Engineering The Void
(Unique Leader Records)

I won’t lie to you, as the majority of record promos that I listen to usually just get consumed by one ear and go right out of the other. It’s not until much later that I sit down and really dig through the releases a second time, when I do my reviews, which are also available on my personal site, The Grim Tower ( But every once in a while, there’s one album that manages to stick with me, jarring me into realization – and one of those select few records just happens to come from Sweden’s Soreption. Though not their first album, this disc shows a band with a great deal of strength, precision and speed; it’s clearly a monolithic release that combines a multitude of complex equations alongside moments of thick and punishing groove. As far as technical death metal goes, it’s usually hit or miss; but when it hits hard, you get albums like Nihility and From Mars To Sirius. This album could very much be placed in that category as something stereoscopic, as even when the band through a few Disney style symphonics into the mix, it still retains the basic flow and element of the music. I don’t even mind the djent riffs, because they sound like they belong there. You’re also looking at a band that’s stayed together since the very beginning, which few acts can actually say. Each of these gentlemen have clearly worked up the greatness featured on this record, which clocks in at about the length of a traditional death metal album (which is quite short) but hangs around inside the confines of the human cranium for quite a while after the initial listen.

A dual vocal approach decorates the disc with both an ear-shattering gravel and rasp, as Fredrick Soderberg uses a threatening dual vocal approach throughout most of the disc. The man spits lyrics like fire, so fast that you’d have to play the music in slow motion just to be able to understand them. But there’s no doubt in my mind that he’s good at his craft – and this is coming from another vocalist, so I know what I’m talking about. The drums get a real beating on this record, with Tony Westermark giving the kit a real lesson in the art of torture as Anton Svedlin sees how many long division problems he can solve with the awesome melodies of his guitar. I have a feeling that one of these days, someone will play a series of notes so calculated and precise that they might accidentally open the door to another dimension. Rikard Persson’s bass does exactly what a bass should, as it keeps the music thumping and my veins pumping. This is exactly the kind of music that tech-heads love, yet it also features the right amount of death metal gore to please those who don’t like their music quite so clean. This album came out at me like a fist through the wall, but it was indeed the fist of some cybernetic android from the future that sought to teach me all of the universes’ hidden secrets. And that’s exactly what the album feels like… a highly calculated and whimsically wizened fist. You’re still going to feel a large amount of pain, but after the initial impact of the punch; you’ll find yourself so enlightened that you’ll yearn for the sadomasochistic touch of Engineering The Void again, again and again. (Eric May)

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