Intent on recreating themselves, Australia’s OUROBOROS used the demise of an old name (DRED) as the birth of another. Sure, it’s a clever ploy…well, not really, but it is appropriate, especially considering how the serpent’s mouth is devouring said initial crap band name; an appellation that bore a single demo (“A Path to Extinction”) back in 2006. With the debut of their startlingly dynamic full-length album, “Glorification of a Myth,” OUROBOROS have extinguished any doubts concerning quality, but rather bring about the question of how soon we can expect a follow-up to such a brilliant blast of Technical Death and Thrash.
From the word ‘go,’ “Glorification of a Myth” lays out a consistent swell of impressive, insanely tight riffing and drumming. The blazing speed by drummer David Horgan is matched by the melodic chops of tandem axemen Mikhail Okrugin and Chris Jones, a pair who play amazingly well with and off one another. The opening song, “Black Hole Generator,” one of the more progressive and lengthy of the album’s 10 tracks delivers an exemplary taste of what you will experience throughout the album’s remarkably riff-obsessed visage.
While other Technical Death bands go for broke in the scale-climbing department, a genre requisite, OUROBOROS do so with a knack for keeping the listener entranced with sheer precision and its uncanny ability to race and dart and wind song structures into an accessibly hypnotic maze of beautiful notes and dangerous rhythms. Although the band certainly wields a Death-like approach with its vibrant and unorthodox musicianship and deep and gruffly roared vocals by lead vox Evgeny Linnik, “Glorification of a Myth” sounds much more like a distinctly bass-heavy Thrash album that just runs wild when it’s let off the leash.
Succeeding a frantic first half of the album, “Glorification of a Myth” opts to slow down a bit and wield a more diversified sound with more tempo changes and mid-paced Death-styled riffing. For Thrash fans seeking a consistent atomic assault, do not fret, the velocity and pinpoint shredding and solo work is as memorable as it was over the album’s initial 25 minutes, perhaps more so. “Disembodied Mind” rolls in massive with head-banging chugging and brilliant drum and bass work (Michael Conti), and the astounding “Panacea,” a triumphant Metal track that covers technical riffing without the genre’s tacked-on pretension, is perhaps the most vigorous track for its even usage of melody, aggression, and top-notch instrumentation, though, I hesitate to deem it the best as gargantuan riff-fests in the form of “Edifice of Tyranny” and “Animal, Man…Machine” hold stake as the most impressive and memorable.
While the album suffers a bit from its overwhelming barrage of Thrashed-out ostinatos, the accuracy and energy employed by OUROBOROS is some of the year's most daunting, and strenuous a task it remains to downgrade any of the album’s artfully-crafted tunes. “Glorification of a Myth” may not be the most original work, but it sets a genre standard with its balance of amazingly rapid and intricately played Thrash and Death.
As far as unsigned bands go, it really doesn’t get better than this. Like their namesake implies, OUROBOROS are poised to be gobbled up.
Me(n)tal Note: “Absent from Entity,” “Animal, Man…Machine,” “Sea to Summit,” and “Edifice of Tyranny” comprise DRED’s four-song demo.
(Online September 14, 2011)