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Now defunct New York grindcore unit Brutal Truth observed in 1992 that “Extreme Conditions Demand Extreme Responses” and they couldn’t have been more right in that assessment. Marlborough, Massachusetts death metal upstarts Abnormality have been experiencing a meteoric rise in popularity. They made a name for themselves with their independently distributed “The Collective Calm In Mortal Oblivion” EP and inked a deal with Sevared Records (which embodies about the worst of United Guttural, Pavement/Crash Music, and Comatose Music, combined) on the back of its success. “Contaminating the Hive Mind” followed two years later and their ascending popularity helped Abnormality secure a contract with Metal Blade Records. The presence of one Mallika Sundaramurthy certainly helps but it would all be for naught if she was merely a pretty face. No. Abnormality has a penchant for writing chunky death metal that is groovy and technical in equal measure. They aren't afraid of a good hook or guitar solo either.

The past four years have been a period of great unrest; political, social, and otherwise. Abnormality has always been inspired by socio-political events but “Sociopathic Constructs” is the first time the Bostonians dedicate an entire record to the subject. Sundaramurthy (who now lives in the Czech Republic) and her men aren’t going to let the current political climate and turmoil pass without taking a stand nor without a fight. This is a band that wants to be remembered for being on the right side of history. Sundaramurthy has every reason to be foaming at the mouth looking at the increasingly theocratic – and totalitarian state of her first adopted home. Professional con man and supposed savior of the fundamentalist Christian Wrong Donald Trump has somehow been elevated to the country’s highest office and things have been getting worse from there. In his first (and, hopefully, only) term the Orange Idiot has facilitated widespread corruption and cronyism, has seen to the systemic oppression of minorities, the erosion of civil liberties, the abolition of women’s rights, and the dismantling of what little social security existed in the Land of the Free. America has entered a second Dark Age, one of religious superstition and proud anti-intellectualism. “Sociopathic Constructs” is a scathing polemic against the current powers that be.

Sundaramurthy has always had a razorsharp pen and songtitles as ‘Fabrication Of the Enemy’, ‘A Chaos Reserved’, ‘Vigilant Ignorance’, and ‘Hopeless Masses’ in their repertoire it will surprise absolutely no one that “Sociopathic Constructs” pushes their socio-political angle to the fore. Abnormality isn’t as overtly political as, say, Dying Fetus or Fear Factory but that doesn’t remove that “Sociopathic Constructs” has some of this band’s finest work on the compositional – and lyric writing front. Mallika has always been a marvelous woman that serves as an inspiration to many of her sisters. She’s an outspoken and fiercely intelligent woman; a feminist, veganist, and small business owner. On “Sociopathic Constructs” Mallika once again showcases why she’s one of the best frontpersons in the business. She truly is the Alexandria Ocasio-Cortez of the underground. The rest of the band (yeah, apparently there are other people in Abnormality outside of Mallika, as hard as it may be to believe) doesn’t falter either. Guitarist duo Jeremy Henry and Sam Kirsch unleash a veritable maelstrom of concrete riffing schemes with rhythm section Josh Staples (bass guitar) and Jay Blaisdell (drums) meting out swift punishment without resorting to random chaos for its own sake. We were more than a little indifferent towards “Mechanisms Of Omniscience” but “Sociopathic Constructs” is the record we always knew Abnormality had in them. Which is to say, “Sociopathic Constructs” absolutely and categorically slays. Everything has been building up to this. This is the album where Abnormality fulfills its potential.

One of Abnormality’s greatest strengths has always been their sense of propulsion and drive. “Sociopathic Constructs” is what Disgorge would sound like if they played with the chunk of early Cannibal Corpse and the technicality and production value of Brain Drill. This is what we hoped the Drill’s “Boundless Obscenity” would have sounded like or what Suffocation’s “…Of the Dark Light” would have been if they fully shed their skin and the pretense that they still had anything to do with the Suffocation that wrote “Breeding the Spawn”. Abnormality answers the question what Cannibal Corpse would have sounded like had they persevered with the technical direction of “Butchered at Birth”. Abnormality has always excelled in merging California informed technicality and percussiveness with a level of intensity not unlike Québecois death metal. Hopefully the current climate - social, political, and otherwise - will inspire Mallika, and Carolina Perez (from Queens, New York combo Hypoxia) to revive their sometime feminist death metal side-project Castrator. If there ever was a time for that, that time is now. What better reason than the serial sex offender holding the highest political office in the land?

Art does not exist in a vacuum (no matter how much certain demographics might prefer to delude themselves into thinking otherwise). Art reflects the society in which it was created. “Sociopathic Constructs” is one such creations. This is a record that couldn’t have been released in any other time than the year 2019. The Talibangelicals have been working overtime to transform America in the great Christian theocracy they’ve been so long desiring. Never mind that the Land of the Free is collapsing into the state of the backwater banana republics they’ve been bombing into submission for the last several decades. The War on Terror has been on of the greatest swindles of modern history and the US military-industrial complex has always been a savage imperialistic beast that always takes but never gives. “Sociopathic Constructs” does absolutely take no prisoners and its message of disconformity and protest is loud and clear. No longer can we afford to idly sit by as the world burns to a cinder. “Sociopathic Constructs” might not have the storytelling capacity of an “Operation: Mindcrime” exactly, but as a loosely conceptual recording this couldn’t have come at a better time.

Bavarian progressive death metal trio Odetosun have been one of our favourite constellations in the underground of recent years. The trio – Luke Stuchly (vocals), Benny Stuchly (guitars, bass guitar, keyboards) and Gunther Rehmer (drums) - formed as Oden’s Raven in 2008 as a typical melodic death metal band with Viking themes, not unlike early Amon Amarth and Unleashed and their ilk, before steering towards more adventurous realms. We extensively sang our praises for their 2013 debut “Gods Forgotten Orbit” on these pages, but never came around to properly covering their second opus “The Dark Dunes Of Titan” from 2015 the way it probably deserved and the way we probably should have. Now, four years removed from their second album, the Stuchly brothers are back with ‘Spiritual Decay’, the first in a series of thematically interconnected singles to be released seperately. Whether Odetosun has abandoned the album format as a whole is presently unclear, but it’s good to have the masters of the atmospheric and the meditative back all the same. So how does ‘Spiritual Decay’ fit in with Odetosun’s repertoire?

There has always been a profound Pink Floyd influence evident through out the music that Odetosun writes. Whether it’s the David Gilmour inspired manner that Benny solos or the resounding booming bass guitar and the serene keyboards that feature prominently in the trio’s compositions. The more progressive – and ambient aspects of both “The Division Bell” and “A Momentary Lapse Of Reason” all can be heard in the two records preceding this single. Comparatively ‘Spiritual Decay’ is on the uptempo and upbeat side of things compared to what Odetosun usually does. However not soon after the opening section the single reverts back to the trio’s usually meditative midtempo and it sounds like nothing substantial has changed since Odetosun last released music. “The Dark Dunes Of Titan” was a nearly 50-minute conceptual exercise inspired by the 1972 Ben Bova novel “As On A Darkling Plain”. ‘Spiritual Decay’ was inspired the ubiquitous decline of civilization and spiritual achievements of human culture, and the first in a series of singles to be sporadically released until the trio’s third album materializes. As an isolated track ‘Spiritual Decay’ fits in seamlessly with what the trio has done before.

What has always separated Odetosun from more conventional bands is their staunch refusal to let themselves be dictated by their metallic components. Odetosun is far more dreamy and ethereal than, say, an Obscura or a Pavor. Like both those bands the bass guitar features prominently and their classification as death metal is secondary to their progressive - and post rock inclinations. Another great thing is that Odetosun never adheres to the typical metal imagery and visuals. Like Neurosis before them these three men are comfortable in their everyman and mountain man look. Stuchly’s signature melodies run rampant through out ‘Spiritual Decay’ and that it could have been culled from either “The Dark Dunes Of Titan” or “Gods Forgotten Orbit” speaks volumes of the creative alchemy that these three men have going on. There have been changes in the Odetosun camp. Their production value has steadily increased and their musicality and creativity is on an all-time high since the days of “Gods Forgotten Orbit”. If ‘Spiritual Decay’ is but a prelude to further new music we can only hope that Odetosun will continue to release new singles until their following album at long last arrives.

Suitably below the mainstream and somewhat of an underdog Odetosun is the ultimate musical pariah. They’re probably “too heavy” for the progressive rock crowd and, logically, too laidback and esoteric for the stereotypical death metal fan. Odetosun is guided only by their creativity and since their inception they haven’t paid much attention to what they classify as. Whether you want to classify them as a progressive rock band with death metal overtones, or as a death metal band with progressive inclinations – the long and short of it is that Odetosun is one of the better independent metal bands currently working the German underground. “Gods Forgotten Orbit” sounded very oceanic, breezy, and exotic, “The Dark Dunes Of Titan” gravitated towards a more spacey, airy and celestial direction. ‘Spiritual Decay’ combines the two in something that can only be described as meditative and, well, spiritual. If Nümph or Caelestis played death metal, they would probably sound something like this. As it stands Odetosun remains criminally underappreciated in their own genre. If ‘Spiritual Decay’ can turn a few more people towards their music, then it served its purpose.