Review Summary: Buckle up.
Few genres predicate themselves upon excess in the manner of technical death metal. There’s a certain expectation of inhuman guitar playing, extravagant bass abuse, and elaborate percussion that propels at warp speed, portraying vivid pictures of alien realms, space conquests and interdimensional zones. Those that enjoy the thrill ride of galactic landscapes populated by impossibly intricate riffs have no qualms over whether or not anything remotely makes sense; as long as sweeps blanket the heavens, it’s all peachy. Yet what makes tech-death really
click is when the instrumental rampage merges into a cohesive assault, thereby becoming greater than the sum of its dweedlin’ innards. How Ryan Brumlic and Nick Weyers accomplish their complex, albeit coherent tracks is an engaging example; the duo have a knack for cooperation that seems almost unspoken, effortlessly cranking out rhythms or memorable leads that the other can complement seamlessly. Aronious manage to access an idyllic compromise between the inherent flashiness of technical death metal and the tight structuring of progressive metal, creating music that brings bombast in spades without sacrificing the integrity of tunes. Consequently,
Irkalla is the ideal response to any lingering criticism over the project’s debut. Whereas the near-hour-long duration of
Persipacity wandered across thirteen tracks, this sophomore release requires only six to unfurl its sci-fi pandemonium, interludes excluded. In an impressive improvement over an already potent output, Aronious have amplified their strengths to another degree, transforming their approach into something even more lethal.
The guitars naturally remain the central feature of
Irkalla, but the true X-factor is the implementation of bass player Andrew Kim. The distinctive timbre of the bass has become protuberant enough in polished tech-death records to the point of parody, but Andrew’s approach is far more nuanced; the tone retains a dose of grit and heaviness as opposed to the higher tuning that deprives the low-end of a necessary punch. He has plenty of opportunities to shine on his own—“Elu Ultu Irkalla” prominently highlights his efforts, imbuing the song with an ethereal ambiance—but the most compelling moments are when the bass deploys a pulverizing groove, joining the guitars and drums in a pounding attack that shakes speakers to pieces. The reoccurring instrumental refrain of “Enkidu” leans on the rhythm section to construct its devastating central groove, creating a veritable tsunami wave of tech-death brutality. It’s pure adrenaline fuel in large part due to the destructive bass that reverberates underneath. From that addicting foundation, Aronious can spawn eerie melodies to portray distant realities or deploy hypnotic rhythms to bend an audience to their command. Kim’s collaboration alongside the faultless percussion outing of Kevin Paradis elevates tunes further, such as the chaotic monster that is “Ereshkigal”: an absolutely stellar demonstration of substance beating overindulgence where razor-edged guitars dance about dizzying drumming and a pulsating bass groove. Not a single member ventures to snag special eminence in the mix and instead function remarkably as a unit. It’s unashamedly technical, yet in an inarguably precise manner that makes each section feel deliberate.
There’s a different atmosphere that permeates the duration of Aronious’ second work. Though still maintaining the twisting progressive metal roots established previously,
Irkalla exhibits a far more threatening edge. Kim’s bass routine is a considerable boon in this regard, but the production as a whole diverges from prior escapades by diminishing the refinement to an extent. It’s an invasion on all fronts; in the swift aggression of “Nincubura,” discordant chords and sweeps arrive amidst the rapid-fire vocal delivery of Brandon Brown’s crushing lows. The project channels its inner Archspire, firing off a variety of winding riffs at lightning speed and contorting them to different styles on a whim, including a bass-fronted breakdown for good measure. A darker tone grants the guitars a dose of heaviness in order to truly impose their will upon a listener while simultaneously creating space for the group’s unique, melodic soloing—something the axemen of Aronious rarely do superfluously, occasionally ignoring them entirely save for choice moments in songs. The way their solos can modify the progression or overall sound of a song is compelling, taking something a la the aforementioned “Elu Ultu Irkalla” and decorating it in an otherworldly aura. This is the story of
Irkalla as a whole: a record capable of impressively menacing forays, and likewise able to restrain itself and allow notes to breathe, subtly applying an uncanny sense of interstellar hellscapes. There’s a sense that the Green Bay collective have snatched lightning in a bottle; there are few, if any, chinks in their robust songwriting methodology and commendably tight performances, from the charismatic riffs to Brown’s indecipherable, monstrous harsh vocals. In the realm of contemporary tech-death, Aronious are quickly taking great strides ahead of their peers.
