ALBUM REVIEW: Palingenesis – Embodiment

If you’ve not come across EMBODIMENT before, then have we got a treat for you. A thunderous blend of THE BLACK DAHLIA MURDER and LAMB OF GOD, the Bristol outfit have become of the country’s most exciting up-and-coming death metal bands, having firmly cemented their place within their own city as the Number One choice for opening any extreme show that may pass through. They want more, however, and their plan to take the nation by storm commences tomorrow with Palingenesis, their second full-length album and self-released.

To play technical death metal at an acceptable level takes talent, of course, but to play it above that is the sign of a seriously good band. With Palingenesis, EMBODIMENT have moved seamlessly from one class to the next. This isn’t just a band who won their regional Metal 2 the Masses, this is one wanting to get better and better with every passing release and year. Their intent is clear from the one-two punch of opening tracks Reverence Through Disgust and Outbreak, a full blown assault on the senses and setting the tone for the rest of the record. As it progresses, the likes of Eternal Torment and Satisfaction in Extermination highlight how much groove guitarist Finn Maxwell can incorporate, a man who has also done a seriously good production job as well; the former track also sees Kieran Hogarty bring his bass to the fore at points as a second guitar, seamlessly locking in with Maxwell as he plays. Closing song Harvesting the Seeds of Vengeance is where Les Preston shines most on drums, a barrage of sequences and beats that will get every single finger wagging wherever someone is listening to it. As for vocalist Harry Smithson, take your pick – consistently strong across Palingenesis, he’s a miniature Trevor Strnad in the making.

But it isn’t just the talents that have brought EMBODIMENT up to the next level; they’ve also made some creative decisions that have paid off handsomely. Across the album are three interlude tracks that incorporate strings and piano, elements that aren’t traditionally found within death metal. They work, though particularly Rise of the Oppressor – it flows straight into lead single Tyrant and gives the song far more expanse and stature as it progresses. There’s also Premonition – more piano, but clean guitars and military drumming which segues into the dark and brooding Sanctuary – and Cenogenesis, which precedes the aforementioned Harvesting… and perhaps takes the biggest risk of all in that there’s an electronic drumbeat as it fades away. Such an item would have been unthinkable even five years ago, let alone before then, but with music ever-evolving, EMBODIMENT have taken it upon themselves to give it a try – considering it works, it’s another small avenue opened in what could be considered a rigid genre to explore and implement further.

It can be incredibly difficult to break out of a local scene and ensure a band aren’t seen as perennial bridesmaids within their own city, but EMBODIMENT are on the verge of walking down the aisle on their own special day. With Palingenesis under their belt, they’re set for the future and, when the pandemic is over and we can safely return to live shows, expect another one to start immediately; only this time, it’ll be four guys from the South West taking over this dysfunctional island in the Atlantic Ocean.

Rating: 8/10

Palingenesis is set for release April 24th via self release. 

Like EMBODIMENT on Facebook.