{"id":64749,"date":"2025-05-01T04:33:10","date_gmt":"2025-05-01T04:33:10","guid":{"rendered":"https:\/\/www.europesays.com\/uk\/64749\/"},"modified":"2025-05-01T04:33:10","modified_gmt":"2025-05-01T04:33:10","slug":"exterminatus-echoes-from-a-distant-star-part-1-review","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/uk\/64749\/","title":{"rendered":"Exterminatus – Echoes From a Distant Star Part 1 Review"},"content":{"rendered":"

\"\"\u201cExterminatus\u201d is a Warhammer 40k term that describes a global mass extinction event authorized by the emperor when the Imperium deems the cost of holding or retaking a planet too high. While I\u2019m na\u00efve about such things, Canadian fivesome Exterminatus<\/strong> certainly isn\u2019t. And these Canucks are here to incinerate your eardrums with a heavy dose of sci-fi inspired tech-death. Originally demoed in 2012, Echoes From a Distant Star Part I was to be the follow-up to Xenocide<\/strong>\u2019s debut album, Galactic Oppression. However, the group disbanded before they completed the album, and its members\u2014including most of the original lineup\u2014subsequently formed Exterminatus<\/strong>. Thirteen years later, these Vancouverites have released two solid albums and are finally prepared to relaunch Echoes after recording and re-recording the material three times. Seeking to venture into deep space through a celestial narrative that investigates interstellar creation and its obscure realities, I\u2019m left wondering if the destination justifies the voyage.<\/p>\n

Raising the pace and intensity of its predecessors, Exterminatus<\/strong> mostly operates in overdrive on Echoes, peppering the limited moments of empty space with Faceless<\/strong><\/a>-esque grooves and melodic leads. Lead by the dual axe attacks of Tabreez Azad and Elia Baghbaniyan, the duo warps the fabric of reality with their percussive shredding, laser-fire tremolos, and technical articulation, flicking and tapping for thirty minutes across the album\u2019s seven chapters. Together with Max Sepulveda\u2019s (The Zenith Passage<\/strong><\/a>) ruthless drumming, the trio dominate the record\u2019s linear mix, occasionally permitting Lucas Abreu\u2019s virtuosic basslines to break through the wall of crushing brutality (\u201cThe Cloud,\u201d \u201cSuffer in Silence\u201d). Lukas Bresan\u2019s heavy Archspire<\/strong><\/a>-like growls provide additional gravity as they narrate Echoes\u2019 grand planetary saga. Drawing inspiration from the famous works of Isaac Asimov and Arthur C. Clarke, as well as the Stargate SG-1 and Mass Effect franchises, Exterminatus<\/strong> explores the universe\u2019s fundamental forces through the familiar and technical movements of tech-death\u2019s stalwarts.<\/p>\n

\ufeffEchoes From A Distant Star Part I by Exterminatus<\/a><\/p>\n

Exterminatus <\/strong>thrive when they back off the accelerator and use their technical expression to manipulate the cosmos in a manner that boosts Echoes\u2019 groove-rich currents. Closer \u201cThe Signal,\u201d is a no-frills banger that finishes with a savage dose of syncopated thrash riffs and agile drumming that aptly finds the balance between brutality and accessibility. Abreu\u2019s playful bass lines at the onset of \u201cCosmic Disturbance\u201d conveys its ominous warning with finesse, while the pulse-driven riffing of the song\u2019s end hits with the power of a supernova. Meanwhile, the heroic solo before the launch of \u201cStarbound\u201d or the melodic leads of \u201cThe New Theia\u201d provide moments of respite around outbursts of cosmic turbulence. Though Echoes\u2019 highlights are generally not as memorable as I would like, there are enough amidst the onslaught of staccatos, pummeling double bass, and light speed shifts to provide necessary touchstones and avoid a full system overload.<\/p>\n

\"\"<\/p>\n

Still, Exterminatus<\/strong>\u2019 ambitious pursuit fares better in concept than in execution. Track sequencing and songwriting diminish Echoes\u2019 voyage, hindering the whole with abrupt openings and sudden descents that disrupt the journey. Songs like \u201cPrimordial Sea,\u201d and \u201cThe New Theia\u201d suffer from bloat, while \u201cSuffer in Silence\u201d and \u201cThe Signal\u201d seem truncated. Accordingly, Echoes feels more academic than vibrant, a collection of separate tracks that are challenging to connect with, rather than an absorbing cosmic saga. Additionally, the production sacrifices nuance and emotion for volume and intensity, thereby crushing any promise of dynamics. The overly loud mix is too aggressive\u2014particularly the drums and guitars\u2014which fatigued my ears and became frustrating. Likewise, Exterminatus<\/strong>\u2019 reliance on tropey bass drops to replace the lack of energy in Echoes\u2019 peak moments are a distraction, achieving the opposite of their intended effect.<\/p>\n

Despite years of development, Echoes doesn\u2019t hit its mark. Exterminatus<\/strong> clearly possess the talent to create something special, and their commitment to crafting an ambitious, sci-fi narrative is commendable. However, the album\u2019s songwriting and production prevent it from reaching its potential, serving instead as a demonstration of what they are capable of. What Echoes lacks in cohesion, it partly compensates for in technical expression and sheer sonic intensity. But if Exterminatus<\/strong> can refine the issues that hinder Echoes, their next venture into the cosmos could be great indeed.<\/p>\n

Rating:<\/strong> Mixed
DR:<\/strong> 4 | Format Reviewed:<\/strong> 256 kbps mp3
Label:<\/strong> Self-Released
Websites:<\/strong> exterminatus.bandcamp.com<\/a> | facebook.com\/exterminatusband<\/a>
Releases Worldwide:<\/strong> April 18, 2025<\/p>\n

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