And Hell Followed With: Proprioception

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And Hell Followed With: Proprioception
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And Hell Followed With: Proprioception
Deathcore
Earache Records
June 29th, 2010
Release length: 44:47
Myspace
Twitter
There has been a lot of talk in the Deathcore world about And Hell Followed With, mostly nothing but praise and excitement about the band’s follow-up release to their debut, Domain. However, Proprioception seems heavily armed for those “core” scene kids who think acts like Napalm Death are unoriginal and uninspiring compared to Born of Osiris. Unfortunately, Proprioception is a rather bland band that joins the ranks of Death Metal music influenced by the guitar work of Black Dahlia Murder while trying to recreate the intensity behind Whitechapel and the haunting guitar riffs of Oceano, only leading to an album full of songs that feel unfinished, repetative, or highlighted only by the guitar solo. That is, before the hidden talent shows up near the end.

Proprioception starts off as a really bad album that lacks any form of originality, breathing only from a combination of the band’s interests without even taking the time to really alter the material. First of all, the guitars on this release are clearly influenced by The Black Dahlia Murder, if not completely torn from that act’s albums. Fans of the band will find a lot of similarities in these works, especially with the guitars and drums used in “Deadworld Reclamation”, which sound exactly like they were lifted from one of the songs off The Black Dahlia Murder‘s Nocturnal album. Aside that, all the tracks on here try to have the same intensity that Whitechapel and Oceano have, as well as the same often lazy breakdowns on practically every track more then once. Again, turn your attention to “Deadworld Reclamation” which features more then one breakdown of a cymbol crash every few seconds as the odd guitar chord. These breakdowns terribly interrupt was flow happens to be with the song and ultimately just make listening to them a test. There’s also the odd distortion on the haunting guitar chords on many of these tracks that sound like a clear knock off of the kind used on Oceano‘s debut full-length, the only difference is that they are a little more muffled and distant at times, especially during “Rotting Procession”, which sounds absolutely horrible, or in the case of “Dismantle” are much clearer but absolutely not needed and wind up being too much and so much louder then the rest of the material that it drowns out practically everything.

Aside all the musical creation aspects of this release, you also have to contend with tracks that wind up sounding horrible no matter what, as well as tracks that ound up not even feeling like songs, such as “This Night is the Coroner’s” which really never seemed to start in the first place with only the somewhat impressive guitar solos being the only entertaining aspect of this hollow sounding song. Add on top to all of this that the album starts off with “Mara”, an introductory instrumental, that is composed in a way that starts off rocky but when you reach the end it really shows like a brilliant introduction to the album. So what’s the problem you ask? It sounds like the band just gave up on it at some point and cut it off half way through! Had the band explored the song a little more and even added another minute or two to it, “Mara” could have been a very well performed first song that would grab the listener and make them want to listen to it instead of fearing the worst. Another questionable track is “Perpetual Abyssma”, which is an instrumental that really doesn’t need to be before the song “The Greatest Deception” at all, or at least should have been placed after the track. It is a bit weaker then “Mara” but feels like a finished song, and could have closed the album out nicely.

Now, with all that out of the way, there are some good tracks on here worth checking out. By the time you hit “Dismantle”, the album starts to become a little more enjoyable, even with the intense unoriginality still at play. The music just becomes more intense as a whole and just sounds better period, and seem to progressively get harder, better, and actually show signs of originality. “One of the Swarm” is really the first time you’ll taste any original aspects of the band through the guitars near the end and the double bass kicks being far different from anything that would appear from this group’s aforementioned main musical inspiration, and “A Welcome Displeasure” continues this with blistering double bass kicks and fast paced guitars with some original riffs that really stand out and make this song highly enjoyable. Another thing to note about this point is that the breakdowns even become fewer and largely improved, though that is still not saying much since the breakdowns still sound a little empty, but luckily nowhere near as bad as they were at the start of Proprioception. After going through the entire album up to this point, you’ll be completely blown away by the song “Those Now Sleep Forever” which is hands down the best song off this release thanks to the intensity and speed of the music, as well as the insanely powerful ending to the song that really just amplifies the “core” aspect of the music and just drives the song home with some great guitar melodies that the band continues to use after this point for the song “From Burning Sentiments”.

What happened?! Proprioception is one of those albums that will make you want to punch someone just out of sheer frustration alone. The first half of the album is uneventful, uninspiring, plagiarist, as well as sometimes doesn’t even feel like music at all. But then, out of nowhere, And Hell Followed With pull a complete one eighty and become this Deathcore monster full of intensity, speed, and sometimes extreme power! It makes no sense at all. It leaves you screaming obscenities out of rage for the inability to comprehend such a move at the top of your lungs in a way that would make even the most veteren pirate blush. What was going on in this band’s head while recording this album and why did they decide to throw five tracks of garbage and idol worship right at the start of the album while hiding the band’s talent in the back, or better yet, why did they even bother recording the first five endurance test worthy tracks in the first place? The material presented at the end deserves a much higher score then this album actually receives but those few tracks, as well as the few lazy breakdowns that do appear later on, are enough to make anyone just not listen to this album if they aren’t patient. Perhaps we’ll never know or understand this move, but if you completely ignore those early tracks and consider the album’s real starting point as “Dismantle”, you’ll find that the music here is very enjoyable and shows a lot of talent, as well as promise, from this band.

01. Mara (Instrumental) – 2:26
02. This Night is the Coroner’s 4:33
03. Deadworld Reclamation – 4:38
04. In Vastness, I Transfigure – 3:27
05. Rotting Procession – 3:46
06. Dismantle – 3:12
07. One of the Swarm – 3:29
08. A Welcome Displeasure – 3:50
09. Those Now Sleep Forever – 3:32
10. From Burning Sentiments – 3:29
11. VenomSpitter – 2:27
12. Perpetual Abyssma – 2:40
13. The Greatest Deception – 3:18
Overall Score: 3.5/10


Digital review copy of this release provided by Earache Records.