Album Review: Engulf - The Dying Planet Weeps
Reviewed by Sam Jones
Engulf are a band I’ve known of, and been following their progress, for some time. A premiere one-man band of many years now, Engulf is led, helmed and the brainchild of Hal Microutsicos, hailing from New Jersey, United States. Establishing Engulf back in 2015, the band’s first EP, Subsumed Atrocities, released in 2017 followed a year later with their Gold And Rust EP, my personal first exposure to the band. 2019 gave us their third EP, Transcendence, but then things go radio silent with releases etc five years on, Engulf finally follow up all their previous work with their first full length release: The Dying Planet Weeps. The very first album to cross my interest for 2024, I knew I had to check this record out for myself, to see the fruits of Engulf’s labours ideally pay off, especially since the band has become lately signed on to Everlasting Spew Record’s illustrious roster. With a January 12th release date planned, this is a work I was hotly anticipating.
Often, extreme metal records can storm out of the gate. But Engulf opt for the slower option, infusing their opening with a cosmic horror aesthetic and riffs that gradually build upon the preceding piece before we receive the full brunt of Engulf’s performance. It must be stated how strong Engulf’s riffs truly are, and the tone applied to them, when we recall the technical edge the band have always possessed. I appreciate that the overall vibe towards the riffs is geared towards a typical death metal performance, albeit the technical aspect is hiding there just below the surface and, in addition, the technicality doesn’t try and usurp our attention because the songwriting makes it abundantly clear what approach Engulf are going for with this record. The technical, avant-garde element feels like an extra piece as opposed to the full picture and so enables us to sit back and bask in the totality of what Engulf have crafted. Whilst the technical element is clearly a large part of Engulf’s identity, it hasn’t been thrust right into our faces so we can still thoroughly enjoy everything else the band has to offer.
Again, it must be iterated this is a one-man band. Knowing there’s a single person playing these riffs, drums, orchestrating the songwriting, understanding the technicality on display, is simply astounding. But one aspect I think may go under appreciated is simply how forceful this record is; it’s refusing to sit still and quietly in a dark corner of the room; Engulf have placed their record at the very precipice of the stage, to the point where the audience would wonder whether they’d fall off but the band walks that edge so finely our trepidations leave us soon after realising all is well. Make no mistake, this record is in your face from start to finish; there’s no hope for alleviation not is there room to squeeze out some air. Once Engulf begin with yourself in tow, that is it until the finish. The guitar work is fat and loud, and vocally you’ll be pressed to the very edge of the wall with how strongly it’s all baring down on you.
Though the riffs and their interchanging, fluidic motion may draw our attention from the get-go, it needs reminding that the drums are just as volatile and deserving of the spotlight. Much like the rest of the instrumentation, the drums can’t stand still for more than a brief moment before they feel the incessant need to change and blister our minds with more rapid fire barrages. It’s evident there was little desire to hold anything back with this record and it feels most apparent with the drumming, for bass drums aren’t merely played but kicked to maniacal degree; blast beats aren’t simply deployed but thrown at us without mercy. When Engulf wants to fish out some fast drums, it is really, truly, fast. Knowing the band’s approach to production and mixing too, the drums are thrust right to our faces so there’s no turning away from their pummelling; you have no choice but endure their weight as bass drums and blast beats fill any remaining hole or cranny or seeping of light, coating the surface and hardening as concrete.
If the instrumentation wasn’t enough to demonstrate how Engulf are something unique in extreme metal right now, the vocals are bound to do so. The delivery herein is one that feels like their sole member is reaching inside his own throat, clutched his vocals cords tight and then twisted. His performance harnesses a rich, baritone sound that’s perfectly at home with the tone applied to these riffs, and the punching production too, yet his delivery seemingly relies on his tongue a great deal for you can hear every syllable churning and moving as it’s being pronounced. Syllables can become whispers quickly, they can be sustained notes and, best shown throughout “Lunar Scourge”, the vocals often match the tempo of the songwriting so you become accustomed to the pacing much more easily than if the vocals were just moving alongside a rudimentary guitar track, had this been a more conventional band. I pin it down to a perks of being a one-man band, you can control absolutely everything to your desired effect.
In conclusion, Engulf’s first full length album is this ripping yet meandering piece that will take you down multiple avenues and roads within the span of a single track. The fact there’s eight of them in total will keep you engaged and enthralled at just how manic the songwriting can become. I think it’s a testament to Hal’s work ethic that this album took five years to release following his last EP, and it’s quality is utterly indiscernible from a band of numerous members too. Knowing everything here was crafted by a single person is astonishing for while you may feel the homegrown aesthetic from other one-man projects, that sensibility isn’t apparent here. Everything has been written and honed to a mercilessly polished degree without sacrificing impact. It’s a must listen for January.
