Incongruous may only last for just over half an hour, but it probably features more notes and drum hits then a lot of band’s entire careers – and it’s exactly why you really need to give it your full and undivided attention. Let’s not dice our words here, die hard tech-death heads will lap this up, but listeners who are bit more on the fence might find the relentless assault of rampaging drums, widdly guitars and roaring vocals too much. If you want to immerse yourself in this album, be prepared to put in the leg work and really give it a long time for the hooks to stand out, because they sure as hell won’t straight away.
To be frank, the extremity of the music is a double edged sword and the album’s Achilles heel, because for all of the dazzling technicality on offer, it’s almost overwhelming how much there is going on. It also doesn’t make for the most memorable listen, with all the tracks being quite susceptible to running together, turning it into an aural orgy of blastbeats and growls. However, “Unheard,” “It” and “Left Hand” are immediately hard-hitting tracks, with the guitar/bass work of the Bradley brothers dazzlingly impressive, which also bolstered by production/mastering from former Cryptopsy member Chris Donaldson.
Incongruous is a faultless album musicianship-wise, but on the first few listens it does lack the hooks and memorable sections that are really required to back an outstanding record. It’s not a bad release by Beneath The Massacre at all, and devotee’s of the band while undoubtedly go ballistic for this; it’s just that the sheer unrelenting extremity and blink-and-you’ll-miss-it aspect of the songs creates a listening experience that will throw a lot of people off. Like mentioned before though, if you give it some time, Incongruous will eventually reveal it’s hidden treasures – but it’s up to the listener to really weigh if it is worth the effort.
(released February 14, 2012 on Prosthetic Records)
