Ashbreather – Hivemind
November 11th, 2022
Progressive Sludge / Death Metal
Independently Released
Montreal, Quebec, Canada
Hivemind is the second full length studio album from Montreal-based progressive metal outfit Ashbreather, and it’s also the first full work of theirs that I’ve really invested a lot of time into. While I was familiar with the band and gave their first record, 2020’s self-titled Ashbreather, it didn’t really capture my attention in the same way that this record has. Hivemind sees the band go full sci-fi concept album, featuring a very out-there story of a group of scientists who study the life forms on various planets encountering an insectoid civilization which functions as a semi-hivemind, meaning that while every member of the species can hear the thoughts of every other member, they still maintain their individualism. This has resulted in a highly puritanical and judgmental society in which every insect tries to be the best insect they can be. It’s an interesting concept with obvious parallels to the direction modern life is going here on Earth in the real world. But how does the music stack up to the concept?
The music on this record is essentially one long song. While the Spotify and Apple Music releases feature the record broken up into eleven tracks, the Bandcamp release presents the record as a single 37 minute long track, something which conjures comparisons to groups like Between the Buried and Me. Instrumentally however the band definitely seems to draw more influence from the grimier side of the progressive metal landscape. While comparisons to Mastodon (particularly pre-Crack the Skye era) are perhaps a bit obvious, I would also say there are shades of bands like The Ocean as well. This record clearly takes influence from all over the genre map as there are moments where things feel very dirty and sludgy akin to a High on Fire or Black Tusk, whereas other moments feel a bit blackened, with high register snarling vocals screaming out over sections of blast beats and atmospheric guitars.
All three members of the band provide vocals on this record so it’s hard to really nail down who exactly is singing what, but I think the fact that each member provides their own style is responsible for the variety of vocals present on this album. The predominant style is this semi-clean, loud yelling that is prominent on the track “Hivemind IV”, which is also present in the opening track, backed up by a chorus of similar vocals from behind the leads. It reminds me a lot of some other vocalists in the sludge metal world, in particular Phillip Cope of Kylesa. However there are also moments where the vocals are much gruffer, featuring guttural death metal vocals or the aforementioned higher pitched screaming that sounds ripped straight from a black metal record.
The riff work, provided by guitarist Mackay Agellon and bassist Charles Richards, is positively stunning. This record features some of the most frenetic and frantic guitar work I’ve heard all year. It’s clear that Agellon and Richards are masters of their craft, because some of the shit going on here is insane. The various instrumental pieces on this album, such as “Hivemind III” and “Hivemind VII” are evidence enough of this, but there are also passages throughout the vocalized songs on this album that are just mesmerizing to listen to. “Hivemind V” in particular features a cacophony of shredding that is absolutely a standout on the record.
Similarly drummer Colin MacAndrew is absolutely on fire on this album. The drum work is technically efficient and flamboyant. There are parts where I actually have difficulty parsing exactly what it is MacAndrew is doing because of the speed and intricacy of what he’s performing. What I will say is that during these parts, where the drums are flighty, making use of the ride and hi-hat cymbals in quick succession of one another, plays heavily into the concept of the record. Whenever I hear drums like this, especially when combined with the kind of flittering noodling going on the guitars, it makes me think of a swarm of crawling insects, so the band definitely nailed the theme with these instrumental sections.
The lyrics, which are obviously written to poetically impart this sci-fi story to the listener, are quite imaginative. They do a great job of laying out the narrative from beginning to end, with some sections that really stand out from the others. For example, I love how disgusting this section in “Hivemind VIII” is: “Strip the visage from the frame, overcome with cancerous cells, now the sinews grow unchecked, spread with grand artillery shells, noxious salvo of meat, rains upon them from on high, now the change is complete, now the old ways finally die.” It’s so visceral and conjures imagery in my brain not unlike what is depicted on the album cover.
This record is also very well produced. I’m usually not a huge fan of modern metal production but in the instance of bands like Ashbreather I think it works. The drums are thick, loud and pummeling. They’re swaddled in reverb but it’s just the right amount. Every punch of the snare and kick of the bass drum cuts through everything else. The guitars are similarly loud and bombastic when they need to be, especially on a track like “Hivemind VIII” when the instrumental comes crashing in after the comparatively quiet and ambient interlude that precedes it. There are also moments where the guitars are quiet and atmospheric when they need to be. The vocals sit perfectly in the middle of everything, and they are neither drowned out nor overpowering of the instrumentals.
All in all this is a fantastic effort from Ashbreather. It blows their debut record out of the water in terms of concept, instrumentals, songwriting, production, and vocals. While I’ve listened to a lot of metal and punk released from Montreal in the year of 2022, given that this is the city from which I currently hail, this record may be in my top ten of local releases. Progressive metal is often hit or miss with me, but Ashbreather inject something fresh into a genre often overburdened by skronky wankery and carbon copy djent bands. I can firmly say that this is one of my favourite prog records of the year.
Final Verdict: 9/10
Awesome
Favourite Tracks:
“Hivemind I”
“Hivemind II”
“Hivemind III”
“Hivemind VII”
“Hivemind VIII”
“Hivemind X”
~ Akhenaten
Where Strides The Behemoth? 