There are similarities here to a bunch of bands. In the riffs can be heard the thrash of Machine Head and the intricate complexity of progressive and tech death bands. Coupled with huge intervallic leaps are the odd twists in rhythm and time-signature changes characteristic of Meshuggah – clearly one of Adimiron's most apparent influences in both riffs and sound. And in the vocals, there are elements of Killing Joke and Katatonia. But given that this is their third album, it would be unfair to imply that they are no more than a band that are treading water in imitation rather than purposely riding the waves of innovation. Any band at this point in their development that is still derivative or reliant upon clichés needs to seriously rethink their approach. Fortunately, Italy's Adimiron, ten years in, are not one of those bands.
The barrage of tech death mastery, off-time rhythms and skewed riffs, and angry and melodic bass lines fused into concentrated earth-moving might is relentless from 'Oriens', through 'Where Nothing Changes' and into 'Vertical Limit'. Altering the feel of the album entirely, 'Passenger' is a surprise track, opening with clean guitars and a melodic vocal accompanied by what is, it has to be said, some fine bass work from Villeato, that builds into some mighty riff work, Castelli's multi-layered guitars being utilised to great melodic, harmonic and rhythmic effect. 'The Whisperer' and 'To Whom It May Concern' mark a dip in proceedings. They're not weak tracks at all and the band provide fine performances but they make less of an impact than what has hitherto been a striking album. All the better, you may say, for 'Above The Rest'. Combining electronica with atmospheric guitars and a calm, melodic vocal, this is one of the most interesting tracks here. The guitars and vocals complement and bounce off each other, and the drum and bass work is astounding, driving the controlled dynamic, keeping it in check, and colouring the track with detailed flourishes and intricate nuances. The leaden, dark chords, tech riffs, and pounding chugs of 'Red Condition' are, thanks to the well-thought out sequencing of the tracks, that much more bruising as are the Machine Head-styled thrash pummelling of 'Servants Poem' with its Rob Flynn-meets-Burton C Bell vocal delivery. Rife with downbeat riffs and restrained yet powerful drumming to enhance the dynamic with some stylish patterns and fills, closing track 'Thou Walk Eternal' is another contender for best track.
There are, as mentioned above, traces of key bands, but what they have done to integrate those bands – and others – into their sound to develop the band's identity is evidenced in the solid structures of the tracks, each different from the next, and the dynamic shifts within the songs. They shift easily between full-on battery to full-on complexity to full-on lead work that colours the tracks with deeper dimensions and intricate layers. Spinelli's vocals shift easily from all-out aggression to melodic easily, his delivery underscoring the tracks with fire and passion. The guitar work of Castelli is broad in its scope from the melodic to the muscular and technical. Villeato's bass work rises to the challenge of such an accomplished guitarist and fleshes out ever track with some seriously tasty lines. Maragoni's drums are second to none. And with crystal clear production that is exceptionally heavy, each instrument is a silver brick in the monstrous edifice that is K2. Highly recommended.
- Where Nothing Changes
- Vertical Limit
- The Whisperer (feat. Dave Padden)
- To Whom It May Concern
- Above the Rest
- The Red Condition
- Servant's Poem
- Thou Walk Eternal