UNDULATING WAVES OF RAINBIOTIC IRIDESCENSE

GIGAN (ガイガン) took a five year hiatus from the studios but after fan speculation as to whether or not Godzilla finally won the final battle, the mystery is solved as the Tampa, FL tech death metal champs release their fourth album UNDULATING WAVES OF RAINBIOTIC IRIDESCENSE, which once again finds founder and main creative director Eric Hersemann ushering in yet another new lineup of the band. While drum abuser in chief Nathan Cotton joins the cast for a reprise following 2013's "Multi-Dimensional Fractal-Sorcery And Super Science," vocalist Ethan Browne is out and newbie Jerry Kavouriaris is in. However, to be honest despite the rotating cast of vocalists and musicians since the band's inception, all manage to fit their respective roles perfectly and therefore one would be hard pressed to differentiate one vocalist's ghoulish growls from another.

While tech death metal bands in the 21st century are aplenty and many fade into the generic backdrop of this boisterous and noisy nook of the musical universe, GIGAN (ガイガン) have proved themselves as rising above the din drudgery and taking the extreme metal by storm with their utterly unique mix of tech death chops, jittery angularities of mathcore style guitar riffage all packaged with dissonant Gorguts styled progressive freeform compositions laced with exuberant brumes of psychedelic haziness glistening over the bombastic aggressiveness that will somewhat bring other avant-garde noisemakers Pyrrhon, Portal or Cephalic Carnage to mind but only in a "nearest family tree" sorta way.

GIGAN (ガイガン) had been ramping up both their progressive and aggressive metal assaults on each subsequent album and IMHO peaked with their approach on their previous album "Multi-Dimensional Fractal-Sorcery And Super Science" with their hyperdrive relentless speed, churning angularities and psychedelic infusions that created the perfect speed metal mediation session. Hersemann steers his plangent progified beast into somewhat new directions with UNDULATING WAVES OF RAINBIOTIC IRIDESCENSE. One of the most noticeable differences is the abstaining of speed of light tech antics for the entirely of the space metal roller coaster ride.

While Cotton has proved himself to be one of those unbelievably blitzkrieg fast types of drummers who can navigate the percussive constructs like a caffeinated squirrel with an adrenaline rush, on this one he is much more selective in how he unleashes his fury. In fact, much of the time the drumming is more akin to sludge metal bands like EyeHateGod or post-metal bands like Isis. Same goes for the down-tuned guitars and overall feel of the album. It seems that there were no new limits to breach and the only place to go was to retreat to some sort of more familiar grounds and therefore the tempos have been tamed with speedy outbursts only occurring for periods of contrast. "Ocular Wavelength's Floral Obstructions" is the perfect example of this. A down-tuned distortion- fest that runs the gamut of chilled out distorted heavy sludge metal that jumps into tech death overdrive and back.

While poising themselves more into an accessible arena that allow certain segments to breath, GIGAN (ガイガン) perhaps are trying to widen their appeal for only a small sliver of us freaks thoroughly enjoy music that pushes the triumvirate aspects of tech metal, progressive constructs and psychedelic detachment to break orbit into freeform destruction, but personally i find that is exactly what GIGAN (ガイガン) achieved with resounding success. For me UNDULATING WAVES OF RAINBIOTIC IRIDESCENSE is somewhat of a step down as far as exploration of taking the aforementioned elements to their extremes. Having disconnected from the world's consciousness being achieved, it seems GIGAN (ガイガン) is more susceptible to finding that happy medium between freeform freedom and audience connection.

As with all GIGAN (ガイガン) albums, UNDULATING WAVES OF RAINBIOTIC IRIDESCENSE requires a number of listens to really sink in for even hardcore and jaded prog saturated metalheads such as myself can barely grasp this on a single spin. There are simply too many elements to keep track of and only patience can yield the proper results even if the process is equivalent to taking a census of hostile asteroids hurling through space in myriad directions. My first impression was of disappointment with the new stylistic approach but subsequent listens have me more impressed with the diversity that has blossomed from the new developments. Jazz infused tech drum rolls still grace the angular sonicscape, the expected guitar squeals still there but simply surrounded by less frenetic Gorguts-ish avant-garde sludgery. Yes, it grew on me. Another winner.