PLEIADES' DUST

Always in a league above the competition, Luc Lemay and his GORGUTS project continue to deliver some of the most innovative and technologically constructed death metal the world has ever heard. Never resting on the legacy of "Obscura" alone, this Canadian band from Quebec always creates exciting releases by combining the most demanding, frenetic and brutal ear abuses while entering myriad intellectual pastures tackling the subject matter of esoteric history in far-flung geographical places such as "Tibet" such as on the previous release "Colored Sands." On the follow-up PLEIADES' DUST, an EP which is basically a solo track clocking in at 32:59, Lemay and company dish out a concept telling the tale of the "House Of Wisdom," which references the rise and fall of a library based in Baghdad in the periods between the 8th and 13th centuries and it's importance in containing ancient knowledge that contributed to many scientific discoveries including algebra, astronomy as well as other disciplines that aided and abetted Europe to evolve past the dark ages and into the Renaissance.

Always based on evocative intellectual subject matter, the likes of which are once again competently accompanied by the signature brutality complete with Lemay's grizzled growls laced with atmospheric passages, exotic sounds of distant lands and the ever graceful dance of melodies and dissonance swirling about like an oceanic eddy, GORGUTS takes the exotic flair of "Colored Sands" and once again creates a meandering flow of sounds that alternates the brutal death metal aspects with softer passages bringing a Middle Eastern dusty caravan to mind displaying guitarist Kevin Hufnagel and bassist Colin Marston dishing out a strong dual string assault with newcomer drummer Patrice Hamelin picking up where John Longstreth left off and easily duplicating and exceeding his technical percussion abusing skills and creating one of the most important aspects of GORGUTS' music.

As heard on the more recent albums, if one has an ear for classical music compositional skills it is apparent that Lemay is a gifted composer who utilizes the techniques of the centuries and applies them to suit his music in a death metal context. While the imagery and brilliant album cover created by the renowned Polish artist Zbigniew M. Bielak sync well with the death metal brutality bash and distortion blowout, the ebb and flow of the musical composition lends more to pre-metal past masters rather than contemporaries in the field continuing Lemay's utter brilliance in juxtaposing these elements into a seemingly effortless manner. The music on PLEIADES' DUST is excellent at the proper pacing of the more energetic brutal passages and the more subdued cadences. It appears that GORGUTS scores once again in creating a memorable soundtrack to some nebulous place and time from the history books. The musicianship is once again impeccably performed and the segments of the album are well connected and despite literally eschewing all the cliches that a 21st century tech death metal band can fall into, GORGUTS still succeeds in delivering all the death metal goods while wowing us with intense musical workouts delivered with outstanding intellectual eloquence.

If you're reading this, you probably already have an inkling of Gorguts' general sound. If the name wasn't itself a giveaway, take the noisiest, most dissonant, most technical death metal you've ever heard, and then multiply that by a factor of five; you probably haven't heard anything of the intensity of Gorguts. That's the sound they established on their classic Obscura, and they've spent the time since varying it in many different ways, but always remaining rooted to the same core aspects.

Their latest experiments, on the thirty-three-minute EP Pleiades' Dust, are just as fascinating as ever. Here they've tried the single-track, multi-movement suite, an old chestnut of prog (there are seven movements total). The music here is more dynamic than any previous Gorguts recordings; segments crescendo and dissipate over lengthy periods to establish the desired moods. The music is overall still as dissonant as ever, but there are some almost calm passages in between the storms. The composition, if anything, has gotten even more complex, which is fitting given the scope of the song. (In particular, if you can make sense of all the time signatures in this piece, you're a more patient human being than I.) It's too early to tell for sure, as I've only had the EP in my possession for a couple of days as of this writing (I may revise this piece with additional observations after further listening), but this may very well be the most fascinating music Gorguts have ever recorded.

Lyrically, they've created another concept album, this time around focussing on the contributions of what have become known as the Islamic Golden Age and the House of Wisdom to humanity. In the aftermath of the fall of the Roman Empire, the Dark Ages descended over Europe and Baghdad became the centre of learning and scholarship. Local scholars preserved countless works for posterity, often translating them into the local language and contributing their own scholarship from the results (we owe such innovations as algebra to this time in history). The rulers of the region valued knowledge more than gold; upon conquering new lands, they would frequently demand books rather than material possessions. From the knowledge thus gained they further strengthened their position.

But, like all great things in history, this period too ended with the overrun of the Mongol hordes. In 1258 Baghdad was sacked, thousands were slaughtered including some of the best minds of the era, and now-lost books were thrown into the Tigris River in such quantities that the river was said to run black with ink. Intrepid citizens of Baghdad salvaged some of the texts before they could be destroyed (Nasir al-Din al-Tusi alone is credited with saving four hundred thousand manuscripts), but the damage was done; one of the most progressive and innovative cities in the world had been dealt a crippling blow, and it would take hundreds of years for it to recover.

The lyrical content of this album is, given the modern narrative of a clash of civilisations that certain political forces would like us to accept, particularly timely. And, as stated, musically this release is staggeringly brilliant. It is one of the strongest releases of this year so far, and I can only give it my highest recommendation.