Review Summary: Promise delivered.
What makes something contemporary? Is it just the quality of mirroring the present, whatever its form or substance, or does it have to represent both present and future, thus unveiling the flavors of tomorrow? Maybe I'm just overthinking it, mixing modernism and futurism, but this issue takes on special relevance when I stumble upon bands such as Hath, who seem to embody the spirit of the times. Although not avant-garde or experimentalist, the band's debut album,
Of Rot and Ruin, emanates a contemporary vibe that places it in relevant musical territories, both for its hybrid character (which harbors various stylistic nuances) and songwriting prowess. A song like 'Rituals' reflects this modern personality magnificently, somehow epitomizing the band's audacious DNA, also acting as my yardstick when it comes to Hath. It sets a high bar, I must say, but after such a promising start, I won't settle for less.
Unlike its predecessor, which grabbed me immediately,
All That Was Promised took its time to sink in. Not necessarily due to its inherent quality or style, which doesn't differ much from
Of Rot and Ruin, but rather to my inability to tune in to its frequency. Like I couldn't sync with the music properly. When this happens, I usually take two steps back and give it another spin later. Sometimes your state of mind just can't connect with what you’re listening to. It is arrogant to think that music must instantly adapt to our mood of the day. Often, we are the ones who must adjust. And this wasn't an immediate process for me. Which, when you think about it, has its advantages, since it allows you to gradually become acquainted with the album's look and feel, starting to enjoy all those tiny little details that you initially overlooked.
All That Was Promised is thus a picture that should be experienced with due attention, without haste, for it contains treasures worth discovering. Whether it's the thrilling guitar solo in 'Kenosis' or the infectious tremolo picking on 'Death Complex'; the relentless blast beat assault present in 'Decollation' or 'Iosis'' progressive approach, there are several highlights throughout
All That Was Promised that attest to the creative talent of the New Jersey squad. The album has a diverse atmosphere that explores the many nuances of the band's three-dimensional palette. The hybrid personality of
Of Rot and Ruin is not only preserved but expanded, producing a contrasting array of styles and tempos that offer a sensory roller coaster. The djent-ish segments in 'Lithopaedic' or the more experimental textures present in 'Iosis', which come close to bands like Ad Nauseam or Nero Di Marte, are both fine examples of this broad spectrum. The contrasts between gutturals and clean vocals, while not new, also push the album into polychromatic grounds. Nevertheless, despite their eclectic nature, the band never dives into overly abstract waters, on the contrary, they ensure that their creative ramblings never stray too far from their original blackened death metal formula. This coherence, if you want to call it that, results not only from a strong musical identity but also from a stable lineup that operates in perfect symbiosis.
Founding member, drummer, and sound engineer AJ Viana is the core through which all music gravitates. He not only provides the foundations but also the dynamics that catapult the rhythm guitars into a riff feast. Swinging mostly between death and black metal signatures, the hybrid guitars take center stage in the set. The aforementioned tasty tremolo picking in 'Death Complex' or the Slugdge-esque riff on 'Kenosis' are the tip of a multi-layered iceberg that encloses numerous guitar layers. These, however, are not pretentious in nature, but rather structural, supplying a mix of hostility and ambiance to the songs. As a matter of fact, there's a sense of catchiness and accessibility throughout
All That Was Promised that somehow contrasts with the surrounding density. And it's somewhere in between that you'll find its heart and soul.
Back to my original question, modernity is something palpable that doesn't necessarily have to be avant-garde or innovative, but rather a product of its time.
All That Was Promised is precisely that - an intersection of death and black metal through a hybrid, contemporary approach. Not only does it live up to expectations, it solidifies Hath as one of today's most relevant extreme metal collectives. And contrary to what the album's title may suggest, it’s fair to say that this time around the promise has been delivered.
