02. At The Behest of Origins
03. Above Inhumanity
06. Message in Reminiscences
07. Clean Lots Inheritance
08. He and the Sea
09. The Overman
If in case you have the cojones to call yourselves after a MESHUGGAH track, the least we are able to do is provide you with a shot. Fortuitously, whereas exhibiting a transparent debt to the aforementioned legends, STENGAH‘s debut album does far more than merely emulate another person’s system. This French band have a sound that has clearly been meticulously crafted: these all-important flexible, polyrhythmic riffs are a basic a part of the vast majority of these songs, after all, however they’re removed from being the principle occasion. “Soma Sema” combines these mutant djent tropes with loads of post-metal squall, elegant progressive detours and moments of outright steel fury. The tip result’s incessantly exhilarating.
“At The Behest of Origins” erupts with pure percussive venom, earlier than the primary of these stuttering grooves casts its spell and it turns into obvious that STENGAH are following their instincts and letting the concepts stream. Like each one among these songs, “At The Behest…” is artfully constructed and virtually overburdened with refined dynamics, and but it is also blessed with riff after deadly riff and at the least one unapologetic, neck-threatening, heavy steel pay-off. Current single “Above Humanity” does it once more: the lurching, round riffs, the angular breakdowns, the scabrous syncopation, all of it unmistakably acquainted and but fizzing with freshness on the similar time. Each “Swoon” and “Lumen” elaborate on the identical concept, with flurries of ferociously exact riffing colliding with post-metal atmospherics, disarming volleys of melody and a prevailing waft of sorrow.
An apparent centerpiece, “Message in Reminiscences” stretches STENGAH‘s remit even additional for a six-minute storm of imperious melody and fidgeting syncopation, with vocalist Nicolas Queste switching from pensive croon to barbarous bark, palpably inhabiting each change of texture or temper. Equally startling, “He and the Sea” constructs a glitched-out internet of staccato riffs that’s as insistent and plain as the massive physique of water of its title, earlier than morphing right into a slow-drift mirage of crestfallen calm, subsequently hurtling towards a jaw-shattering, blood ‘n’ thunder climax. Heaviest of the lot by a ways, the closing “Providing” swings wildly between bittersweet, post-everything clangor and juddering, post-you-know-who riffing, armed with a refrain of appreciable vastness.
In equity, you do know the place you stand with STENGAH. The band put on their influences on their sleeves with pleasure, however in addition they have the creativeness — and the cojones — to do unusual, attention-grabbing and new issues with them. A debut album of nice distinction, “Soma Sema” seems like the beginning of yet one more steel revolution.
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