People outside of the Metal realm know Cameron Argon as Big Chocolate, a whiz at remixing and production who flattens listeners with his brand of Dubstep, Hardstyle, and Drum and Bass. People inside the realm of Metal know him for his guttural vocal work with BURNING THE MASSES and ABOMINABLE PUTRIDITY. While he’s praised in both musical styles, it might be his mixture of the two that’s the most intriguing.
Argon is the mastermind behind the one-man act DISFIGURING THE GODDESS, a Brutal Death Metal project that sounds like it’s being bent over and gang-fucked by a mob of Transformers. DTG’s (you better believe I’m abbreviating that shit) second full-length album “Sleeper” isn’t going to be loved by everyone. Not by all the douchebags who dance retarded to his Rave-Techno mixes, and not by all the sleepy-eyed scene kids with bangs and neck tats at Deathcore shows. It’s simply either going to be too ‘angry’ or too ‘dumb.’ But for those who are down, welcome to the motherfuckin’ party, because this album is hyper-heavy.
Even without knowing what DTG is all about, once the thundering album-titled opener begins, the blindingly quick drums should be an immediate hint that we have some serious programming going on here. But there’s nothing wrong with that, especially on an album like this. We have one guy doing it all – one talented and young sonofabitch who, aside from imbuing this album with a huge sound and production and some truly momentous sequences, also apparently has some pretty considerable guitar skills. There’s not much Argon can’t do, and like a true innovator, he makes this known on “Sleeper.”
If this review is perhaps straying too far in the direction of Industrial or whatever, let’s clarify: this is Brutal Death Metal/Core with elements of Slam and Electronica. This music is righteously pissed and heavy and technical and not short on going for broke when the moment presents itself, which, fortunately for us, remains unpredictable. There’s an unorthodox, nearly experimental style of riffing and song structure here that reminds of ION DISSONANCE, but then there’s the slamming, which the album delivers in liberal doses. I wouldn’t go as far as calling this a straight Slam Death album, because, really, “Sleeper” does a lot more than that.
The usage of keys can be a bit of a distraction for certain Metal fans – ahem – but Argon does an effective job of placing them in spaces that don’t detract from a head-smacking groove or one of the album’s incredible drum assaults. There’s a keyboard moment in “Queen Kingdom” that reminds of that awesome nightmare sequence in Pee Wee’s Big Adventure; a chainsaw sample in “Daughter of Depths” is ably mixed into the chaos; and the occasional Ambient passage, as can be heard in a track like “Lady Epicenter,” is also graciously and evenly applied; for the most part, these melodic and detailed flourishes simply add further character to this multi-armed creation.
Argon’s vocals are what you’ve come to expect. They’re deep and grumbling and they’re mean as a junkyard dog. Appreciable is the fact that he doesn’t throw his vocal weight around too much; he’s definitely an omnipresent force, but like so much of the album, he’s aware of when and when not to shut up, allowing the music, which is seemingly always on the verge of exploding or dying or weaving around any number of manic polyrhythms, to flex its kinetic
Yeah, synonymy is a bit of dilemma here; the metallic underworld that Argon manufactures is wild and perverse and dynamic, but does sound rather familiar after the first three tracks or so. Of course, this really doesn’t take away from the overall effect of “Sleeper.” There’s so much intensity and progressive idea-shaping going on in these seven songs that you’re more often than not ducking out of the way, letting its razor-sharp ingredients cut a swath, and admiring all of the hard work Argon has put forth. The brutality slams like cascading anvils and the pace is just as inexorable. This thing might be a little too hip for its own good, but "Sleeper" is one of the better and most surprising Death Metal releases of the year.
(Online May 14, 2012)