Like their previous release, which we also covered on the blog, Of Modern Architecture‘ Matricide is an aggressive whollop in the gut. One part modern, heavy, chuggy metal that borders

5 years ago

Like their previous release, which we also covered on the blog, Of Modern ArchitectureMatricide is an aggressive whollop in the gut. One part modern, heavy, chuggy metal that borders the lines between deathcore and djent, one part progressive experimentation and unexpected, spastic structures, Matricide just keeps on hitting. The context of the album, coming off of the heels of a quieter and more introspective album in the form of Dichromacy, only adds to the stark colors and brutality of this release; it’s now as if we understand that the band choose to make this kind of music, to surface so much pain. We’ve seen their capability to make softer music but in their return, they reaffirm their connection to this music and its immediacy.

Immediacy is probably a good adjective to describe this entire release; building off of 2015’s Wilderness (holy shit, it’s been four years), Matricide definitely places more emphasis on the heavier sides of Of Modern Architecture’s sound. Listen to “Parasitic Isolation” for example; sure, its half way point is filigreed with some fancy (and pleasing) guitar work but even that is just buildup for a torturous drop into a bottomless chug and abrasive vocals that sound more agonized than ever. The quiet outro of the track is made all that much powerful by these elements, seemingly penning in the unbridled energy which the rest of the track let loose. Eventually, even this quiet is proven to be deceptive, as the album explodes right back into full action with the following track, “Overburden”.

This track exemplifies another of Matricide‘s strong suits, namely the trade off between the guttural and higher pitched abrasive vocals. The guttural mode is used to usher in the more down-tuned drops replete throughout the album, here announcing an energetic segment which takes more than one note from Frontierer or Car Bomb in its frenetic intensity. The more high pitched vocals usually accompany the more theatrical and melodramatic segments on the album, often layered on top of more melodic and “open” passages, like those that can be heard right near the end of “Overburden”. These passages, as here, tend to lead into more straight-forward chugs and heavy moments, bringing the contrast between the two vocal styles full circle.

The end result is impressive; Matricide just doesn’t seem to stop. By hitting at you from both directions (on both vocals and guitars), first heavy and deep and then fast and high, the album manages to stay fresh and unexpected. Hell, listen to that breakdown on “Miscarriage” and tell me when was the last time you had so much fun with a breakdown that was on the fifth track of an album? Of Modern Architecture keep things dexterous and varied exactly so they can just come out with chugs swinging on such a straight-forward and satisfying breakdown. Matricide then appeals both to those who want something more complicated and those who’d like to break shit but especially to those who need both.

Matricide was released on May 10th. You can grab it via the band’s Bandcamp above and you should! Support independent artists!

Eden Kupermintz

Published 5 years ago