A progressive, technical and “psychedethic” album by a Canadian band that has all it takes to dominate the world of Death Metal.
Have you ever heard of the expression “psychedethic” in your life? That’s how Canadian Progressive/Technical Death Metal band Antlion refers to their music, a powerful combination of the wrath found in Death Metal with an unbounded burst of groove and progressiveness. Based on what their debut full-length album The Prescient has to offer, I must agree this new term created by the band should be added to the dictionary, and as soon as you hit play you’ll have the perfect explanation to that in the form of high-quality Canadian metal.
Although the band was formed in 2012 in the city of Ottawa, Canada, it’s just now in 2015 that they’re releasing their first material, which for me at least indicates they might be extremely rigorous with the quality of their compositions, right? Anyway, featuring a more-than-psychedelic album art by Chris Volion (The Gilley van Weirden Workshop), The Prescient has all it takes to get deep into your mind and make you feel completely dazed, so exquisite the album is. And especially if you’re a musician, pay good attention to the details those guys offer within each and every song, and you might have encountered a new favorite band for your collection.
What seems like it’s going to be just relaxing progressive music in the opening track, Incubation, suddenly turns into a wild feast of Progressive Death Metal for fans of Tool and Mastodon, with guitarists Shane Williams and Joe Kruger giving a lesson in creativity with their strings. In the amazing Hubris, imagination and complexity keep walking hand in hand, with drummer Arend Nijhuis stealing the spotlight with his breaks and double bass, sounding as if Dream Theater and Cannibal Corpse merged into one band. And Cycle of Failure presents Jazz elements in a crazy journey guided by Shane and Joe, as if there were three or four songs in one due to its progressiveness.
The next tune, named Hive, flirts with Melodic Deah Metal by providing the listener awesome guttural vocals and flowing electricity. It’s definitely one of the best tracks of the album due to its excellent riffs and rhythm, not to mention its violent ending, before A Seer’s Elegy showcases another display of heaviness and creativity by the band, with Adam kicking ass on both vocals and bass. I would say this song has all the “attributes” of a serial killer, being violent but extremely methodical and/or surgical at the same time.
Spire offers an awesome blend of Groove and Progressive Metal (it can’t get any crazier than this!), with its background effects enhancing the song’s oddity and, once again, Arend providing the listener incredible beats and breaks. And as a final treat for us metalheads, Antlion bring forth an insane two-piece title-track, with the first part, The Prescient (Part I), delivering madness, beautiful riffs and lots of variations, being heavier than most tracks of the album mainly due to its resonant bass lines; and the second part,The Prescient (Part II), concluding the album in a solid and progressive way, again including hints of Jazz to provide extra layers of intricacy to it.
All this metallic lunacy can be found at their official Facebook page and YouTube channel, and you can find The Prescient for sale at the band’s BandCamp page. If you’re not only a connoisseur of Death Metal, but also a fan of visionary metal bands, I must say The Prescient might have a significant impact on your headbanging life, as it’s indeed an important breakthrough in this “psychedethic” band’s path to conquer the world of extreme music.
Best moments of the album: Hubris and Hive.
Worst moments of the album: None.
Released in 2015 Independent
1. Incubation 4:46
2. Hubris 5:55
3. Cycle of Failure 6:02
4. Hive 4:34
5. A Seer’s Elegy 4:10
6. Spire 6:18
7. The Prescient (Part I) 3:53
8. The Prescient (Part II) 4:37
Adam Pell – vocals, bass
Shane Williams – guitar
Joe Kruger – guitar
Arend Nijhuis – drums