INDIVIDUAL THOUGHT PATTERNS

his individual thought patterns coalesce into a more complex fervor, questioning life around himself. He begins realizing his life prior was but a sham, and he must forge ahead, into unknown territory, at danger of death, even.

This could be considered a transitional album, and that is plausible, but this is much more well formed. Take Human and make it jazzier and groovier. Make it more flesh searingly melodic and dark, make it march gallantly where it once ran full blast. This is Individual Thought Patterns.

It is on the same level as Human, for different reasons. But, it is held back by the same things that I felt were weak in the prior album. First off, these guys will overwhelm you with their vicious onslaught. The songs have been slowed down (by a mere minute on average, so not by much.) To implement more jazz and progressive structuring. This is where the flaw comes in, though.Their songwriting seems uninspired. Where Human's tracks were rather unique, albeit a bit more straight forward (hahaha) separately, Individual Thought Patterns makes things more complex, but the songs begin to become a bit interchangeable.

The leads will still roast you alive, more so than ever. The rhythm section will erupt your gullet, and Chuck's vocals seem to improve with each new release. I am still in awe at how much interplay the bass guitar has. Bass lines interspersed between twin guitar helix storms. Songs like Overactive Imagination and Nothing Is Everything rip with such knotty jazz hell flame, that one could get lost in the sheer brutal complexity. While songs such as Mentally Blind or Trapped In A Corner slow things down (again, hahaha) to add more diverse soloing and angular assaults. This is definitely the beginning of a perfect instrumental meld. The lyrics are deep from a philosophical perspective. No, no dragon slaying, here. You get attacks on narrow minds, nihilistic undertones, and religious "odes."

Each track, while being relatively short, still has time for extended shifts and sways. Melodic death runs and disjointed rapid fire solos are scattered all about the disc, and the quality is phenomenal. The drummer's arms must be crafted of titanium, because he flays the kit. Indeed, keep it moving is the name of the game, as Death moves from multiple complex stations, within each song. Riff after riff, after interchanging riff, the performers know at all times where they are, what they are doing, and where they are going.

No matter how many times I listen, the sheer brutality of many of the leads still clutches me and pulls me in. The kick slam jutting start stops, the blistering jazz explosions. This is damn good material. The somewhat short running time, again compliments the work and its creed. Destiny has the one main calm break form the heinous chaos so exercised throughout. It then mutates into a violent monster. The swarming solos ripping holes in the air. Out Of Touch delves deep into melancholic darkness, and professes more well needed diversity. That being the greatest weakness to the album, in general.

The album closes with one of Death's most well known and revered songs, The Philosopher. The sheer crushing might of this track warrants a listen. They jazz and groove it up, in their own special rotting way. The leads rip mercilessly alongside a crunching plod into hell and back (or not back).

In closing, this album takes the progressive beginnings seen in Human, and takes it farther. There are many start stop rapid shift sections, and the playing is consistently awe inspiring. It does suffer from a lack of diversity, and this ultimately keeps it from being on the same level as the next two releases, which bring the style to its natural, and brilliant conclusion. Classic Death.

Best Moment - The Philosopher

Worst Moment - It is Death, there are not really any bad moments.

**** Individual stars

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