Before I get into the review, I just wanted to let it be known that this album completely made me change my mind about Born of Osiris. Back when people were saying “Fucking Bow Down” I was saying “Fucking Shut Up.” I am proud to say that these guys have since written a great album, and may make my Top 10 for the year, entitled The Discovery.
The album kicks off in a big way with Ronnie Canizaro growling the first track’s title and opening lyric, “Follow The Signs.” This song, from what I understand, is the first actual hit off the album and I’d have to say it was a smart decision as this song grabbed my attention at first with great synthesizer work by Joe Buras and then the guitar duo of Lee McKinney and Jason Richardson hit me in the chest with Meshuggah-esque chugging. The next track, “Singularity” had a similar feel with chugging guitars and great synth work. Then came “Ascension” which seemed like almost an intro for the following track or even an interlude of sorts.
At this point, one of the heaviest tracks comes out of the abyss to smack you across the face, “Devastate.” The entire song absolutely defines what your typical deathcore band is (with the really creepy synth melody at the end to leave you feeling used and abused). The chugging guitars are in heavy distortion and plentiful as now we get to hear a subtle bass break from David Darocha. Up next is another one of my favorites, “Recreate.” This track really stuck with me for awhile because of the very weird, unique, yet not annoying, riff towards the beginning of the song. Then the chugging guitars turn into rhythm guitars that really give the song an epic feel. If you aren’t one to listen to an album straight through, this track should and must be played.
“Two Worlds of Design” is another great track that shares both brutality in its guitar work and then becomes melodic with more memorable synth work, only to drag you back to brutality. I’m guessing that’s how they came up with the title of the song, (this is the part where you look and make the realization and say OHHHHHH!). Then comes the biggest jaw dropper in the entire album. “A Solution” enters your ears with all synth, very low amount of drum work, and… ready for this? Clean vocals…. yes…. and you know what…. it’s epic as fuck. For just over two minutes you actually feel yourself trip out to the beat and the melody. But you are quickly grabbed back down to Earth with “Shaping The Masterpiece.” This track contained something I was also not to familiar with from BOO, and that was a guitar solo. And the best part is that it was actually pleasing to listen to in the sense that it wasn’t over the top nor was it just a lazy little lead. And then the song works to create what I can only explain to you as an acid trip while sitting in Church. Weird beats, interesting melodies, and creepy people moaning.
After you get your head screwed back on by a thunderous intro into “Dissimulation,” another guitar solo comes in to shred you face which is then followed by more head crushing chugging. “Automatic Motion” then makes its way in with a funky intro only to rip your face off with more leads and chugging guitar work. A little over the 1:40 mark we hit what I felt was one of the best breakdowns of the album, with a very familiar Meshuggah guitar toned lead with heavy guitar crushing work in the background.
And another interlude makes its way in called “The Omniscient” which felt like a less flashy George Michael song minus the terrible lyrics and… well George Michael. Nonetheless, I loved the guitar melody being played throughout the 2 minute break from brutality. Then comes another aggressive track called “Last Straw.” A few times in the songs you can hear “This is your Last Straw!” and then later followed by a bone crushing breakdown. Normally I’d probably rag on the whole “last straw” metaphor because Metallica ruined it with their own version of said metaphor in “Shortest Straw.” But BOO saves it here on one of my favorites of the album.
To wrap up the end of the album, we have “Regenerate,” “XIV,” and “Behold.” The first of which had a reoccurring drum theme that sounded almost like a tribal beat for some cannibals in the Amazon. To this point I am not sure whether that was awesome or just weird and an attempt to be different from an already boring sub-genre, however, the song picks back up and takes up another epic feel around 2 minutes in. At this same point you hear subtle clean vocals in the back which was a much better surprise then tribal drums. The song then fades out with another weird, almost techno, melody and beat into “XIV,” our last interlude of the album. I felt this was just some waste of time filler before emptying into the last track which was well worth the wait. “Behold” had a much more straight deathcore feel to it in the first half or so of the song where I felt like I was listening to The Red Chord (which isn’t a problem by any means). Later on you hear amazing guitar AND bass work, yes you actually hear the bass, that wraps the whole album up in a chug infested box and throws it at you.
Overall, I may be a bit biased towards deathcore in general since it really wasn’t ever that great to me and has only gone downhill, but these guys cut a solid album and I think it has been their best yet. For current fans of BOO you will be pleased with this album without a doubt. For newcomers, like myself, I recommend you listen to the first release from these guys before you hit play on The Discovery so you can see the growth and appreciate it more. Putting my bias aside, I stand by my word and say that this album has a sure shot of making it onto my Top 10 of 2011.
- Follow The Signs
- Two Worlds Of Design
- A Solution
- Shaping The Masterpiece
- Automatic Motion
- The Omniscient
- Last Straw