release June 14th via self release. 

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