While I've been delighted and slightly disappointed by many an anticipated releases from bands I follow, the most exhilarating experiences are often reserved for unexpected gems that are unearthed in promo pits and discord recommendations. While that can of course happen any time of the year, statistically this seems the most likely period when it concerns new releases. Keeping one’s ear to the ground in October and November should always lead to a cornucopia of musical treats, as this is not just spooky season but also the time of the year most bands choose to drop their anticipated albums. In time for proper digestion come list season, but not so early that our brain-rotted attention spans have already forgotten their hard work in favour of the next shiny hook.
That brings me to today's subject, the latest steaming pile of goodness dropped in my unsuspecting lap by Chicago’s Burned in Effigy. Firmly embedded in the barbed-wire lined battlefield that is the modern death metal scene, these wizards from the windy city wield a mean battle-axe of riffs and hooks with the precision of a scalpel. Paying homage to bands like Inferi and The Black Dahlia Murder with their more is more style of melodic, progressive and neo-classical death metal, they hit like cold autumn storm and leave you windswept and braced by the cold, with a glint in your eye, a spring in your step and a ravenous grin that asks for more.
Advance single “Masquerade” caused a knee-jerk promo snag reflex as soon as the Aethra-era Gorod riffing mixed with Stortregn affectations sauntered into my ears with confidence and swagger, finding a perfect balance between soul and skill and firmly embedding its hooks in my dopamine receptors. “Retribution” furthers the Gorod comparisons, while also delighting with Ne Obliviscaris-tinged bass-lines and giving Inferi’s best compositions a run for their money. The bass is given ample time to shine on multiple occasions, also bringing to mind the criminally underrated Sacrificed Alliance on “Monstrosity Reborn”, where it snakily underpins the tracks monstrous array of riffs, riffs and more riffs.
A common pitfall for albums that deal in these levels of high-speed, high intensity melody and technicality is that everything starts bleeding together at some point, and individual moments become so dominant that the overarching compositions and structure becomes lost in the onslaught of whirling fret-board gymnastics. Burned in Effigy largely side-step this issue by inserting some well-executed interludes, namely the wonderful flamenco-inflected “Procession” that tips its cap to First Fragment and the brief symphonic breather “Gallow’s Hymn”. Each member of the band channels their obvious virtuosity into a techy, melodic and affective album that never collapses under its own weight.
Further highlights are found in the melody unleashed around the 2 minute mark in “Wage of Exile”, which reminds me of the melodic heyday of Omnium Gatherum and the galloping grandeur of “The Racking” with its Light this City-style melodicism. Slowing down the opening pace on “Crown Crusher”—a chest thumping winner complete with blacksmith’s hammer intro before unleashing full flair on album closer “Citadel”—shows Burned in Effigy know how to keep the listener engaged on the back end of an album chock-full or stimuli, occasional restraint and an ability to balance technicality and memorability. As the triumphant melody of closer “Citadel” contorts into a fiery solo before slamming down another winning riff and adding on a last reprise, Burned in Effigy bring the album's last “Fuck yeah!” moment that demands repeat spins after a brief moment of reprieve.