Release date: 21st June 2019 || Genre: Experimental metal || Label: Godreah Records
I feel like I missed something. Some kind of update. The Meads Of Asphodel starting a release with an industrial track? Are my ears broken? Opener, Bug Splat, sounds like two and a half minutes of filthy and furious blackened aggrotech. Although I may not be au fait with their entire back catalogue, it is not something I would have expected in the slightest. This suckerpunch has turned one particular corner of my world on its head, but guess what… It has certainly got me paying full attention to the rest of the album.
This includes the production, which, in respect to these particular songs, feels a bit like a swing and a miss to begin with. It’s distracting. I keep hoping for frequencies of more bombast and punch, to match the music. It does pick up later on, or maybe I’ve just become acclimatised to the mix choices. However, let’s not get hung up on that.
This album gets in and about a lot of different styles. While the remainder is more closely related to their past works, it is by no means short of further twists, and most of the tracks are fairly dissimilar. The high-point for me, other than when things get proper heavy, is when the female vocals (Christina Padovano?) are introduced on Like Blood Shaped Flakes Of Snow, just after the album’s halfway mark.
TMOA are certainly at their best when launching sensory offensives from their trebuchet bizarre, and Running Out Of Time Doing Nothing is incredibly odd as a collection of tracks. Just wait until you hear I Stood Tiptoe, Reaching Up For Heaven. If you can make time to take strange trip, give this a spin.
Grade: B+. Bonus point for weirdness