The Schoenberg Automaton photo by Colin B. Cadell
We’re pleased to bring you the premiere of The Schoenberg Automaton’s new song “Master Of Obsolescence Pt. I” (listen below). The track is taken from the band’s upcoming album Apus, being released on June 3rd through Entertainment One / Lifeblood Inc.
Apus, picks up right from Ultimatewhirringendmachine, the last track on their debut full-length, Vela. Apus is a sprawling concept album with the same grand theatrical, philosophical and thought-provoking ambitions as classic records like Voivod’s Dimension Hatröss, Queensrÿche’s Operation: Mindcrime and Pink Floyd’s The Wall. The archetypal story told through futurism explores the dichotomy between hive mind singularity and freethinking independence, rich in allegory for today’s culture.
Apus Track Listing:
1. Year Zero
3. Lost City Of Embers
5. …And Thus Spoke Helepolis
6. Master of Obsolescence Pt. I
7. Of Omnipotence
8. Prince Monopolist
10. Praise The Sun
11. Don’t Be Disputin’ With Rasputin
12. The Fragile Ones
Assembled from the scrapheap wreckage of several prolific bands once found in their native Brisbane, Queensland, Australia, TSA was put together by Johnson and drummer Nelson Barnes, whose love of German prog-metallers The Ocean, death metal legends Decapitated and the earlier more chaotic work of The Dillinger Escape Plan helped shape him as one of the world’s most formidable drummers. Bassist Zimi Shabanay is soft-spoken offstage and a beast with his instrument, wildly ripping out amazing legato tapping and other wizardry with reckless but precise abandon. Guitarist Damien Boorman is another genie inside TSA’s bottle, shredding into new realms of imagination whenever the lamp is shaken open. Jake Gerstle’s creativity extends beyond his dense, monstrous and sometimes otherworldly vocals in TSA to the artistic world of Stippling.
Now relocated to Vancouver, Canada, The Schoenberg Automaton has their sights set on expanding their triumphant march armed with smart-minded abstract technical death metal that never sacrifices accessible memorability for shred. There’s no “complex for complexity’s sake” here. TSA manage to write hyper interesting and uniquely creative material devoid of pretentious nonsense. It’s simple to write something happy and just as easy to sound “evil” and menacing. But to expertly express anguish, despair, or even disbelief and deliver it within adrenaline soaked riffs? That is the art TSA has mastered.