It’s safe to say that Gothenburg metallers Inevitable End would be a challenge too far for many. Their chaotic and brutal blend of death metal/grindcore/hardcore punk, is as welcome as having parts that should be delicately scratched, sandpapered with the coarsest of grades. Their new album “The Oculus” on Relapse Records is no exception, as its harsh sonically, blinding and aurally assaulting sound leaves the listener crushed in a foetal position under the speakers that unleashed the beast.
Many tags are thrown at the Swedish quartet, alongside those mentioned some have labelled them as thrash death metal, mathcore, crustcore, and a tech-death band, to pick on a few. This goes to show that Inevitable End simply blast their own way and sound through the rock world with devastating effect, offering and giving no mercy as they employ parts of numerous sub genres. Even the most hardened of ears will find listening to The Oculus a draining but also a satisfying, testing experience.
The obvious problem with bands like Inevitable End and they probably more than most, is that their senses stripping attack hides some rewarding and creative melodic sounds and hooks that constantly spark into life, but under the weight of the raw intense primal noise are extinguished before being noticed unless people search deep within a song, which again the gruelling cacophony makes difficult.
The album, over its 38 minutes or so, creates a sonic soundscape from a tapestry of bands like Dillinger Escape Plan, Cephalic Carnage, Converge, as well as offering traces of intrinsic and vital ideas from the likes of Blood Brothers and Five Star Prison Cell. Tracks like the metal chaos of ‘Escaping The Black Hole’, ‘While Surpassing Ether’ with a grumbling hardcore/math rock fusion, and the punk driven ‘Chambers Of Apathy’, all show strong diversity if one looks for it.
It is hard to listen to the release in one sitting despite its reasonably short length but three exceptional tracks do help to alleviate the demanding effort with very rewarding effect. The first, ‘Tell Us Parasite’, opens the album and the start of the destructive path into the ear, as well as setting the albums tone; the twangy grooves underneath the maelstrom of noise bringing visions of 80’s Irish band Stump in an aural blender. ‘Memento’ drives along smart hooks and guitar play that grabs attention from within the thick blanket of a warped sludge rock sound, offering up its merit for the best track, but it is the third song ‘Zen’ that is beyond doubt the strongest moment on the album. From the opening note an incessant wasp buzzing drone is insistent; never leaving the listener alone as it outshines and outlasts the chaotic bedlam to the end. The only criticism is that the track is so short, just as one is completely hooked its gone, swatted away by the next.
As mentioned, listening to “The Oculus” completely in one go is not easy but it is worth the ordeal with repeat plays even more rewarding as the real qualities of the album come out the more one listens. The duo of Andres Gerden on vocals shouting and growling as if his life depended on it, and Marcus Bertilsson with his often spiky but creative guitar, craft the songs in different ways just as the intense drums of Joakim Malmborg and the guttural and impressive basslines and riffs from Johan Ylenstrand, drive each song onward unrelentingly, all four combining into a tight, mayhem creating, unit.
It is hard, it is challenging, but overall “The Oculus” is rewarding if you can last the ride. Just do not expect to escape without bruises as its hurricane abuse hits hard with mighty blows. Inevitable End does not care for your health or safety; they just want you to remember that there is no escape.