CATCH THIRTYTHREE

In the search for prog blood, we sometimes arrive at the extreme, at the edge, and we see Meshuggah 1. Autonomy Lost intro metal electrified djent, to set the mouth on fire and warn of the extreme voice 2. Disenchantment continues, like the 2nd intro with a little break just to breathe 3. Imprint of the Un-Saved as 3rd intro with the same lava vein; some have left, the others already stuck 4. The Paradoxical Spiral with this latent, nervous intro which never ends; the tune is haunting, harsh but melodic, metronomic too 5. Re-Inanimate follows, for now it's an extreme concept album with the same devastating energy 6. Entrapment moves up the scale with a devastating and hypnotic start to the solo, like a creaking door leading to hell; this gives musical color and a metallic mantra tune 7. Mind's Mirrors bass string shot, that's it you're here again, you did well; prog has just emerged from a barely born shoot; a vocoded voice from above accompanies the vibration; a break with pearly notes, one by one, it rises, the latency is matched only by the violence of before and the power of now, on an end-of-the-world siren; and I remember the rises of the great Vander who manages to catalyze this creative musical power by dint of blows of the stick... here by dint of noise we arrive at ecstasy on this piece 8. In Death Is Life second real title with pure power for extreme metal

9. In Death Is Death follows, like the title, lower than Hell there is; the jerky rhythm coming out of a 40 howitzer sows discord, Jens is more understandable at this moment, Mårten and Fredrik attack each other with ropes; the sound becomes clearer, the lava tide solidifies, the rhythm becomes syncopated; 4'30 and Zappian break, memory of a funfair that goes wrong, the prog is there, reminiscence of Between The Buried And Me, yes you have to know how to wait to get the real meat out of it; reminder of 'Red' and these saturated guitars which required rehearsals to accept this avant-garde sound; drops of soot falling from the alabaster now, the prog blood branches out, becomes bright, ah this bass; the variation starts with dark, electrified post rock, a memory of the work of Fripp and Eno, striking, also bordering on cold wave; that it was good to have stayed the course at the start, yes extreme prog also knows how to make itself desired, and too bad for prog in too much of a hurry; agonizing metronomic finale 10. Shed...yes from the Meshuggah again the one who scares; no, the growl voice just becomes abysmal and accompanies the dynamited air 11. Personae Non Gratae anyone who has not made the effort is not wanted here... that's good the gradual break seems to be ending, the incandescent lava flood has started again with a vengeance 12. Dehumanization follows, ah a tad stronger and more extreme; like the feeling of running in a minefield, it screams, it runs, it becomes murky, sticky, the revolt is there, we are in madness with the bass and the guitars more djent here, it flows down the hill 13. Sum as the terminus of this singular moment, between a flood of fire, wandering from the hell, visiting the depths and contemplation of today's unlivable life; 2'30 and the ambient, minimalist, archaic break; a strange sound that can make you think, but if there were more of these sounds...The question would lead to more listening and less dropout? A bit like Opeth was able for a time to reject the proguous in need of plenary listening?