Album Review: Disfiguring The Goddess – Bloom

Album Review: Disfiguring The Goddess – Bloom

Reviewed by Matthew Williams

In my somewhat earnest quest to listen and review as many new and varied artists, bands and genres as possible, it has led me to a path of the industrial heavy metal project of Cameron Argon, aka Big Chocolate. Argon is known as a dubstep producer and death metal vocalist, so this release should be something innovative for me to enjoy.

There’s a huge number of songs on this album, 17 in total, and as Argon says, it represents “fifteen plus years of total creative autonomy” and sees “Disfiguring The Goddess awakening from a long slumber to become what it was always intended to be”. The sprightly “Samba of the Faceless” begins the aural assault with a mash up of different heavy sounds which is then detonated by the relentless hammering given out during “Echoes Fade, I Remain”.

The mix of death grunts and raw intensity results in fiery, violent soundscapes like the chaotic “Deathcore Song” which has a screeching guitar riff pulsating across it and backed up further by the likes of the freaky “A.W.O.L” which surprisingly has some clean vocals, and monstrous “Mask Off”. However, when you arrive at “Low Slam Low” you are treated to a series of blast beats, tectonic slams and gratuitous guitar noises which drain all the energy out of your body.

This album is unlike anything I’ve heard for quite some time as the EDM nature of the compositions twist and turn like a speeding cyclist descending one of the scary mountain roads in the Tour De France. By fusing deathcore with pure raw intent, it’s a volatile cocktail of noise that continues in “Goddess Box” followed by “Deep Sway”. However, the songs are full of contradictions, as they contain “violence and groove” alongside “precision and chaos” and this is typified by “Kiss the Dice” as the riff explodes out of the speakers.

There’s lots to explore across this carefully crafted album and I especially enjoyed listening to “Pleasure Island” with its hip hop/samba sounding interjections fused with the insane death vocals. It leads into the much more disturbing nature of “Old Man’s Bones” with it’s textured overlays and unexpected melody, creating an air of vulnerability. The punishment ends with “Penance” which is somewhat ironic, as I don’t think for one moment that Argon is atoning for his sins, as it’s another brutal attack of demonic noise for the listener to digest.

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