Phobophilic - Enveloping Absurdity

Eyes glaring from beyond.

(Originally submitted to the Metal Archives on December 28th 2022) 

Two years ago, I had covered the Horrific Manifestations split between Sedimentum and Phobophilic, two young bands without many releases to their name. In that review I had mentioned how I was looking forward to their eventual debuts whenever they’d come out. And wouldn’t you know it, they both decided to drop their full-length debuts in 2022 less than a month apart from one another. The topic of this review is Phobophilic’s Enveloping Absurdity, an album that turned out to be quite the pleasant surprise, especially when considering the fact that what I heard on the split hadn’t surprised me in any way.

Like any self-respecting (quotation marks optional) death metal band in the 21st century, Phobophilic draws from the past in regards to its influences. What makes them stand out a little more compared to the average Entombedcore or caverndeath band is their tendency to look towards the Finnish scene for inspiration, which just so happens to be my favourite take on the sound. This manifests in many ways throughout the album’s 38-minute runtime, something that in itself is reflective of how different the Finns sounded from one another. You get lopsided Demilichian riffing on tracks like “Enantiodromia” and “Survive in Obscurity”, as well as some percussive bludgeoning on “Nauseating Despair” and the title track. They’ve even thrown in some crawling double-bass driven tremolo riffing in, as seen on “Those Which Stare Back”, making sure that even people who like Incantation but don’t want to listen to them can get their fill.

While this might sound like a derivative release, it’s everything but, thanks to the members’ performances, in particular the guitar work. Josh Poer and Aaron Dudgeon are an excellent duo, and the soloing that’s showcased on Enveloping Absurdity is constantly exciting, with each track boasting at least one memorable lead section. What makes them stand out all the more though is how tuneful they are, with an undercurrent of melody coursing through the generally malevolent feeling of the music. And it’s not the sappy kind either, but the type that burrows into you and takes you further down the album’s labyrinthine corridors. The leads can range from blazing, like the one near the end of “Enantiodromia”, to more solemn and wailing, as seen on the midsection of “Those Which Stare Back”. It’s a treat for the ears, and despite their general virtuosity they never go overboard with it.

The production is also appropriately dank, bringing the most out of the music. The guitars have a buzzing tone to them, and it thankfully manages to retain its heft during thanks to the fuzzy bass that props it up and gives it more definition, while the drums’s pounding is front and centre without being overwhelming. Which is great news, because the drumming is actually pretty elaborate and does more than just keep time, with some nice cymbal patterns, and even a brief drum solo on “Cathedrals of Blood (Twilight of the Idols)”. The mixing also helps further elevate everyone’s playing here, with a very dynamic job being done so that everyone gets a chance to shine outside of the more straightforward segments. Whether it’s a bass break, a drum fill, or a solo, they’re all highlighted nicely and stick out in just the right way.

Now, despite how fun the album is, I can’t help but be a stickler and complain about a thing or two, as one does when writing a review. For one, there’s “Individuation”, the obligatory acoustic interlude, and though it is surprisingly elaborate, it doesn’t really add much to the experience outside of transitioning directly into “The Illusion of Self”. It also lasts for nearly three minutes, and to call that anything other than absurd (get it?) would be doing it a disservice. I’ve already written extensively about how I tend to find interludes completely unnecessary so this isn’t anything new to anyone who for whatever reason has been following me over the past three years.

Other than that, and a few sections that didn’t grab me as much, everything goes off without a hitch, with the group being a well-oiled death metal machine. Phobophilic’s debut may not be the most out there death metal release of the year, fitting snugly in death metal’s pre-existing boxes, but it does some rather interesting things with the tools that have been given to it, resulting in a surprisingly distinct sound. Enveloping Absurdity managed to exceed expectations, making me go from “Eh, they’re cool I guess” to a fan, and I’m glad for that.

Highlights: Enantiodromia, Those Which Stare Back, Enveloping Absurdity

Rating: 86%