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NEORHYTHM
Zetetic

Self-released (2018)
Rating: 7/10

Somewhat of a cosmic groove metal opus, Neorhythm’s Zetetic makes for a rather interesting listen. I know little about this galactic duo from Finland, and wasn’t sure I was going to like what has been described as “metal from space”. But as debut albums go in 2018, it’s an inventive one.

Opening track ‘Molten Mind’ begins with a catchy chug to aid the aggressive vocal spits, although there’s nothing remotely cosmic or dazzling about it. The track hints at an abrasive industrial style along with latter day black metal / Moonfog aesthetics with that stark and thorny traipse, but it’s very much agreeable in its stomp.

‘Second Stance’ is a steady juggernaut; again, the guitar and drum chug is communicable while the vocals are a choking, growling menace to contend with. Damn, I could imagine these guys teaming up with Mike Patton (Faith No More) for a few maniacal vocal interpretations. In a sense, that’s where this debut platter sits, Neorhythm creating a jarring but very accessible metal noise that creeps at times with eerie aplomb. Imagine a melting pot of Ministry, Prong, Malhavoc, et al, the structures often bruising in their construction as ‘Golden Mean’ rattles with threatening behaviour and ‘Cosmic Genes’ nods towards a spikier, mid-90s Sepultura.

Some of you old enough to recall may remember that innovative time with metal between 1989 and 1992 when bands ranging from Helmet to Grotus to Faith No More made their name, never quite being commercial gods but somehow flirting with the mainstream with their strange trade. That’s where I’d place Zetetic, because this is a very heavy, brooding record whereby tracks such as ‘Dark Matter’ or ‘Nanogods’ could easily appeal to Pantera fans, or Fear Factory followers, or anything in-between or around the edge if you catch my drift. And yet strangely, Neorhythm are not as creative or anywhere near as good as the bands mentioned. They do have a certain hostile charm to their aggressive plays, however, although it’s one that also feels rather modern, maybe due to the production of Vladimir Lehtinen, who allows cuts such as ‘Pictures Of Future’ to hammer and slog so brightly.

Vocally, throughout, the rasps are volatile spits that don’t exactly stand out but as a whole, Zetetic feels like a well-rounded and almost comfortable big groove where tracks such as ‘Matrix Sleep’ churn and roll with aggression and muscular melody.

Nope, it’s not as extra-terrestrial sounding as I would have liked, but as ‘Quintessence’ rumbles with that juddering guitar tone and the vocals foam with rather generic aggression, I’m still thankful of the chance to visit what was not as unfriendly a planet as I expected.

Neil Arnold

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