A lot of ambitions and hopes have gone into Metazoa. You can pick up that intangible passion radiating from the white noise between the tracks. Here is a loose collection of metallic conventions, morphing from black metal, 80′s thrash, and a stillness that is found in the numerous acoustic elements – which is the first riddle on Metazoa; the eagerness to simply incorporate various styles hastily skips using said style’s strengths. For example, the black metal elements are there, but there for there’s sake. It is a Coles Notes rendition of a musical art that can be as hilarious as it is evocative; none of those distinctions are put to disc on Metazoa, only reproductions of picking styles and drum patterns… What should not be mistaken is that this is a healthy plus. While Cormorant does not faithfully commit to the aforementioned genres, it allows them a greater dexterity in exchange for some identity. Channeled through the production machine that is Billy Anderson, the tracks sound as large as the emotions filling the dreams.
Cormorant was born a Bay Area (that magical curvature in northern California) band and cannot escape performing these songs with that hardcore thrash mentality. Sections that by all means should be quiet, reflectory, start no holds barred and end no holds barred. There is little emotional crescendo, but more ebbs and flows from a band who operate on 666% passion… Which is fucking awesome; Agalloch may be the supreme commanders of atmosphere, and Negura Bunget the most courageous, but how often does one find a brand of melo-black that could share the stage with Priestess? Matt Solis (arguably the band’s most metal steeped member) and Arthur Von Nagel belt out words, cries, and roars, channeling Devin Townsend at his most tremendous.
“Hole In The Sea” ends as metallically severe as it must, and “Sky Burial” marches against all the metaphysical struggle that one can feel from it’s glory. These tracks are pure winners, plain and simple, essential Cormorant that recall Infernal Depths Of Hatred -era Anata. The record begins and ends satisfactorily, with a morose walk in “Scavenger’s Feast” and a confident bit of folk in “Voices Of The Mountain”. And yes, while every track has compelling rudiments, a great deal of Metazoa’s performance cannot support its scope. These members all are experts and lovers of their respective musical inklings, but their greenness and rushed urge to let loose their influences is a loss for the album. Many of the ideas are still fresh, unfinished, and untapped; the introduction to “Emigrants Wake” is an example that uses guitar interplay unworthy of this band, seeming like a decent idea that never moved past the jam session. They operate according to the conventions of their forebears in Amorphis and Immortal; sadly a downside to this “reproduction” of styles. “Hole In The Sea” and “Sky Burial” exempt, the emotional depth that could be found on “Uneasy Lies The Head” and “Salt Of The Earth” is traded for comfortable jams and routine homage.
It’s a conflicting experience… I felt much the same way towards Scale The Summit’s Carving Desert Canyons this year. Metazoa has so much range and inconsistent reach that maddens the listener as much as it engages. Regardless, (and probably more importantly) it’s a soulful product in the end and one that never loses momentum… Metazoa will be a treasure to rediscover in a year or two when Cormorant make the masterpiece they are capable of.
(6.7/10)
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