Dygora really knocks it out of the park on this E.P – Lovers of old-school as well as modern death metal alike will enjoy “Chambers Of Reflection”
Omar Swaby’s vocals really stand out to me, his timbre is so dirty and gritty and suits this band so well. His phrasing and whole vocal style is reasonably original for this genre. It’s almost like grindcore vocals overlaid over death metal instrumentation. From just 30 seconds into the E.P I’m already hooked because of the outstanding vocals, but I won’t overlook the instruments. There are many slow, palm muted, evil riffs in this album, they are dark and sardonic, and sync so well with the bass and kick drum, making a stabbing, distorted, blasphemous sound that really makes this band more brutal than many of their contemporaries.
The Guitar work of Reece Beasley & Mark Cross are paralleled by the equally talented Archie Farrer on bass. The drums, played by Kieran Heraghty are exceedingly tight & professional. With natural sounding, clean, tight double kicks and occasional blast beats throughout the E.P. Heraghty has vibes of Vitek (Decapitated) and Gene Hoglan (Dark Angel, Death, Devin Townsend) and about him, and he is one of my favourite metal drummers, so kudos Kieran!
There’s an interesting idea behind the E.P’s name, “Chambers Of Reflection”. A Chamber of Reflection is a room in some Freemasons lodges, where initiates are prepared to enter the lodge room for a ritual. The chamber is a small, dark room with an altar, candles, sulphur and various symbolic objects including a replica human skull, used to reflect on one’s own mortality. Definitely some cool thought-provoking imagery that suits this E.P very well.
The opening track, Aurora, starts off slow with some malevolent chords and deep, beastly growls. We then hear some of those sick double kicks and blast beats I mentioned earlier. Aurora stays a bit more old old school in its structure, but still has lots of modern flair that suits the theme of the E.P and the band in general. There are a few more Cannibal Corpse-esque pinch harmonics throughout this song, and it ends with a slow, brutal breakdown and fade out.
The Title track also is more classic death metal than the last two tracks, very classic sounding riffs, like Morbid Angel or Death, and, again, a lot of the speedy double kicks I love so much. This song shows off more of Swaby’s skill of switching from low to high growling, also ends on a fade out.
Lucy starts with a brutal riff and even more brutal vocals. This song is my personal favourite, it is very progressive compared to the preceding tracks and shows the most vocal skill of the album. It definitely has some slam-death influences in the riffs. Lucy certainly seems like it would be the best to see live; the vocals are fast and to the point, while the instrumentation in many parts is slow and deadly, a great combination for the carnivorous rampage of metal that is “Chambers of Reflection”
Black Man has enough quick triplets to last a lifetime. A very fast and evicerating start that slows down for a deep palm muted section, ending with a spoken word sample, which then leads into the heaviest part of the EP; a drudging, evil breakdown. Evil riffs, evil voice, you just can’t fit too much evil into this album. It fades out, yet again, but comes back with with a clean section with some more spoken word and end finishes.
Uncommon for death metal, every song on the E.P ends with a fade out. I have nothing against fade outs, but to end every song the same way (no matter which way that is) is just too repetitive. But that’s the only thing I can fault them on, and aside from that “Chamber Of Reflection” really stands out as a non-conformist, innovative, death metal E.P.
The new single Lucy from the EP ‘Chambers of Reflection’ Purchase ‘Chambers of Reflection’ HERE