Reviews: Deviant Process, Destinity, Perpetual Etude, The Georgia Thunderbolts (Reviews By Paul Scoble, Paul Hutchings, Simon Black & Matt Bladen)

Deviant Process - Nurture (Seasons Of Mist) [Paul Scoble]

Canada seems to be a productive breeding ground for Technical Death Metal; from legends like Gorguts or Cryptopsy to more modern acts like Beyond Creation, there seems to be something in the water. A notable addition to this scene has been Deviant Process. Formed in 2009, the four piece, who are based in Quebec, have released 1 Ep (Narcissistic Rage) in 2011, and a debut album named Paroxysm 5 years later. The band features Jean-Daniel Villeneuve on guitars and vocals, Stéphane Simard on guitars, Philippe Cimon on bass and Michel Bélanger on drums.

The style on display on Nurture is closer to the melodic and tuneful style of Technical Death Metal played by Obscura and originated by Necrophagist, than the more difficult and avant guard style of Gorguts or Pyrrhon. Although there is melody and tunefulness all through this album, Deviant Process are on the more extreme end of the melodious Tech Death sound. As this is Technical Death Metal all the performances are pretty much perfect. Staggering virtuoso playing that in any other genre would be considered exceptional, in Technical Death metal this means they are at the same level as their contemporaries. The guitar and bass work is brilliantly well played and the drumming is fast, fluid and elaborate. The riffs are complicated and intricate, but have a flowing nature that makes songs feel very fluent, smooth and effortless.

In a recent interview with Deviant Process the band claim to be more interested in writing decent songs, rather than using the songs as simply structures to hang impressive solos and blasts on. This was clearly no idle boast. Nurture is a collection of very well realised songs that all have their personality and identity. So there are absolute raging blast heavy tracks like opener In Worship, In Blood or Homo Homini Deus, both songs that are extremely rapid, packed with blast beats and super fast riffs, both tracks have short slower parts that seem to emphasise the faster sections. Homo Homini Deus also has a softer, more minimal section where it feels like the song takes a short breather, before dropping back into super fast riffing.

There are also slower, more considered tracks. The song Asynchronous is an interesting track, it’s slower than a lot of the material on Nurture, and in places the slower riffs feel expansive, which is not something I’d usually expect from a Technical Death Metal album. The song does contain blast beats, but they feel looser and less aggressive. Syrtis Magna is another interesting track that is a little less aggressive and savage, the track feels more like Melodic Death Metal, very technical Melodic Death Metal, the song is very melodic and tuneful, with some huge melodies.

Although the band have clearly concentrated on great songwriting on this album, this is Technical Death Metal so it would be remiss of me not to mention guitar solos. There are lots of solos, they are very technical, lyrical and packed with melody. The solos all fit with the songs, and are an integral part of the songs, rather than being an exercise in shred wanking.

Nurture is a great album. The album as a whole has a great ebb and flow, and works as a whole as well as individual songs. The songwriting is the main standout of this album, well rounded songs that are full of melody, great blast beats and fantastic performances from all the members of Deviant Process. One of the most enjoyable Technical Death Metal albums I have heard in a very long time. 9/10

Destinity – In Continuum (Crimson Productions/Season Of Mist) [Paul Hutchings]

If my research is correct, French melodic death metal outfit Destinity haven’t released a record in nine years, their last being Resolve In Crimson in 2012. The Lyonnaise outfit were active from 1996 – 2014, before reforming in 2018 with the current line-up of Mick Caesare – Vocals, Stephan Barboni - Rhythm Guitars, Seb V.S - Rhythm & lead guitars, programming, and orchestration, David Richer – Bass and Florent Barboni – Drums.

I’ve no reference point but In Continuum is a solid release, with a combination of Amon Amarth, At the Gates and Dark Tranquility instantly springing to mind. The album contains plenty of searing lead breaks, edgy riffs, and thunderous drumming as well as periods of calming melody. There are symphonic elements, towering orchestral parts and ample opportunity to lose it with passage after passage of pummeling metal to bang that head.

The songs are punchy, full of tremolo picking, gruff vocals that fit the overall power of the music and a Swedish feel that is undeniable despite the band’s heritage and nationality. This is a band born from the Gothenburg sound. That’s no bad thing and tracks such as Reflections with its subtle synths adding layers to the band’s sound are instantly enjoyable. The inclusion of ex-Mors Principium Est guitarist Andy Gillion adding a bit of shred on Dawn Never Breaks adds weight.

Where things come a bit unstuck is in the memorability stakes. The opening three tracks whilst rampant, are all a bit of a blur and that appears to be the same throughout the album. The use of harp to introduce Shadows gives a bit of distinction and Dawn Never Breaks contains a string section that provides individuality. There are some ambient segments but after three plays I couldn’t remember many of the songs. Maybe that’s not a problem but when others in the genre can hit me with more memorable songs, it’s not an album I’m going to return to that often.

This is an album that provides 50 minutes of thunderous metal. Certainly not one that I would turn off, but I’d have liked a little more to capture my imagination which would have fired the rating a little higher. 7/10

Perpetual Etude - Now Is The Time (Sound Pollution) [Simon Black]

The definition of the word ‘étude’ comes from the French word ‘to study’ and in a musical context is defined as a piece of music intended to be played to improve a musician's technical skills, so it’s a pretentious way of saying ‘always striving to improve’ - which let’s face it applies to all musicians if they want to eat on a regular basis in this day and age. How appropriate for a band who’s raison d'être is to fuse the Hard Rock with a touch of Progressive sounds that led to the whole Symphonic and Power Metal movements in the first place with all that has happened since in an attempt to create a band sound that wears its influences on its sleeves whilst still sounding modern and relevant and incorporating flourishes from those later sub-genres in their sound. This sort of approach is often only partially successful in this for a number of reasons.

Firstly, there are way too many 80’s Retro acts chomping at this particular bit right now and when some of those quite big guns are acts who were there first time round (if not always successfully at the time) then the competition is going to be stiff and fierce. Secondly, acts treading these boards often get too caught up in trying to recreate analogue production sounds in a digital age, instead of trying to focus on simply getting the best sound out of the technology available today. Finally the balance between the historical influence and the contemporary has to be balanced very finely. If the Retro aspects are allowed to dominate too much, then this just sounds jaded and irrelevant, because let’s face it it’s not like the source material isn’t immediately out there either to stream or in your own record collections of whatever formats.

Perpetual Etude as a young act formed in 2019 have stepped right into the fray on point number one, but have very wisely chosen to steer clear of the second. The production mix is definitely what I would call ‘full fat’ in that there’s a focus on clear, well-balanced mixes with every contributor clearly audible in the mix whilst maintaining a cohesive band sound – if this was easy, every band would do it and believe me they don’t. There are nods to the past, in that no-one’s spared the reverb in the studio but it does sound like they tried to be modern whilst hinting at their roots, so score points for subtlety here. However on the third point, they fall slightly too foul of a song-structure that is back-foot weighted in the 80’s.

Now, don’t get me wrong I have a deep love for 80’s Hard Rock with its catchy choruses and extravagant guitar hero solo self-indulgence and the band do a great job of capturing the sounds and delivering top notch musical performances with instrumental flourishes that would not sound out of place on a Malmsteen album at his peak and a soaring vocal performance from singer Krystian Fyhr that really evokes Joe Lynn Turner at his best. There are moments when the band leans forward into the future a bit more and some complex but subtle time signatures and flourishes creep in from guitarist Magnus Mild and keyboardist Kaspar Dahlqvist that acknowledge that bands like Stratovarius and Nightwish started with the same base but took their genres forward as well. At the points where they strike the balance correctly between the past and present then this is shit hot stuff, however there 80’s are the louder voice and that might not be for everyone. That said, the performances and effort that have gone into capturing this have to be lauded, and the eight songs on here all flow well and do not outstay their welcome. One to keep an eye on for sure. 8/10

The Georgia Thunderbolts - Can We Get A Witness (Mascot Records) [Matt Bladen]

Taking their debut album title from a Grand Funk Railroad/Gospel Church refrain and featuring an Allman Brothers cover in the middle of it, The Georgia Thunderbolts leave you in no doubt that they are grooving, Americana/Country infused rock band. Tipped as one of the hottest young things on the Southern rock scene, they are a bit grittier and rockier than their Georgia brethren Blackberry Smoke. Songs such as Can I Get A Witness having a thicker, meatier guitar sound that firmly puts them in the rock side of Southern rock, much like Georgia Satellites or Molly Hatchet on Walk Tall Man especially. Their debut album sees TJ Lyle (vocals), Riley Couzzourt (guitar) , Logan Tolbert (guitar), Zach Everett (bass/keys), and Bristol Perry (drums) writing plenty of blue collar rock n rollers, about working hard, paying your dues and staying true to yourself. 

It's an honesty and authenticity that needs to be there so they can sing tracks such as Spirit Of A Workin' Man without any pretension. They are also cleary respect their roots and influence as their cover of Midnight Rambler is dealt with reverence but played with a heavier touch than the original. With a bubbling pot of Appalachian rocking, American blues and Southern gospel Can We Get A Witness will certainly excite anyone that enjoyed their EP. Yeah a few of the songs appeared on their on their EP, but they feature here for anyone that missed them fleshed out with new numbers and that cover. Southern rock jams that will win over many new fans for sure. 8/10