Review Summary: "While we all have lots of bands who influence still, we all rip off Meshuggah!" - Devin Townsend Project
It seems like it was not too long ago when Devin Townsend made his "Planet of the Apes" joke poking at bands who copy
Meshuggah. This take on the metal scene might have been considered banal back then but now we see that it aged like fine wine as it was said now over a decade ago. And now it seems just as relevant now as it did back in 2011. For a new up-and-coming band, the prospects of basing your sound off of the infamously copied band are not the most promising for being able to stand out amongst the crowd; far less so to use the song title from one of
Meshuggah's most textbook albums as your band name. Nonetheless,
Stengah are here in the open landscape and have already earned the respect of many djent fans who have an endless craving for oppressive polyrhythmic grooves.
They are not much for experimenting as they unapologetically play into old genre clichés. However, the band has taken a lot of time to hone the technicality in their musicianship and develop their songwriting so that by the release of their debut, they've become proficient at replicating the djent style. What you will find in their instrumental performance is a surprising level of speed, aggression, and intricacy; almost enough to justify a "tech-death" label. You'll get those rhythmic, almost
Gojira-esque grooves, the Jens Kidman style barks, and headbanging djentrified riffs. What
Stengah is undeniably lacking in innovation, they make up for in ample production, developed, compact songwriting, signature crushing down-tuned riffs, and a couple of small twists later in the album.
Of the
Meshuggah clones that I have come across,
Stengah are probably one of the best at utilizing polyrhythms and odd-time signatures to enhance the complexity of their riffage. The main rhythms that you hear make a stylistic mix between the mechanical aggression of
The Violent Sleep of Reason and the hypnotizing grooviness of
Nothing. However,
Stengah makes a conscious effort to add an extra level of primal speed to their performances which pushes them more toward the "tech" label, differentiating their style from their idols. In this line of work, there is a golden mean that a band must maintain between melody and technicality, and more so than not, they slip past that fine line into the overly-fast territory. This happens especially during their mechanically impressive djenty breakdowns, where the impact gets hindered a bit by the fact they come and go without the proper time to breathe.
Furthermore, the aesthetic consistency comes across as both a strength and a weakness. By maintaining a consistent sound, the band ensures that there are no rotten tracks that fall through the cracks of production; additionally, a consistent sound results in a unified end product which is always a plus. That being said, variety is the spice of life.
SOMA SEMA does unfortunately suffer from listening exhaustion; maybe because of the constant grindy, high gain chugging riffs, the monotone barking screams, or the consistent gritty post-metal undertone that is lugged through the soundscape. Even though there are a few curveball moments, like the unexpected saxophone on "The Overman" or the power ballad "Message in Memories", there is still an overbearing monotony to this album that only grows upon repeated listens.
As harsh as this might sound, I will concede that this is still a very solid album. The riffs and grooves that they have devised and spread throughout this album are quite enjoyable and fulfill that craving for heavy music that picks you up by the shoulders and tosses you about like a stuffed animal. It may not be the most groundbreaking but it is an exceptional release that does not hold back in providing you with an abrasively rhythmic experience.
Attribution: https://theprogressivesubway.com/2022/05/23/review-stengah-soma-sema/
