Style: Technical Death Metal (harsh vocals)
Review by: Dan
Country: US-IL
Release date: 28 January, 2022

Welp, 8 weeks into 2022 and I present to you my first real review of the new year. Not sure why the holidays knocked me out of commission for so long, but here we are. Let’s do this.

This may be a bit cliché to say at this point, but technical death metal has become a divisive genre filled with unbelievable musicianship but often lackluster songwriting focusing on wank and tempo instead of memorability or emotion. Melodic death metal has also become a divisive genre, as one of the more accessible entry points into metal, with an emphasis on memorability and catchy songs, often lackluster musicianship and, again, stale songwriting that rehashes well-trodden ideas.

Not many bands can take the best elements of both genres and blend them together well, but I believe Burned in Effigy has what it takes to please both fanbases. Their debut full-length is not without major faults, but is filled with engaging and melodic technical death metal with a welcome neoclassical flair that, in my humble opinion, predicts a bright future for the band.

I have to admit, that I struggle to enjoy most melodic death metal. I entered the realm of heavy music in the mid-aughts with bands like Arch Enemy, Dark Tranquillity, and In Flames. Ultimately from that period of my listening, it was only Scar Symmetry, Carcass and Opeth that kept their longevity in my library. There’s just something about the stereotypical melodeath bop that grates on my thrill-seeking soul. The fifth track from Rex Mortem, “Hades” is every bit a stereotypical melodeath bop. And for some reason, I don’t hate it.

Perhaps it’s the varied album flow, the technicality, or the frequent neoclassicisms, but I actually enjoy most of this record despite the major-key melodies and abuse of so many of the trite melodic death metal elements that turn me off of other albums. Every time my focus drifts, they manage to provide something that re-engages me. The riffs and holistic construction aren’t anything particularly boundary-pushing, but the pragmaticism of the songwriting still mostly hits home. The presentation overall is well balanced, and leaves a largely positive impression.

Aggressive moments of power and ganged shouts punctuate an unpretentious and dry vocal delivery, and bouts of technical fury pepper otherwise straightforward melodicism. Occasional spicy bits like the interlude of “Artorias” make for a quickly rewarding listen, and the 32-minute runtime doesn’t overstay its welcome. There are strong ideas on display throughout, which are sure to please. The album arc is quite good, with decent dynamics. There’s clearly enough technical chops to do some damage, but for the most part, the musicianship is tastefully restrained.

The band is at their best when their arrangements grow thick and meaty, drawing from more tech-leaning influences like Inferi. Intricate dueling guitars from Steve Bacakos and Mike Hisson meet natural grooves from bassist Matt Watkins and drummer Eddie Dec. Paired with singable melodies and excellent lead playing, this is a killer combo. When the production thins, though, with a repetitive backing riff played in unison, the vocals don’t really stand up to their job of carrying everything along. They’re plenty varied, and exercise most of vocalist Mark “Smedy” Smedbron’s wide range, with singalong songwriting and space for the songs to breathe, but there’s something about either the flat, dry production or the performance itself that I find the weakest part of this effort. The limerical lyrics don’t always help either, but I think that’s probably just me being pretentious.

And while most individual passages are good, and the overall album flow is engaging and enjoyable, there are a few questionable transitions that to me just feel hasty. Sections occasionally repeat with a somewhat copy/pasted feel, as though their structural intent is just length and familiarity rather than any dynamic motion. Individual passages feel precisely and predictably bounded, kept unsullied from their neighbors – songwriting sterility that detracts from dynamics and maturity. Some of the more typical melodeath passages also have me wishing they’d lean a bit heavier into neoclassicism, especially given the prominence the band gives to “neoclassical” as a primary genre element.

Despite a few flat moments and iffy transitions, Burned in Effigy has the skills and a sound that will propel them upwards in both the techdeath and melodic death metal scenes. They’ll be one to watch closely; it would be no small feat to unite such divisive and often mutually exclusive fan groups.


Recommended tracks: Doomsayer, Nightfall, The Empiricist, Atlas, Vendetta
Recommended for fans of: Inferi, Hatalom, Be’lakor, Dark Tranquillity
You may also like: Eye of Purgatory, Prognostication, Dead World Reclamation
Final verdict: 6/10

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

Burned in Effigy is:
– Mark “Smedy” Smedbron (vocals)
– Vito Bellino (guitar)
– Brad Dose (guitar)
– Matt Watkins (bass)
– Eddie Dec (drums)



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