The album is Infant Annihilator's first album to feature vocalist Dickie Allen, ending the hiatus in musical activity after former vocalist Dan Watson's departure from the band in 2013. Drummer Aaron Kitcher, shows his speed and power on this track, blast beating for the beginning of this song with no hesitation. The track is nonstop chaos, so choosing it for a single was good to show off other techniques that Allen brought to the table before release. Being a band that has relegated itself to the studio only can be a very enflaming prospect to some listeners. I believe the song is a masterpiece, presented like a storybook with Allen introducing and closing out each piece.
By now, quality is what we expect from Infant Annihilator. The drum patterns are of course insane, whether you agree on the use of technology or not. It made me laugh pretty hard the first time I noticed that happened. Aaron Kitcher and Eddie Pickard decided on Dickie Allen as their replacement for Dan Watson, and his vocal effort exceeds all expectations. This can be described as anything but impressive, almost utilising his vocals as another instrument as it were, fuelling the aggression of the music to another level of carnal fury when worked alongside the rest of the instruments. The Elysian Grandeval Galèriarch was recorded directly by the band with drummer, Aaron Kitcher taking the helm at the board. This is repeated over the course of the record, with even classical styled arpeggio sweeps and guitar leads weaving a feeling of bottomless despair.
Main port of call is the new vocalist Dickie Allen who quite simply makes Travis Ryan sound like a gospel singer. Everything the heavy music community fell in love with about The Palpable Leprosy of Pollution is amplified and intensified as well as matured and masterfully produced on The Elysian Grandeval Galèriarch. Combining the best parts of slamming death metal in a head-on collision with technical deathcore, Infant Annihilator redefined how much of the heavy music community actually viewed and heard heavy music—some would go so far as to say they redefined heavy. It set the bar pretty high for the last two songs before the ending instrumental track, but it was only raised from this point on. .
Seventeen minutes may be the longest track in deathcore as a whole as well, but the features on this track are amazing for many reasons. Imagine putting Cattle Decapitation, Ingested, Black Tongue, Acrania and Archspire in a blender, adding some early-era Annotations of an Autopsy for good measure, and setting it to blend on hyperspeed. On the other hand, bands like like Immoralist emerge, combining gritty deathcore with downtempo elements and beatdown elements a like—focusing on aggression as opposed to uplifting melody. The Elysian Grandeval Galèriarch preorders happened to ship out this past Friday, July 22nd and I was lucky enough to get my copy the next day. Infant Annihilator the antagonists of just about everyone are back with their new album, The Elysian Grandeval Galèriarch. In typical Infant Annihilator fashion, the band has tried to offend just about as many people as they can. This however does get old pretty fast, especially the repeated blast-breakdown-blast-breakdown sequences on numbers such as Behold The Kingdom of The Wretched Undying.
Allen makes the departure of Watson almost needed sadly, as this album is a constant banger in comparison to the debut which had a few here and there but felt like mostly fillers. This song is an evolution of every member of Infant Annihilator. He actually fits really well and it makes me want to hear him do more in this style. This is the first album with new vocalist, Dickie Allen, after Dan Watson resigned from the band back in 2013. Then, there was the birth of Infant Annihilator. It's a bit of a breather after the constant filth and chaos up to this point on the album, getting you ready for the second half.
Mainly because this record is on many unholy levels of heaviness that you should definitely get on. Pickard drops an amazing instrumental on this track and easily one of his highlights of this album making these a very enjoyable track. While they are a marmite act, there are many different reasons why you should definitely love them. It was self-released 29 July 2016. Even from the intro track, Dickie begins to demonstrate his vocal stylings over a dark atmospheric guitar piece.
With mature themes and extreme vocals followed by blast beats and technical guitar this album is truly for an underground metal lover that has no limits on their taste. This is a version of Infant Annihilator's album art that I edited and removed the text. On one hand, there is an increasing focus on polished, melodic and catchy infusions within metalcore and deathcore alike—several bands begin including smooth, serene harmonies into their dynamics, with many metalcore acts beginning to add even more electronic and programmed aspects to their musicianship. Sure, music is intrinsically grounded in the live performance, which is a statement that everybody can wholly agree upon. Infant Annihilator is back, and better than ever which is amazing to be able to say that we have the unique voice in the deathcore genre back. If anything, I would have expected Pickard and Kitcher to pick him for a track with Black Tongue.
Each offer their own unique style to each chapter, keeping things fresh. However, there are things that you can do in the studio which the live performance simply will not account for or do justice. Built on a foundation of simply insane percussion, immense grooves and lightning-like riffs take turns lacerating the listener, carving deep gashes into their skin—slicing as if they were made of little more than paper and prayers. Allen shows his range going from deep growls to that of a high pitch growl, somewhat like the vocalist of Cattle Decapitation. The song is one of my personal favorite tracks on the record.
Allen stated in an interview a few weeks ago that we may eventually see a tour, so with that comment I will sit here and cross my fingers and wait anxiously for another announcement while listening to The Elysian Grandeval Galèriarch pretty much on a loop. The Elysian Grandeval Galèriarch is not for the faint of heart. Not once in my life did I believe I would be able to hear Tyler Shelton Traitors on a symphonic track because my ears have become used to hearing him in a very slow, sludgy context on his own records. Infant Annihilator has definitely erased the line in the sand and moved forward from their previous efforts. Nonetheless, the new music on the record is at the very basis more dynamic and more progressive than previous. Pickard plays an array of sweep picking throughout the track, broken up with several groove riffs.
Kitcher and Pickard have proven themselves yet again with the absolute destruction of their instruments in this record and it really leaves not much more to the brain than needed. With song lyrics about pedophilia, rape, sodomy, dismemberment, and corrupt religion, by the way that is just one song; they are bound to strike a nerve with someone. Adding a fight riff towards the end of the song made me actually question whether the band was trying something new or showing off their brutality. This album proves they are worthy of this spot even after four years with no material. I revised the colors a bit as well. The video has several band members romping naked through a field as the song builds up to a breakdown the band hits you with the money shot, literally. The rest of the track is a very dark and dreary sort of hymn.