Human Improvement Process [Italy]
Deafening Dissonant Millenium
Technical Death Metal/Deathcore
With compatriots such as Hour of Penance, Fleshgod Apocalypse and Logic of Denial each pushing the boundaries of death metal in Italy, Human Improvement Process left me with rather high expectations. The sci-fi themed cover artwork and album title certainly made things even more exciting, and one would almost expect a highly technical and addictive record especially with recent releases by bands like Wormed.
Introductory track Jenova strengthens this expectation with the atmosphere and ambient that is laid down by the band, and the tension and climax that the band manages to set up with the sudden crushing riff towards the end of the track. Things certainly sounded promising indeed as all hell breaks loose with title track Deafening Dissonant Millenium, and the technical riffs of guitarists Fabio and Francesco easily reminds one of bands such as Decapitated. Apart from the complexity in the riffs that are unleashed, the axe-wielding duo also constantly experiments with their playing style, and one is kept constantly surprised throughout the album with the wide variety of influences that could be spotted, ranging from the machine-like playing of Meshuggah like on the opening moments of Erase to more melodic moments.
On top of the guitar wizardry on the album, the relentless blasting that drummer Alessandro provides also ensures that Deafening Dissonant Millenium is one hell of a heavy and intense listening experience. To further deepen the impact of their style, the band brings in some hardcore moments as well, and breakdowns are aplenty throughout the album. Vocalist Stefano also experiments with different styles of vocals, and apart from the death growls that one is familiar with at times he uses a more hardcore-styled shouting/screaming.
While fans of hardcore or deathcore might find Human Improvement Process‘ debut appealing, this unfortunately doesn’t work well for me, and often these -core moments mar the experience and the flow of the music, especially with the inclusion of the electronic elements on songs such as Empty Eyes.