Artificial Brain - Self-Titled

Logging off until next time.

(Originally submitted to the Metal Archives on June 23rd 2022) 

For how much I tend to dislike all things prog, I’ve got a really soft spot for what I like to call “weird death metal for nerds”, you know the type. Off-kilter riffing, drumming that almost feels random in how the drummer hits everything, the whole works. It’s one of the few times I’m okay with “progressive” music in any capacity, and I have to admit that I love the attention this microgenre has gotten in recent years thanks to bands like Blood Incantation. Obviously, most of them pay their dues to old-school legends in this field (The Chasm, Demilich etc.), but they all put their own spin on things and manage to sound really fresh despite that. Out of all of these musicians though, Artificial Brain is a definite standout. Their chaotic onslaught started in 2014 with Labyrinth Constellation, and now, 8 years later, we see the final part of this trilogy with the release of their self-titled album. It’s a great end to it, and it’s pulled off in a way only these guys could do it.

Sonically, we’re met not only with the chaotic writing style we’ve grown accustomed to already, but also with a couple of new additions, namely, some melodicism. Now, I know it’s weird to even bring up the notion that something sounds tuneful in a dissonant death metal record, but bear with me for a moment. The zipping tremolo segments that appear here are so crisp, and while they are relentless, the way they flow in and out of the music on tracks like “A Lofty Grave” and “Cryogenic Dreamworld” is so beautiful in its weirdness, and dare I say blissful. They’re still laced with a bit of dissonance, but their execution is so natural that it just ends up creating such a dreamy experience in the midst of all the chaos. What’s all the more impressive about all this is that it’s not done at the expense of intensity, these parts are as ferocious as any other moment presented here, and are an integral part of the experience.

As is tradition at this point, we’re also greeted with another set of guests who contribute vocals alongside Will Smith, and their contributions are great, as expected. Mike Browning of Nocturnus lends his growl on “Celestial Cyst”, while Gorguts’ Luc Lemay trades vocal lines with Will on “Insects and Android Eyes”, and Paulo Paguntalan delivers some great rasps across multiple tracks. The real standout for me though is Will himself, who sadly left the band after the album was released. His guttural, almost burp-like growl is similar to that of Antti Boman’s, but the way it melds into the soundscape gives it an entirely different character, as if he’s an entity that lurks somewhere in the dark depths of space, and I just love that. It’s a real shame that he’s no longer with Artificial Brain, but at least he went out with a bang.

Other than that, things aren’t too different from previous albums. We have a plethora of discordant arpeggios, grooves that make my head spin in an attempt to find the right time signature to bang my head to, and exquisite, floating basslines. The opening title track encompasses all that in a brief, 2,5-minute package, featuring a crushing breakdown at the end, setting the tone for things to come. Musically, it grabs you by the throat immediately, but it won’t reveal all its secrets upon first listen. There’s so much to uncover, like the lead line in “Celestial Cyst”, or the plonking basslines and double bass runs of the epic “The Last Words of the Wobbling Sun”, every song here is filled with memorable moments that just beg for multiple listens.

For how much I’ve praised this album so far, I can’t help but bring up my one grievance with it: the mixing. The band’s music has always had a slightly claustrophobic character, but things get mushier than ever here during a lot of the faster segments here, with the drums occasionally overpowering the guitars and the bass. They’re still audible, but it takes much more effort to focus on them, and that’s not helped by the loud metallic snare they’ve opted for here. Other than that, the instruments sound quite good, with the jangly and crisp guitars being the main attraction here, which are further enhanced by the gentle rumble of the bass, with the drums serving as a solid, if slightly too loud, base, that isn’t afraid to veer away from keeping time. It’s kind of disappointing that this is the one area where the album fails, because outside of that everything is great, and at times excellent.

Artificial Brain has done it again. They’ve graced us with yet another quality project full of sci-fi weirdness, and managed to end this saga on an exceptionally high note. It’s a release that marks the end of an era for the band, and that can be felt on every aspect of it. While it might’ve been held back ever so slightly by some questionable choices, the music manages to shine through it all, and they managed to deliver another intense, and at times gorgeous experience. The future is ever so slightly uncertain for these guys right now, but honestly, I’ll be satisfied with whatever they choose to do from now on. If they stop, they’ll have ended their career on a high note, and if they continue, they can probably reach new heights. They didn’t have any obligation to bestow such music upon us, but they did, and for that I am extremely grateful.

Highlights: Artificial Brain, A Lofty Grave, Insects and Android Eyes, The Last Words of the Wobbling Sun

Rating: 88%