BORN OF OSIRIS - Open Arms To Damnation

I respected the theoretically simple, yet practically challenging trademark that makes Djent what it is; breakdowns in ever-changing time signatures. This being the case, I decided to forget everything I thought I knew about this band, and start all over again.

I respected the theoretically simple, yet practically challenging trademark that makes Djent what it is; breakdowns in ever-changing time signatures.

This being the case, I decided to forget everything I thought I knew about this band, and start all over again. I have already heard listeners commenting about how this release has butchered the original EP by being over-produced — these are the same sorts of people that sport Infant Annihilator merch and critique slam bands for being too under-produced. In general, this song is very good the whole way, but at the same time, it is also incredibly frustrating.

The opening of the song kicks off with a series of Djent breakdowns that are great and would be a strong inspiration for any drummer, but the real body starts at about thirty-five seconds into the song. It is at this point that the riff leads into what I imagine as a battle march just before it is swallowed up into the chaos of battle; with every harmonic chug, I can imagine a spear flying through the air and whole units of soldiers falling into disarray. It is then roughly at one minute and ten seconds that a melodic lead enters, this being the height of the song, quickly vanishes.

After some more breakdowns, keyboard harmonies, and more breakdowns, you would hope that the lead which is the height of this song would come back at some point. Still, this is an amazing song. Though, a listener may have to put the song on repeat if they want to fully absorb all of its high points.

The riffs and breakdowns in the song begin almost as a type of dance rhythm for a funk jam. Strangely, this is one of the few songs on this EP that has a chorus, using clean vocals.

There is a definite classical inspiration in the leads used to build up momentum, the leads played over the breakdowns, and even the sweet-but-short keyboard solo. The vocals match the distress and misery just as well. Unfortunately, the mood is quickly compromised for a happier tune, in particular the happy sounding keyboard solo. We get to hear more segments of the diminished chords, and a few more moody vocals, but it is difficult to keep these arms open to devastation seriously when the happier tunes have set off a glitter bomb in them.

Old and New, I like this track, but every time I listen, I have to endure that keyboard solo. Honestly, the lead could not have come in at a better time. It saves the song from being skipped or ignored. From there on out, the breakdowns just keep getting better and better with the vocals and high screams.

It becomes a very neat hurricane of perfectly inter-twining rhythmic chugs and the strange clockwork fx to fairy-sounding keyboard solos. I think abstract art is an understatement and a half of a title to name this track, Masterpiece would have been far more suitable — at least after a minute into the song. This is one song that is definitely better than the older version. Have you ever seen a mixed martial arts match where the aggressor rushes in swinging then shooting for a take-down at a speedy pace?

Only to then clinch the opponent against the fence and take them out with a guillotine choke? It seems to then take you for a snooze, because the next fourteen seconds sound like a lullaby.

Nevertheless, the song continues to another soft to hard transition taking the forms of styles loosely resembling death metal and pop rock. If however transitions are not impressive to you, I believe the height of this song may be the guitar solo trickling over the chugging breakdown. This is as close to death metal as we are ever going to hear on this EP. Then to add variety, the melodic point of this song is a beautiful keyboard solo.

When the chromatic chugging slows down, there is a point in this EP where the vocals are at their absolute deepest, this kind of reminds me of Dying Fetus. It feels like a proper beatdown song for the first thirty seconds with its hostile lyrics and menacing breakdowns. The track then moves in a prog direction as we hear yet another Petrucci-sounding lead.

I think the band put that there specifically for the purpose of avoiding any possibility of sounding generic, because the hostility and menacing continue right from where they left off. The majority of this track would definitely please any listeners involved in any bare-knuckle activity — not that we would condone that.

The thrash beats transitioning into rather upbeat breakdowns make this the ideal track to have on your jogging playlist. However, for this track in particular, I think the highest point is the keyboard piano harmony serving as a beautiful outro.

Tracks such as this one merge thrash elements with melodies that would complement Disney cartoons. I remember a time when something such as this would have been dismissed as fruity due to being so unconventional.

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But today, as listeners and musicians, we are slowly becoming a generation that is more mature and cultured with our connection to music. For one, the keyboard sounds like a phone ringtone — if you have worked in an office environment for long enough, you grow to hate every type of ringtone there is. Beyond that however, the remainder of the song is salvaged by brief breakdowns and poly-riffs only to be cut short after the very well-played guitar solo.

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BORN OF OSIRIS - Abstract Art
Born Of Osiris - The Eternal Reign - Music.


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