Review Summary: A quality djent album th—wait what the literal **** is going on right now?
I tried to stop listening to
Machine Destroy multiple times and yet I kept going because I just
had to hear what sort of borderline psychotic idea or non-sequitur twist these Norwegian djenters would throw in next. Yes, it’s fundamentally djent, lots and lots of zeros and ones, but this djent is altered, twisted, and bent into a shape so messed up, it would make the best of contortionists envious.
There are so many things on this album that factually shouldn’t work. Samples and electronics are layered over djent grooves, which clash with segments of total chaos, only to be reprieved by moments of melody and ambience. The combinations don’t always make sense and it doesn’t really seem like they’re supposed to; they are designed to create an atmosphere that is as unnerving as it is attention-grabbing. All while those breathers are really a façade for the inevitable return to craziness.
The record almost had me ready to quit after the first stretch until hitting “Cyber Walk.” Like the eye of a hurricane, the insanity suddenly quieted and I was drawn into a landscape of downright pretty melodies layered on top of impeccable grooves, only to reach the end of the track and for Frostbitt to rapidly remind me that break time was over and the storm had returned.
Reversely, tracks like “Masked Ghost Host” and “Cancel Culture” exemplify the unsettling nature of Frostbitt’s songwriting. Effects and instruments clash at breakneck speed while everything is a seemingly garish contradiction; that is until it all coalesces into their fundamental djent sound that grounds the listener and is a reminder of what Frostbitt is really all about.
The intentionally grotesque approach is legitimately interesting to go through. The samples and electronics are very attention-grabbing. They separate Frostbitt’s output from other djent bands and create a creepy and disconcerting atmosphere around the music. The musicianship is exceptional and the varying styles are expertly executed and the vocal performance is similarly admirable and showcases a varied skillset.
All my elaborate descriptions aside though, the album's grandiose ambitions are ultimately what hold it back. There are times where the attempts at generating a disquieting atmosphere are excessive and sound forced, which becomes the most major detractor to the album. It sometimes borders on feeling like Frostbitt are using the theme for lack of any better ideas. It’s not always; factually it’s a minority of the time, but the inconsistency noticeably hampers the quality of the album.
At its best moments though, Machine Destroy is as entertaining and expertly done as they come. It may not be the masterpiece that it’s aiming to be, but it mostly accomplishes its mission of delivering an unhinged djent album that defies the norms of the genre.
