GIGAN

Named after the alien cyborg kaiju who first appeared in the 1972 film "Godzilla vs. Gigan," this ultimate weapon of the M Space Hunter Nebula Aliens which was deployed to Earth to aid the alien invader's conquest of the planet proves to be the perfect namesake for this technically infused band that worships the alter of brutality and dissonance. While not the first extreme metal band to delve into the world of Lovecraftian horror fiction and strange diabolical fantasy, GIGAN has practically perfected its idiosyncratic style of surreal convoluted compositional constructs fortified by unrelenting tempos, bantering abrasiveness and strange twisted concepts. The album opens with the 8-minute "Trans-Dimensional Crossing of the Alta-Tenuis" which explodes like a bomb on Hiroshima with the turbulent drumming cacophony of Nathan Cotton who delvers some of the most demanding and demonic tech death performances in the biz. Oscillating waves of dissonant guitar riffing assail the senses as the band delivers a chaotic brutality that was woefully missing on the previous album (at least at this magnitude).

"Ultra-Violet Shimmer and Permeating Infra-sound" doesn't let up with an even more brutal decibel rampage as the guitar riffing and bass bantering become every more chaotic with ever more complex percussive clamor and freaky slide guitar effects while Kavouriasis' vocal style becomes insane asylum material. While taking the brutality to the next level the wild synthesized atmospheric note slides adds a touch of surreality to the whole shebang all graced by the off-kilter production techniques that take things even further into the abstract world of surreality and mind-[%*!#]ery. The most bizarre track of all comes with "Emerging Sects of Dagonic Acolytes," a 10-minute excursion into the a bizarre tightrope act between extreme death metal acrobatics coupled with psychedelic rock techniques and free improvisation abstruseness. While starting off as a somewhat "normal" GIGAN track, things start to get weirder and weirder to the point where you feel like you've totally lost your sanity and all connection to reality as the band goes down one of its most surreal rabbit hole escapades to date.

And the Lovecraftian surrealism doesn't stop there. Each track delivers another powerful punch of erratic techy death metal with freaky guitar solos and convoluted riffing patterns. "Erratic Pulsitivity and Horror" is like the closest thing to a musical seizure i've ever experienced while "The Strange Harvest of the Baganoids" offers some of the strangest twanging jangle guitar chops ever experienced and features a strange time signature dynamic that makes you feel like you're traveling through a turbulent asteroid belt on the Millennium Falcon. As the album closes with "Ominous Silhouettes Cast Across Gulfs of Time," the band engages in another lengthy near 8-minute battle of chaos and order only this time with a more doomy introduction with plodding guitar stomps and ominous distortion but then the track breaks into a bifurcated effect of rampaging death metal along with the plodding effects, yet another wild surreal display of creative craftiness or should i say Lovecraftiness.

Wow! Mind blown!!!! While i still loved GIGAN's approach on the previous "Undulating Waves of Rainbiotic Iridescence," it seemed like the band was toning down the intensity a bit from its previous "Multi-Dimensional Fractal Sorcery And Super Science" so in effect ANOMALOUS ABSTRACTIGATE INFINITESSIMUS was a make or break type of album for me although i could never totally write this top band in my collection. As it turns out this fifth installment of the GIGAN universe is its best effort yet and combines the perfect combo punch of brutal bombastic techy death metal drenched in dissonant disdain coupled with the heady mind-altering effects of psychedelia and surrealism. The band has outdone itself with this one with each track standing out as a testament to its creative prowess taken to the next level and beyond. Yeah, baby! This is what 21st century death metal is all about! Two listens in and i'm ready to push play again, something the last album didn't quite coax me into doing. I've been a fan of this band for over a decade now and i'm utterly thrilled beyond measure that not only has the band returned to its avant-garde unorthodoxies from its beginnings but has delivered them all in such a brutal excellence that totally caught me off guard. I think this band has been raised a few notches on my favorite extreme metal band list.

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.

GIGAN (ガイガン) for all intents and purposes is really the baby of Eric Hersemann who covers most ground here. He contributes guitar, bass, synthesizers, theremin, xylophone, lyrics and production. Album number three finds two new members join ranks as Nathan Cotton replaces Kesava Doane as drum abuser in chief and Eston Browne taking the vocal parts away from John Collett II. Despite the new team players on this surreal death metal galactic journey, the band continues undeterred as GIGAN (ガイガン) spawns one of their most brutal, most progressive and most surreal psychedelic space metal releases of their career.

MULTI-DIMENSIONAL FRACTAL-SORCERY AND SUPER SCIENCE is in effect a refinement of the style that GIGAN (ガイガン) had begun to develop on their debut EP "Footsteps Of Gigan," that being a definitive style of pummeling brutal yet technical death metal that utilizes aspects of math rock angularity with ridiculously jittery and unrelenting progressive time signature deviations yet soars along at a million miles an hour in a rather calculated manner. Sandwiched in between tracks is the sonic iridescence of frigid spaced out ambience that at it's most intimidating sounds much like when a CD is skipping and when at its most placid more like a space fog or some sort of precognizant whale song being sorted out deep within a beluga's brain.

Either way, the underlying psychedelic ambience seems to anchor the brutality thus keeping it navigating in a comprehensible stream rather than lash out viciously in unpredictable behaviors although the riffs crest out in peaks and troughs like schizophrenic sine waves on steroids. While classified as death metal due to the unintelligible animalistic bantering, screams and guttural growls, the guitar takes many liberties as once it establishes a clear path of ear canal destruction with pummeling extreme metal riffs, it takes little side journeys into angular alley with frenetic finger breaking workouts more akin to mathcore legends Psyopus or Behold?.The Arctopus.

Hersemann had had extraordinary luck in attracting some of the most technically sophisticated drummers in his GIGAN (ガイガン) project with each ridiculously talented member dishing out one pummeling jazzy percussive variation after another as well as bantering blastbeats from the underworld and back. MULTI-DIMENSIONAL FRACTAL-SORCERY AND SUPER SCIENCE finds the overall sound of GIGAN (ガイガン) reaching its creative apex as the fragile production that melds the hyper-surreality of the ambience and the muddled ferocity of the technical death metal find the perfect unison which allows the hyper-frenetic sonic sadism to enter the realms of transcendental metal mediation especially when the seductive riffing repetitions offer the ultimate escape on the zenith of this ultimate GIGAN (ガイガン) album experience.

4.5 rounded down

It took three years but the triumvirate power force of Eric Hersemann on bass, guitar, synthesizer, theremin, xylophone and newbies John Collett on growling death vocals with Kesava Doane as one of metal's most technically skilled drummers rivaling the likes of Behemoth and Nile, return with a newly formed band that carried on mainman Hersemann's tortuous metal antics and upgraded in pretty much every way while retaining the same identifiable features that were unleashed all the way back on 2007's "The Footsteps Of GIGAN (ガイガン) EP." The second album QUASI-HALLUCINOGENIC SONIC LANDSCAPES continues the sonic bombast and angular dissonance and takes the journey even further into uncharted GIGAN (ガイガン) territories.

While the monster in the movies was clearly land bound, this band of the same name is clearly aiming for the stars with their spaced out surreality as evident in their multi-syllabic song titles in the form of "Mountains Perched Like Beasts Awaiting the Attack," " Suspended in Cubes of Torment," "The Raven and the Crow," "In the Tentacled Grasp of a Buried Behemoth", "Transmogrification Into Bio-Luminoid," "Skeletons of Steel, Timber and Blackened Granite," "Vespelmadeen Terror" and "Fathomless Echoes of Eternity's Imagination"

While the metal approaches would take a turn on the next album "Multi-Dimensional Fractal-Sorcery and Super Science," the underlying musical approach on QUASI remains the same. GIGAN (ガイガン) dishes out the expected pummeling brutality which is based on old school death metal conformity but expedites the onion effect with layers of realities that have a hierarchical level. While the brutal death metal attacks clearly takes precedence with their sonic supremacy, it seems that the underlying psychedelic suaveness of the theremin, synthesizers and atmospheric backdrop that only emerge in brief interludes between tracks and pauses within. The tension that is created between the utterly chilled and the bombastically frenetic is a very strange tension indeed much like eating fried ice cream in a vacuum packed anti-gravity chamber.

GIGAN (ガイガン) is certainly a tough nut to crack and only the most ambitious who crave the most ruthless metal assaults married with the angular avant-garde prog and nerdy space oriented sci-fi themes laid out in paramount elixir will dig this, because of the fact that this music is laced with avant-prog sensibilities and exhibited in full tech death metal regalia. The psychedelic accoutrements are displayed in not only the ambient backdrops between tracks but also in some of the extraordinarily weird guitar riffs that occur in the higher registers with iterating almost robotic whizzing up and down the scales somewhat reminding me of math metal wizards like Psyopus or Behold?. The Arctopus. Did i mention the drumming? Fucking phenomenal. My arms hurt just listening to this [&*!#]. Solid as a [%*!#]ing rock. GIGAN (ガイガン)!!!!

The trio consists of the seasoned veterans left-handed guitarist / bassist and founder Eric Hersemann (Diabolic, Hate Eternal), Randy Piro (vocals, guitars, theremin) and Danny Ryan (drums and percussion.) The music heard on 'THE ORDER OF THE FALSE EYE' is the type of surreal metal madness that could drive the uninitiated utterly mad as the unrelenting noisefest is the name of the game only to be broken by periods of oscillating electronic pulses that seem to be the driving underpinning of the intergalactic journey and lyrical fascinations that GIGAN takes us on not dissimilar to the 21st century thrash metal kings Vektor. The opener 'Undead Auditory Emanations' displays GIGAN's full metal regalia displayed in relentless pummeling riffs and blast beats trading off with technical jazz drumming wizardry in strange new ways that keep the pace fast and driving with snarling angry vocals and Hersemann's unique spastic guitar slides and technical bass workouts.

'THE ORDER OF THE FALSE EYE' is one of those albums that didn't win me over upon a listen or two. No way. This one required a multitude of listens to allow its abrasive nature to percolate under my skin and only after nailing my attention span to the wall did it at last penetrate into my consciousness. This is not an album of catchy riffs or predictable song structures in any way, shape or form. This cacophony is almost formless in nature with only a solid rhythmic pulsation driving the music from beginning to end which finds itself most noticeable with the non-metal segments utilizing electronica and theremin sounds to create an ambient and oscillations of noise. Likewise the aggressive nature of the extreme metal simply flows over these underlying elements and creates a very bizarre stream of consciousness to say the least. Call it no wave metal if you will.

Upon first listen it does come off that the tracks don't have enough variation to them but dig beneath the surface and it's quite the opposite. While tracks do sound quite similar in the dynamics and tempos on display, the compositions actually have quite the variation of mangled and jarring progressively laced death metal riffs that have a blackened veneer with a psychedelic frosting which occasionally emerges from the din to send the listener into a pacified trance before the pummelation of the extreme metal once again arises from the abyss. This album consists of eight vocal tracks that are indeed quite similar in stylistic appearances but offer different glimpses into their psychedelic take on extreme metal and consist of 2/3 of the album. The final ninth untitled track is a 21 minute plus sprawling surreal metal fantasy instrumental which focuses on the pulsating electronics and abrasive guitar weirdness with lots of sliding and alienating licks while the drums exhibit periods of techy jazz outbursts and many moments of simple rhythm maintenance. This album was a hard one to win me over but it finally has and remains one of the absolute strangest of the strange in the extremities of surreal technical metal. Highly recommended for adventurous listeners who love to hear things that they had never even considered possible.

This Tampa, FL death metal band formed in 2006 but is anything but old school. In fact i wouldn't even call this death metal despite that being the usual tag. This is extreme metal all the way. While death metal sounds are aplenty, there are also black metal, thrash metal and most of all avant-garde metal aspects well at play. GIGAN could accurately be called an experimental extreme metal band because they have an unusual unorthodox mix of things and in this case, that's a good thing!

The band released their EP debut FOOTSTEPS OF GIGAN in 2007 and totally in character the 13:56 mini-release actually begins (and ends) with footage from the Japanese film and then breaks into intense deathcore type guitar riffage and majorly intense drum workouts on the short intro instrumental title track. The second track "Severed Spider Legs" breaks into an angular rhythmic attack with death metal vocals joining in and creating an intense tech metal workout in the process. This is hard to swallow metal with jangly distorted guitar chords, jazz influenced progressions and off-kilter time signatures that alternate between extremely aggressive passages and psychedelic intermissions. In fact, i would actually categorize this madness as psychedelic extreme metal for it mixes up tech metal extremities with psychedelic and chaotic counterpoints.

What really comes to mind with GIGAN is that they somewhat remind me of Deathspell Omega's major leap into the progressive extreme world with "Fas - Ite, Maledicti, In Ignem Aeternum," which actually came out the same year so it's unlikely influence was in play but GIGAN seems to have developed simultaneously a similar chaotic display of extreme metal that could take more accessible aspects with totally unfamiliar and strange developments to create some very jarring and bizarre earache music.

The cool thing about FOOTSTEPS OF GIGAN is that although it is under fifteen minutes long, the blueprint of GIGAN's sound is already laid out here. While Deathspell Omega cries out to me as the closest metallogical relative here, GIGAN had already developed their own avant-garde tendencies including the hyperactive slide-guitar freakiness that appears as a distinct sound on future albums. Strange for a metal band GIGAN also uses the theremin which adds some bizarre psychedelic embellishments to the unrelenting metal assault. The music mostly stays in the extreme metal world but the band incorporates strange psychedelic passages and at times mix the two extremes together. I love this debut and this is well worth getting / hearing because the three tracks on this early demo turned EP have not been included or re-recorded on their other albums thus far.