| Musical Style: Hybrid Metal | Produced By: |
| Record Label: Roxx Records | Country Of Origin: USA |
| Year Released: 2018 | Artist Website: |
| Tracks: 5 | Rating: 75% |
| Running Time: 33:16 |
Biogenesis has done an expert job with its unique form of ‘hybrid metal’. Dating to its 2001 debut The Mark Bleeds Through but also including 2012 sophomore effort The Rise, The Fall, The Rebirth and third album from 2017 A Decadence Divine, Biogenesis has maintained an outside the box lineage to find it amalgamating multiple forms of metal. In terms of specifics, the Dayton, Ohio based group of founding member and vocalist Chaz Bond appends a straightforward heavy metal basis with strong leanings towards the thrash, groove, progressive, Gothic and even extreme side of things. Yes, a wide array of styles, many making multiple appearances within the same song, all of which support the Biogenesis strength of walking a fine line between the aggressive (in terms of heaviness and darker overtones) and melodic (noting the accessibility to its material despite the angst).
All of the above and more apply as it pertains to the fourth release from Biogenesis, its fall of 2018 Roxx Records five-song EP entitled Black Widow. With the momentum behind it of recording A Decadence Divine, also released via Roxx, Biogenesis returned to the studio to begin work on four new cuts in addition to a cover of the Deliverance classic “Flesh And Blood” (off Weapons Of Our Warfare from 1990). Preserved in the process is the Biogenesis propensity for composing highly complex and lengthy (seven to eight minutes) material certain to appeal to the progressive fan in each of us. Also unchanged is the signature multi-dimensional vocals of Bond, who continues to transition between a clean but lower register form (somewhat akin to Eric Clayton of Saviour Machine) and thrash-like aggression that can border on the extreme (without coming across overbearing).
Albums eight minute opening title track is classic Biogenesis. Haunting and ominous is its opening as acoustic guitar gives way to chilling rhythm guitars to recoil in and out of the mix, with impetus slowly ascending over double kick drums and occasional harsh screams. The choral vocal infused refrain to ensue manifests a contrasting orchestral metal effect (sort of like Ecthirion). Instrumentally, guitars and keyboards duel only to give way to the grand piano and extreme elements to close things out.
“Human Equilibrium” further plays up the thrash to extreme vestiges but almost to a fault. Truncated in comparison at five and a half minutes, the song ups heaviness in mauling through its power metal laden verse sections, only to lose me for a refrain in which the harshly done growls are laid on a bit thick. Keyboards allow for a lightening effect but it is not enough to prevent too much thrash like repetition, at least to these ears.
Not so seven-minute melodic ballad “Angel”. The song proves a joining of the lighter and heavier, as ethereal moments drifting to acoustic guitar and piano trade off with those in which resolved guitars lead the impassioned way. Instrumental passages abound, including the mid-point run to feature smooth harmonies and the closing minute and a half to return to an atmospheric direction. Of note is the moving vocal performance of Bond, whom unveils the somber and lower register side to his delivery.
The “Flesh And Blood” cover fits well with the thrash based Black Widow focus. No doubt maintained is the raw assaulting mentality to the Deliverance version but imbued with the Biogenesis flair for the dramatic, as found in keyboards to allow a symphonic effect and extended instrumental breakdown featuring an outside the box keyboard solo and occasional tinge of piano. Tip of the hat again to Bond, but this time for contrasting the classic tenor of Deliverance front man Jimmy Brown with his renowned darker and at times extreme slant.
Closer “Anti-Evolution” draws upon a power metal basis not unlike “Human Equilibrium” but without the overriding extreme facets. I find it much easier to digest as a result, no doubt assailing with its guitar and double kick drum focal point and certainly not the catchiest but essential all the same with its concentrated demeanor. Again, I appreciate how Biogenesis makes use of piano instrumentally.
I find it problematic assigning a final grade to EP releases as opposed to those full length in that due to their shorter span, I grade on a tighter curve. It is much easier, for instance, for a band to come up with five or six good songs rather than the ten or eleven that commonly attribute to a full-length offering. Hence, the 75% score for Black Widow due to hitting the skip button once out of five songs, a particular I would find a lot less pressing if it had been a full length with twice the material.
My impression of Black Widow is that it finds Biogenesis straining towards a thrash and extreme sentiment when factoring “Human Equilibrium”, “Anti-Evolution” and “Flesh And Blood”. That said, “Black Widow” and “Angel” hearken back to the lengthier, progressive based material to A Decadence Divine. Whereas my personal taste might strain towards the latter, I can see those into the Biogenesis side embracing the former. All things added up, it is good to know Biogenesis has such a wealth of material to allow it to record an EP on the side to begin with. Fans of Biogenesis and the styles presented are strongly encouraged to make Black Widow a priority purchase.
Review by Andrew Rockwell
Track Listing: “Black Widow” (7:54), “Human Equilibrium” (5:29), “Angel” (7:10), “Flesh And Blood” (7:24), “Anti-Evolution” (5:19)
Musicians
Chaz Bond - Lead Vocals
James Riggs - Rhythm Guitar
Luke Nealeigh - Lead Guitar
Sam Nealeigh - Keyboards
Dan Nealeigh - Bass
Eli Closson - Drums
