When Danish band The Interbeing released their debut album ‘Edge of The Obscure’ in 2011 it was named “Album of the Year” by the largest music magazine in Denmark, GAFFA and was highly regarded worldwide. For some reason it has taken six years for the band to return with their second, and how we have a visionary dystopian concept album to fathom. Its base is technical metal, while it also brings to bear polyrhythmic Meshuggah-inspired sonances and soundscape peaks with great evoking choruses that would get Devin Townsend’s stamp of approval. It is downtuned, bass heavy, and very much dominated by the lower frequencies, so that when the band lift it and provide a different vocal style it feels very different indeed.
That there are similarities with deathcore is undeniable, as is the impact of Rammstein and Linkin Park, and the result is an album that is complex, incredibly heavy, yet also maintains pop sensibilities. Produced by Jonas Haagensen and mastered by Jacob Hansen at Hansen Studios (Volbeat, Dizzy Mizz Lizzy, Pretty Maids), the sound is clean and crisp, allowing the keyboards to come through just when they need to, without losing any of the power and force of the guitars. It is a huge-sounding album, something that has been designed for arenas, with hints of U2 in its approach. They may not be signed to a well-known label, but there is every possibility that this album is going to make The Interbeing a very popular band indeed.
