Review: Mean Messiah – In Infinite Illusion

Genres: Industrial Metal, Thrash Metal, Prog(gish) Metal (Mixed vocals)
Recommended for fans of: Strapping Young Lad, early Devin Townsend, Soilwork, Scar Symmetry
Country: Czechia
Review by: Christopher
Release date: 23 February 2024

I’ve kind of become the de facto Devologist here at the Subway. My degree in Comparative Devology (I have a minor in Quantum Wilderunics) has made me the leading expert on the little family of prog species that all evolved from the same bald common ancestor. The other day, a new species fluttered into my forest light trap, screaming in angst, bashing up against the sheet at ridiculous RPMs, flashing its synths in distress—there was no doubting it was a Townsendopterid. After it had tired itself out, I picked it up delicately with my forceps and popped it into a specimen jar with some coffee, some effects pedals and an ambient CD with which it quickly settled down. After careful study, I named it Messius iratus or Mean Messiah. 

Ok, let’s bury that routine for a while. In Infinite Illusion is the third album from this Czechian trio who work in that same thrashy, industrial sphere as Strapping Young Lad and Devin’s early solo work; the instantaneous whiplash of the double bass and unhinged scream that opens the title track leave no doubt for what’s to come. Vocalist Dan Friml is something of a veteran—he’s worked in heavy metal on and off since 1987 with the Czechian bands Sebastian and Apostasy—and he pulls off the expected style of fry screams, with his cleans traversing a similar range to a younger Devin, too. Every element is capably performed and reassuringly familiar. 

“Fire” draws on the more straightforwardly upbeat vibe of Accelerated Evolution era Devy with major key synths and an anthemic chorus; “Clouds” moves into more ominous industrial territory with a nu-metal beat making it sound like Korn without the freakout scatting; and “Crash Test” smashes into the more technical realms of groups like Scar Symmetry and Soilwork. Just as ferrets, otters and wolverines are all mustelids, so Mean Messiah aren’t a mere Strapping Young Lad knock-off but rather progenitors of a distinct sound within a given niche, drawing as they do from across that old industrial-tinged noughties metal scene ,allowing for variation throughout In Infinite Illusion. Rather than avoiding cliche or cheese, they kind of revel in it, but Mean Messiah have the charisma to pull it off. It doesn’t hurt that In Infinite Illusion spans eight tracks in thirty-nine minutes; short and sweet, just as this style should be. 

Back to Comparative Devology: I’ve written papers on a few species now, including Monolith Zero, Ramage Inc., and Diminium, and it’s instructive to look at these more closely. Monolith Zero, to my ear, flew too close to the sun, the riffs were so familiar as to feel like persistent homage. Ramage Inc. married the Devin influences with Gojira-esque groove, but worship and length remained problems. Diminium was the most successful of the three, taking the raw aggression and energy of SYL and reinvigorating the cliche. Of these three, Mean Messiah are fortunately closest to Diminium in their, I don’t know, musical physiognomy (what do you want from me, good jokes)? Sticking to the less chaotic, more anthemic end of the SYL sound and broadening their horizons to take influences from across the noughties metal scene—with even some nu metal ideas creeping in—to round out their sound, Mean Messiah may well be the most distinct species in the genus.

Figure 1. shows the relative loudness of the ensemble elements on In Infinite Illusion (it wouldn’t be a biology paper pisstake without a bar chart). As one can see, the drums, while well performed, are by far the loudest instrument in the mix, and although I enjoy how prominent the synth is, the rhythm guitar parts are close to being washed out by all the other elements—fortunately, the lead guitar doesn’t suffer from the same problem because there are some pretty sick solos across In Infinite Illusion. It’s not a bad mix by any means—in fact the album sounds sharp overall—but the elements could stand to be better balanced.  

It’s always nice to discover a new species of Townsendomorph, especially as The Omega Experiment haven’t been recorded in the wild since 2020. Mean Messiah’s mix of thrash and industrial aggression with more anthemic, even poppy vibes makes for a surprisingly fun listen and will ensure that Messius iratus is highly sought after by casual Townsendopterists looking to kill them, spread them, and mount them on their board alongside the others in their collection. Isn’t nature beautiful? 

Recommended tracks: In Infinite Illusion, Clouds, Fire
You may also like: Diminium, Ramage Inc., Monolith Zero, Exxperior, The Omega Experiment
Final verdict: 7/10

Related links: Bandcamp | Spotify | Official Website | Facebook | Instagram | YouTube | Metal-Archives page

Label: The Barn Production – Facebook | Official Website

Mean Messiah is:
– Dan Friml (guitars, vocals, keyboards)
– Miloš Meier (drums)
– Lenka Čechová (bass)