ALBUM REVIEW: Monument Of The End – Soreption
The last decade has witnessed death metal’s most demandingly complicated style explode with a crop of bands sitting comfortably at the top of the tree, so, to stand out from the crowd in today’s scene, you better pack something special. After making positive steps with their first two records, Sweden’s SOREPTION arrive with their third effort Monument Of The End hoping to ascend into the upper echelons of tech-death and, well, they may achieve just that.
Unforgivably heavy and brimming with technical swagger, Monument Of The End demonstrates a band who are not pulling their punches, instead rather, gunning for the kill right from the off. Opening track The Anti-Present sets the tone in good fashion thanks to a flurry of neck-snapping riffs, blistering drumming and dazzling solo work from guitarist Mikael Almgren. Fredrik Söderberg‘s guttural vocal blasts are vicious and laced with bite, helping add to the intense nature of the track. A solid opening and sets the tone nicely for what follows.
Indeed from there, SOREPTION really hit their stride as Monument Of The End works through the gears, rarely pausing for breath, delivering a punishing listening experience. Children of the Automaton resembles a sonic vortex swirling rapidly from complicated lead rhythms to slamming chugs whilst Söderberg‘s guttural blasts and shrieking highs add a dynamic range in the vocal department. Similarly, on album highlight, King of Undisputed Nonsense, SOREPTION boasts this formula to near-perfect execution as the over-complicated leads blend seamlessly with the high-octane speed of Tony Westermark‘s drumming to create a brutal passage that is incredibly satisfying.
It’s clear that from the record’s first half that SOREPTION are in no mood for taking things lightly and as the record enters its second half this trend very much continues. Standing at the half-way point, fifth track Architects of the Apocalypse is a mid-tempo rager as Mikael Almgren combines effortlessly with bassist Kim Lantto riffs that bounce, packing hooks in buckets. Ensnaring your attention as it unfolds this tempo is maintained until cascading into a blistering blast from the drums and one of the most impressive solos on the record. A solid opening to Monument Of The End‘s second half.
For much of Monument Of The End, SOREPTION demonstrate their technically brutal sound and yet, there are a few surprises hidden in the depths. A Mimic’s Ignorance seems to continue their blend of technical death metal for much of the track’s duration before subsiding into a momentary passage of orchestral synths before resuming to the razor-sharp riffing. Whilst this certainly adds a sinister feeling to proceedings, its placement is somewhat confusing as it kills the momentum dead in its tracks and would perhaps serve better as the closing moment to the record. Speaking of closing moments, final track The Entity ends things as the record began; with one last bout of shredding carnage. Riffs hammer home and Fredrik Söderberg once again impresses with his explosive vocals and a cameo from CATTLE DECAPITATION‘s Travis Ryan, who adds his unique shrieking cleans to the mix, comes completely out of left field and helps spice things up in the record’s final moments.
Whilst Monument Of The End certainly won’t reinvent the wheel for technical death metal, what this record demonstrates is a band who clearly understand their strengths and operate as a unit to deliver one punishing listening experience. Unforgivably heavy, relentlessly fast and packed with technical brilliance, SOREPTION have crafted an incredibly strong effort with Monument Of The End and will surely continue to climb up the ranks within technical death metal.
Rating: 9/10
Monument Of The End is out now via Sumerian Records.
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