Technical death metal. There are a lot of strong opinions out there on the internet about the genre. While I’m not ride-or-die for it, per say, I’m without a doubt a fan. Maybe even a big fan. When it’s done right, and when it’s original, almost nothing can match it. Because of how many tech-death bands there are, however, you often have to sift through hours of uninspired shred-overdoses before finding a band worth listening to, which I think is the biggest contributor to why the genre attracts so many haters. After all, what self-respecting metalhead can listen to Unquestionable Presence, Nespithe, or Annihilation of the Wicked and walk away thinking those weren’t some of the greatest works of art in human history? It’s beyond reason, though I can understand the cynicism of some people being tired of all the Necrophagist copycats.
With all that said, Hemotoxin’s When Time Becomes Loss isn’t breaking new ground in the realm of technical death metal. It’s a familiar territory, a well-worn path carved by the likes of Death and Cynic, very 90’s death metal-y. Yet, the journey itself is undeniably thrilling. Sure, there’s a nagging sense of deja vu, a feeling of having been down this sonic highway before (is that Chuck’s lil bro on vocals?!), and I can’t pretend that this is as good as its influences either. But dammit if Hemotoxin isn’t helping put Pittsburgh, CA on the map. This album makes you want to crank the windows down and crank the volume up.
The riffs are like machinegun fire, and are the undisputed stars here. They’re relentless, a churning storm of complex patterns that weave between furious tremolo picking, thrash-infused, head-bobbing grooves, and absolutely preposterous shredding. “Morbid Reflections” sets the tone perfectly, the Chuck Schuldiner-influence hanging heavy on Michael Chavez’s roars. The production is clear, perhaps a little too polished for some, but it allows the masterful instrumental performances to shine through. These aren’t just technical feats, though. There’s a genuine sense of melody lurking beneath the surface, particularly in the slower, mid-paced sections that occasionally emerge like islands of melancholic beauty amidst the blistering sonic carnage. A few riffs hang around for longer than I would like, but holy moly are these guys good at playing their instruments!
However, the album’s relentless nature doesn’t always play to its favor. The oft-nonstop blasting and double kick drum (with its questionable tone), can wear thin at times. It also felt like the songs were also roughly the same tempo, with a few slower, more atmospheric passages, sure, but still very samey in the speed department. There were also one or two guitar solos that felt a bit wanky to me even for a tech-death song, where self-indulgence is the standard. I’m not sure if these solos were Andrew Lee’s contribution (yes, that Andrew Lee) or one of other lead guitarists, but they went way too far into the proggy, fluff dimension.
Overall, however, this is a seriously fun album, and one that I’ve been coming back to quite frequently. There’s just so many riffs to unpack despite the relatively brief run length. “Abstract Commands” stands out as a beacon, a short but densely-packed epic that has one of the best riffs I’ve heard all year. From the melodicism to the lightspeed soloing to the raw showing of emotion, this song is a glorious ride, and stands as a testament to the band’s ability to write jaw dropping songs.
Similar moments of brilliance pepper the rest of the album. “Conscious Descent” masterfully blends moments of crushing heaviness with surprisingly gentle sections, where atonal leads intertwine with semi-intelligible growls that somehow manage to be catchy. “Reborn in Tragedy” is more of the maelstrom, showcasing riffs so good they had me speed-walking to my guitar to try to recreate them. The closing title track offers a final, contrasting chapter. It starts familiar but takes a detour into a spacey soundscape, eventually fading out with a gentle glow of acoustic guitars, leaving the listener both exhilarated and strangely contemplative. It’s a strong end to an album, making it a bit easier to forget any flaws along the way, including those guitar solos that simply miss the mark.
When Time Becomes Loss feels like a love letter to 90s technical death metal, a genre that thrives on complexity and aggression, and that sometimes gets lost amidst the myriad Obscura-wannabes. This might not be the most original record, but the passion is there, and there’s more than enough to keep this from feeling synthetic, as much tech-death falls prey to. Hemotoxin delivers high-quality riff-writing, reminding us that sometimes, all you need are a good set of chops, a bucketload of heart, and the unwavering desire to bludgeon your eardrums into submission.
RATING
7.5 / 10
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Label: Pulverized Records
Recorded at: Trackworx Studio
Release Date: May 17th, 2024
Release Type: Full-length
Cover Art: Mark Cooper