Aveered – Erasure of Color

vote
7.5

• Band:
  Averse
• Duration: 00:39:43
• Available from: 21/03/2025
• Label:

• M-theory

Formed in Boston in 2009 by the guitarist Sungwoo Jeong and the bassist Martin Epstein, the only original members who remained, the Aversed find in 2016 the two key additions that will lead them to the well -known publication of the debut album and this interesting following: Jeff Salzmann on drums, for some years also in the Allegaeon, and the guitarist Alden Marchand. Upon voice, Sarah Hartmann replaces Haydee Irizarry, who had sang on the first “immanent” album.
A close -knit training and with a high technical rate, without weak or supportingally points; The two guitarists dealt, very well, also of the production of this new “Erasure of Color”, while the orchestrations that go to chisel the sound of the album were curated by Vikram Shankar, at work also with Redemption and Pain of Salvation.
The proposal of the Aversed rests on the sacred monsters of the first progressive death metal, especially Death and Cynic, and on the melodic metal metal of the School of Gries, side in Flames and at the Gates; Going on more recent productions, this “Erasure of Color” could be described as a middle ground between the technical and orchestrated Death Metal of the American Då vicuti and the Gothic and eclectic one of the Norwegian Oklars.
The alternation between the Growls and the Clean Sangato of Sarah Hartmann could refer to something of the last arch enemy, but the aggression and complexity of the sound constructions keeps the Aversed at a certain distance; Instead, the typical stylistic features of today's metalcore of groups such as Jinjer or Infected Rain are far away, to the delight of those who remain linked to a traditional conception of the extreme melodic and progressive metal.
Compared to the debut disc, the removal from the canon Melodic Death Metal of Swedish mold is still quite evident, although already that work presented different influences and facets, coming to mention even the soft angels: in this second work there is a marked increase in instrumental technique, the speed of execution and musical research.
If “Impermanent” lived on the freshness typical of many debuts, “Erasure of Color” Lima instead some naivety and is more difficult, serious and mature.
Extraordinary, there is no more suitable term to describe the opening piece of “to cover up the sky”: intricate instrumental plots paint complex sound scenarios in an exciting crescendo, always on the edge of the razor of disharmony, but without ever losing the tenders of the skein, in a magical balance that few manage to implement; Also perfect the alternation of Growl and clean voice, never taken for granted, never cloying, but not indecipherable. Also very enjoyable “Cross to Bear”, not far from the style of the Gojira and sung largely with a clean voice, which contrasted with the extreme metal woven by the tools, once again with great skill, control and measure.
With “lucid decapital” we come across the most 'groovy' piece of the lineup, where the Aversed play with the dissonances citing Vivod and Mastodon; Excellent proof of Sarah Hartmann, capable of modulating his growls in several ways, always incisive and profound.
The text of this song also deserves two words, which takes its cue from a macabre historical episode: in 1905 the French doctor Jacques Beourieux led the experiments on the condemned to the guillotine, aimed at understanding how long their heads detached from the body kept consciousness; Beourieux called the guillotinati by name immediately after the execution to test their reactions and ended up exchanging those that were mere and simple autonomous thrill of nervous nature for lucid and volunteer movements. From this fact, the reflection of the Aversed on the disconcerting perspective of being subjected to this lugubrious experience and until limits can push the thirst for knowledge of mankind, which thickly does not consider how heavy they can be costs, takes on.
In general, the texts are treated and are held far from clichés of so much metal, and it is worth underline it because it does not happen so frequently: we also mention that of “to cover up the sky”, on the fall of all the values ​​in the contemporary world, and the invective against the exasperated industrialism of the title-track.
The pleasant, but nothing more, Melodeath of “Inexorable” and the echoes of the snow – thanks to the intriguing riffs performed with the seven -ropes guitars – in “Burn” characterize a central part of the non -striking album, but still of sure value; We then return to the glories of the opening of the disc with the title-track, the most Gothic-death of the lot, and the changing “Deapartures”, with its beautiful acoustic intro “Yearning”.
The strongly jazzate arrangements, as per the best Technical Death Metal tradition and crystal clear sounds, which ensure the cleaning necessary to do justice to the proposed genre, contribute to the success of the work.
In addition to the convincing seven ropes, whose sophisticated scores keep attention well, the quality of the rhythmic section should also be underlined: metronomic the blast beat of the Salzmann battery and sumptuous the arrangements of the six -ropes of Epstein.
Sometimes the passages can be not very fluid, but it is also true that this gives personality to the compositions that otherwise would be all too normal for a musical genre that makes research and impact its own reason for life.
There is a lot of meat on the fire and you can sometimes have the impression that you miss a little order in the proposed ideas: not all the pieces are monumental and in the whole there is no more strong trademark, but the Aversed certainly remain a value team and to keep in the way.

https://www.youtube.com/watch?v=9tjoiicje-s