Skip to main content

Kataplexia – The Rise of the Unknown


Kataplexia – The Rise of the Unknown
January 2019 – Rotten Music



Kataplexia is Finland's best Indonesian brutal death metal band. You read that right, Indonesian is now a valid qualifier for brutal death metal. For those unaware, I explored and wrote about the Southeast Asian brutal death metal scene two years ago, discovering a gigantic scene with an uncharacteristic public acceptance. One of the members of Jasad began a side-project, Kaluman, which is the definition of high-quality Southeast Asian brutal death metal. A couple seconds into Kataplexia's latest, I expected to see Rottervore or Extreme Souls as their label, as every element pointed towards Indonesian origins – the tone, production, vocals, riffs and even album art all felt like Ferli Suferli (Jasad, Kaluman) was behind the project, yet Helsinki is listed as their base of operations.

Admittedly, there's only so much one can actually say about the music without endless comparisons. A modern brutal death metal album, with production and slams from 2005, and riffs with such a short rotation they're memorised within seconds. A couple cheeky sweeps or pinch harmonics here and there spice things up without turning The Rise of the Unknown into a technical mess. Staccato guttural vocals and drum fills that somehow manage to feel Indonesian, as if Visceral Disgorge had a discount Walmart version – Kataplexia have written by-the-numbers brutal death metal that's as close to easy listening as the genre will get, but in the catchiest way possible. Not every album needs to reinvent the genre, some are just there to play by the rules and execute it as well as they can. There's a certain apathy towards out-of-the-box thinking reminiscent of Skinless, in that the riffs were written with only fun and weight in mind, giving the record a teenage bedroom project vibe. The album is teen-aged only in vibe, as the actual performance is beyond reproach.

When so much legacy has been left, so many reviews written and so many new records, it's difficult to find more to say about The Rise of the Unknown. Let it stick out as a literal out-of-place project, worth keeping in mind when sharing a pint, or annoying a friend with yet another hour of brutal death metal.

Comments

Popular posts from this blog

Uboa, the interview

UG You’ve gone over the “Jouissance” title in the past. Would you mind going over Coma Wall? It’s got quite grave and final undertones. First, Coma Wall has no totalised meaning for me, but death of the author could suggest otherwise. But there are themes. The Coma Wall, also known as the CfA2 Great Wall, is a galactic filament - thread-like structures composed millions of galaxies - of and one of the largest structures in the observable universe. It’s 750 million ly high x 200 million ly in width x 16 million ly in thickness. There are few structures bigger than it before you get to the “End of Greatness”, where the universe no longer is seen in discernible structures (filaments and voids, which combined look awfully organic, almost like clusters of interconnected neurones) and you get undifferentiated noise, like static on a TV or white noise. Basically, in cosmology, there seems to be an upper limit to how big things get before the universe seems to become pure undifferentia

Obscuring Veil – Fleshvoid To Naught

Obscuring Veil – Fleshvoid To Naught March 2019 – I, Voidhanger Records Mories, famous for having recorded half of the avant-garde/experimental black metal released since 1996, participates in his second release this year, Fleshvoid To Naught. Released by the folks who distributed Tchornobog and the Spectral Lore/Jute Gyte split, the album has a legacy to honour – while less abrasive than other similar acts, Obscuring Veil is more than the sum of its multinational parts. After a quick intro, Fleshvoid To Naught picks up and delivers some of the most dissonant black metal in recent memory. The drumming has the kind of micro-intensity you'd usually find in jazz, with fast but subtle cymbal sections and an overall tactful approach, mostly leaving blasts behind for a more technical and original style. There's something approachable and conventional about it, maybe the mix of relatively simple time signatures and recurring power chord strumming, which make for a