Style: progressive death metal, metalcore, djent (mixed vocals)
Recommended for fans of: Between the Buried and Me, Periphery, Native Construct, Vildhjarta
Country: Illinois, United States
Release date: 3 May 2024
Immortality Complex is the latest album from the Illinois based djent/deathcore turned prog metal band Resuscitate. Formed by multi-instrumentalist Evan Van Dyne in 2018, Resuscitate has now released three full length albums, but Immortality Complex promises to be the most dynamic and progressive thanks to the addition of Joshua McKenney as clean vocalist, although Van Dyne remains as the primary songwriter and instrumentalist.
From the very first note of opener “Quoque Distet (What Do You See?)” the scope that Resuscitate is striving for on Immortality Complex becomes apparent. McKenney’s sultry cleans introduce the album’s concept, a bleak future that has abandoned reason in search of immortality, as MIDI strings and other chiming keyboards introduce motifs that pave the way for heavier instruments to enter. The searing guitar solo that follows the first stanza is superbly placed, and its restraint speaks to a melodic sophistication that makes each line that much catchier. By the time the drums kicked in and the track fell into its BTBAM-esque syncopated breakdown, I was stuck hook, line, and sinker, and the continued use of catchy melodic guitars and aching clean vocals that followed only further enthralled me.
“Radiating the Disease” continues in much the same manner as the opening track, with an opening riff that could have been lifted directly from any late-era BTBAM track without anyone batting an eye. Thankfully, we don’t remain squarely planted in BTBAM-land for long; the beautifully enunciated harsh vocals, also performed by Van Dyne, have a deathcore edge that goes a long way towards making the zanier riffs seem heavier. Still, melody, fueled by McKenney’s stellar cleans and Van Dyne’s scorching leadwork, remains the driving force even when the track extends itself towards the realm of symphonic blackened death metal in its back half. When the two melodic elements briefly meet and harmonize at transition points, it’s as though entire universes are created in their friction. However, despite how deadset each element had seemed in its purpose, this track contains one truly questionable songwriting choice: there’s a waltz section. Right after the song’s first climactic solo, there’s an acoustic, half-time waltz in 3/4. To say it disrupts the song’s flow would be an understatement, although I’m sure that fans of Native Construct and BTBAM will eat it up. I, however, just find it plain silly and completely unnecessary when placed in the midst of what would otherwise be an absolute ripper.
Thankfully, Resuscitate follows with what is undoubtedly the best track on the album, “Immortality Complex.” From the beautifully dissonant intro that rivals the likes of Artificial Brain to the instantly catchy verse vocals and riffs and truly epic guitar solos in the back half, this track puts an ache in my chest quite unlike anything else recently. When the first solo hits, tingles run down my spine and when McKenney screams “We can start over!” I can’t help but scream along. Oh, and the Max Mobarry feature slaps if you’re into Others by No One. I can’t promise that you’ll be as emotionally responsive to this track as I was, but I must implore you to try. Songwriting-wise, the title track is also where Resuscitate really hits their stride. Quite reminiscent of last year’s Zon by The World is Quiet Here albeit a bit toned down in terms of complete insanity, the style is what I’d expect from a modern deathcore turned prog metal band.
So how do you follow up what I’d say is the best song of the year so far? Well according to Resuscitate, you abandon any and all ethos and emotional impact garnered by the previous track and lay down a lame swung piano diddy instead. Oh man, do I dislike “The Great Filter.” It has the same issues as the end of “Radiating the Disease,” just ten times more pronounced. It makes me see why some people say they can’t stand the genre switching of bands like BTBAM; and I love BTBAM! The album’s nineteen-minute epic closer “Reclamation” does a lot to wash the bad taste of the previous track out of my mouth with its decadent rhythmic interplay between the guitars and harsh vocals, a stellar djent section that finally pays off on all the rhythmic promises the album had been making thus far, and a thall-styled outro that rivals the likes of Vildhjarta on their best day. Although I’d argue that there are a few transitions that feel a bit padded for length, the track more than earns its run time.
So where does Immortality Complex fall scorewise? That’s a tricky question–one of the many reasons in fact why this review took so long for me to write. There are moments on this record that are magnificent, where a grand scope and a razor fine attention to detail meet and make magic. There are other moments such as large chunks of “Radiating the Disease” and “The Great Filter” where I can’t help but roll my eyes at some of the songwriting choices. If you’re a fan of bands like Native Construct and BTBAM and you loved last year’s Zon, I’m sure that you’ll find great enjoyment here. If you’re a person that needs a bit more motivation behind your zany songwriting choices, your mileage will vary; there’s still three utterly killer tracks to be found here. Anyways, when you see my score below you’ll realize that I fall into the first camp.
Recommended tracks: Immortality Complex, Reclamation, Radiating the Disease
You may also like: The World is Quiet Here, Others by No One, Drewsif, Alustrium
Final verdict: 8.5/10
Related links: Bandcamp | Spotify | Facebook | Instagram
Label: independent
Resuscitate is:
– Evan Van Dyne (guitar, bass, vocals, drums, mixing, mastering)
– Joshua McKenney (vocals)
– DJ Martel (orchestral arrangement [track 1-4])
– Jake Farhang (orchestral arrangement [track 5])
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