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Basically the last album with shittier production - 35%

MutantClannfear, August 18th, 2011

So this is apparently the place where Origin's career dramatically changes. All the people who used to hate this band suddenly hear this album and come out of the listening experience fellating the band. The critics unanimously agree it's great, and that it flattens out all the faults Origin have ever made. After wading knee-deep through Antithesis drool, I decided to spin the album myself.

It sounds the exact same as the band's last two albums.

Oh, sure, there are "subtleties" between these albums, but let's not bullshit ourselves here. If you've ever listened to Origin before, you pretty much know what to expect: weedly riffs backed over ridiculous amounts of 6/8 blast beats. Considering this band's been doing the same thing for their entire discography, they're apparently a band you either love or hate with no middle ground, so I suppose I'll just have to sit on the other side of the fence from everyone else. I'm sorry, but this album doesn't cut it for me. The riffs are still totally unending tremolos, though to be fair, after ten fucking years of existence the band seems to finally be attempting to mix things up; there are a few moments where the drummer stops hammering on the snare like a fucking lunatic for a second (!) to release momentum, the lack of which was one of my big complaints about Origin in the first place. Origin also slow down a bit more and try to incorporate melodies that aren't disrupted with ridiculous amounts of snare blasts. Their shitty plastic guitar tone keeps the melodies and slow sections they exhibit on this release from having any real worth, even on the pretentiously long title track, but hell, I'd give points to the band for playing even faster and more annoying at this point simply because it'd mean they were doing something new. Sadly, the riffs have lost the streaks of memorability and emotivity they gained on Echoes of Decimation - no, the band apparently decided it'd simply be more fun to give a big "fuck you" to fans of the band and to start playing unmemorable wank again. And then they had to add the ever-present shitty guitar tone and the flat, bassless production job on top of the shitty tech-death, as if to finally hammer the stake into the heart of technical death metal with actual merit.

As for Origin's boring, forgettable vocalist, I'm not sure what to think of his performance on Antithesis. He's still doing his typical barks and choking-on-blanket growls and what have ye (he's stopped using his stupid high, wispy screams so often - apparently Jesus came down from heaven and told the man that he had better shut the fuck up for the sake of all that is holy), but there's a catch - the sterile, neutered production job, with 90% of its emphasis on the guitars, has almost completely overpowered him in the mix. Should I commend a band for drowning out their shitty vocalist, or scold them for doing so by means of an even shittier guitar tone? I'm not exactly sure, but a much better solution would be to simply boot out the old shitstain and get a vocalist that doesn't absolutely suck at what he does.

Origin's most-worshiped album is the band's worst to date. Why is this not a surprise?

I guess this is pretty tolerable - 61%

Noktorn, April 29th, 2011

How the fuck can this band not get the right production job ever? Origin's signed to Relapse for fuck's sake, can't they just properly produce an album before releasing it? All the Origin album have some sort of production deficiency- in this case, there's several. The legendary practically silent vocals are one thing, pushed so fucking far in the back you practically think the album's instrumental, but there's other problems as well, like the total lack of a respectable bottom end for the sound or the very flat, thin drum sound. There's no excuse and the band or Relapse need to step up their game and demand something better.

I guess this is the most listenable Origin album, right up there with 'Echoes Of Decimation' in being kinda good. Granted, for every one advancement Origin makes off the previous album they take another step back: one big point here is the length. 'Echoes Of Decimation' was just about perfect for the style. 'Antithesis' is over 40 minutes long, and it quite obviously didn't arrive with an accompanying change of musical style. I don't know about you, but I really can't listen to Origin for 40 minutes. I mean, yeah, I like hearing the same riff sixty times as much as the next guy, but not with Origin at the helm. More importantly, though, it seems as though Origin made an effort to actually write songs instead of tiny, mostly pointless blast beat exercises. It sort of works... I guess.

The songs on this are definitely the most 'songy' Origin have ever done. Tracks like 'Wrath Of Vishnu' have a definite rise and fall in tension, and a solo will even occasionally pop out. Yes, this is just about as blast and sweep heavy as any other given Origin album, but here it seems to have more of a point. Even more importantly than that, it seems that Origin on this album finally accepted that the riffs everyone wants to hear aren't the abstract Fleshgrind ones, but the spacily melodic arrangements that tie in so well with their overall aesthetic. 'Wrath Of Vishnu' is regularly named the best track on this album, and it makes sense: the riffs are uniformly melodic and interesting to listen to. This is definitely a departure from the Origin of old.

That being said, it's still Origin, and it still really lacks variation. All the tracks sound essentially the same, and the repetition of individual musical passages can be fucking staggering, like the two-riff anti-songwriting paean that is 'Finite', easily the worst track on the album. But even the better tracks can't escape the repetition: does the opening of 'Wrath Of Vishnu' have to be that long and uninteresting? Moreover, why do there seem to be so few riffs in each song? I hear a lot of fills but not a lot of distinct melodic passages- they're fudging the numbers and I don't appreciate playing pretend.

All this together, though, and it's basically Origin's best album. If you had to get one, you could pretend to be fully satisfied best with this one. Plus you can pretend to know about Hindu mythology or something.

Raping "wankery" (a re-review) - 100%

TheSunOfNothing, February 23rd, 2010

Alot of modern day tech death is condemned by closed minded metalheads as being weak and pointless. The pretentious term "wankery" is typically used to describe these bands (I refuse to ever use that in describing a band). Origin, however, seem to be loved by everyone exept for 2 of the 18 reviewers. That is interesting, considering this album completly deserves to be hyped up as hell.

At first listen, I'll admit, it might sound a bit tedious. Yeah, the drums are largly blast beats, the vocals are low in the mix, the band doesn't slow down like Obituary, blah blah blah. At first listen, I can perfectly see why this would be annoying to listen to. However, if you actually bother listening to the album (which I'm wondering if the negative reviewers actually did), you'll see that these things couldn't matter less. The drums may be mostly blast beats, but honestly death metal is usually filled with blast beats anyway. And these ones are 20 times the speed you'll ever hear Cannibal Corpse go, which is interesting as well.

The riffs are phenominal here. I don't get what people are saying when they say they can't hear them. They are mostly middle-eastern influenced riffs which can be found in Nile and later Behemoth, with tech riffs and a few doom-y Suffocation inspired breakdowns to be found as well. The songs that shine in the riff department are "Wrath of Vishnu" (best track here), "Finite", and "The Beyond Within". They are mostly tremelo picked riffs, but the doom-y "Ubiquitous" and the closing "Antithesis" slow the tempo down. There is a smaller reliance on the sweep picked riffs which filled the band's previous albums as well, with sweeps still appearing on occassion.

The drums are not your standard blast beats. Rather than just "dat-dat-dat-dat", John often follows the riffs on the hi-hat and on the snare goes at hyperspeed, letting out fills every 10-15 seconds. And with riffs these technical you can't but wonder how the fuck he is doing that shit on the hi-hat, in additon to his insane drumming elsewhere on the kit. Some songs feature him performing more modest duties however, and he never fails to blow me away with his amazing drumming abilities.

I also have heard cries of inaudible bass? Now, that statement is completly false. The bass is everywhere on here. For instance, his bass fill on "Consuming Misery", his bass solo on "Ubiquitous", etc. It's about as audible as Alex Webster's was on "Tomb of the Mutilated". I saw these guys live and I'll be damned if I say he's not one of the most talented members here. He mostly refrains from standard follow-the-guitar bass patterns and does lots of tapping and shredding.

The vocals are among the most ranged I have ever heard. They range from extreme shrieks to deep grunts, as usual, but his vocal lines are the real prodigy. How the does he have the lung capacity to sing this? He usually follows these hyper-fast riffs, switching from shreiks to grunts faster than any vocalist I've ever heard. He reminds me a bit of Corpsegrinder, although I have strong doubts that -grinder could sing this. I certainly can't. Plus, James is a poet in addition to an amazing vocalist (unlike -grinder who sucks at the pen/paper). The lyrics are a fusion of mysanthropy and intellectual themes, with hinduism popping up as a common theme as well. I'm very suprised by his capabilities as a lyricist considering his less than amazing lyrics on the previous effort. I don't get why people complain about these intellectual themes, as they are a hell of alot better than what the slam bands do, what with their annoying and pretentious lyrics about autopsies and disease.

I can understand why the previous reviewer and the reviewer a few reviews back don't like this. In a world where tech-death is often uninspired and boring, it's easy to lose hope (and it's an aquired taste anyway, even for death metal fans). But with bands like Nile, Origin, Decrepit Birth, and newly reformed genre masters Suffocation leading the way, it should be obvious that this genre isn't done yet. This is a masterpiece, and the best album of '08 by far.

standout tracks:
The Aftermath

Origin - Antithesis - 85%

ThrashManiacAYD, October 18th, 2009

It's hard to imagine that in 1970, when Iommi/Butler/Ward/Osbourne gave the world a new pleasure, Heavy Metal, they would ever imagine their creation progressing to what Origin deliver here on "Antithesis". I have rarely, nay possibly even never, heard such jaw-dropping brutality and technicality as this whilst all along witnessing a band somehow keep things in check and worth listening to. Prepare to be battered, bloodied and bruised and then severely beaten again for good measure as we enter one of 2008's Extreme Metal records of the year.

Origin, of Kansas, USA, clearly don't know the word 'subtlety' as from the opening millisecond of "Antithesis" the drums blast, the vocals growl, the guitars shred and the bassist lays some of the meanest lines since Steve DiGiorgio of the Death era. "The Aftermath" kicks off proceedings in a more immediate and intense manner than probably any other album ever and is one of the album's highlights, showcasing a 3-pronged vocal attack, with vocalist James Lee providing the primary gut-wrenching growls in similar styles to Frank Mullen of Suffocation. To select the album's musical highlight from either the stickwork of John Longstreth or the virtuoso shredding solos of Paul Ryan and the returned Jeremy Turner is impossible as throughout the opening track, "Consuming Misery", "Finite" or just about any other you could choose to mention the level of playing of all is incredible. "Antithesis" flies by at staggering speeds, only slowing momentarily during the likes of the title-track and "Ubiquitous", where a distinct Nile edge especially is apparent in the solos of Ryan and Turner. The double-edged sword facing any band as brutal as Origin is the need to make each song sound different when played at 1000mph against maintaining a consistently high overall level of destruction and chaos and I believe Origin achieve this, just. There are times when one thinks they've heard this before but Origin's saving grace comes in the form of small moments of brilliance, slowing down the juggernaut to give the listener some chugging, heavy as hell riffs and occasionally even a discordant one for good measure.

"Antithesis" finishes off the album in fine fashion with more of the same: double-bass ferocity on the drums and finger-bending-defying solos, giving you the impression the band need to be somewhere fast and they're trying their damned hardest to get there. Music like this can never be commercially popular, it is simply too fast, heavy and mercilessly extreme for most ears to take, so be warned! For those brave enough, it is one of the best brutal Death Metal albums I've heard in years so find your ear plugs for their upcoming European tour, it cannot be missed!

Originally written for Rockfreaks.net

Go Go Gadget Blastbeat! - 73%

BastardHead, September 28th, 2009

Origin can be likened to the bus in Speed. Once it picked up, there was absolutely no chance it could slow down, lest it explode. Origin started in twelfth gear and has yet to even think of downshifting, and frankly, slowing down could ruin the band as much as said bus. Their entire reputation has been built on their mindbending speed and technicality, and changing would cost them a considerable portion of their fanbase. This is sad because Antithesis actually manages to stagnate halfway through the first track, and the only thing these guys are bad at is the only thing that really makes me feel this album isn't all that it's cracked up to be.

There are a few ways to make death metal "work". One way is to create a twisted atmosphere, something Morbid Angel and Immolation do very well. Another is to groove and chug your way through, Bolt Thrower is one of the rare bands that showcase how fantastic this approach can be when done correctly. By far though, the easiest and most popular seems to just be as unrelentingly brutal as possible. Vader, Krisiun, Suffocation, and countless hordes of other death metal bands have done this to great effect, and this is obviously the technique that Origin is going for. And while the band in question has succeeded in a way, it seems to also be their biggest fault. Antithesis is surprisingly memorable for what it is, and I'll pop this in the player occasionally if I'm in the mood for something so stupidly fast and unrelenting that I would want to buy it a helmet and a bib if it were a real person. The problem is that there is just too much being thrown at the listener.

There is a local chain restaurant in my area called Colonial Cafe. Their specialty is a mountainous sundae dubbed "The Kitchen Sink". I have not attempted to consume this monstrosity myself, consisting of two whole bananas, six scoops of vanilla, chocolate, and strawberry ice cream, smothered with whipped cream, chopped nuts and a cherry, and served on a miniature replica of a kitchen sink. If you can endure the brain freeze and manage finish the entire sundae, they give you a bumper sticker that proudly proclaims "I ATE A KITCHEN SINK AT COLONIAL'S!". I firmly believe that Origin should enact a similar policy, where that if somebody can manage to attentively sit through one of their albums from front to back without ever once thinking about something unrelated to the music at hand, then they should mail you a bumper sticker that says "I SAT THROUGH A WHOLE ORIGIN ALBUM!". Antithesis is a complete fucking chore to finish. This is a forty something minute wall of blasts, sweeps, and screeching that never gives you time to recuperate. Being as big of a Vader fan as I am, this seems like something I would welcome, but Origin takes this idea to the logical extreme and then crosses it going 160mph on a Harley and moons you on the way past. Most of the tracks are distinguishable by which instrument gets a solo and how long it is. If it weren't for the occasional bass breaks and drum fills (although it could be contested that the entire album is a drum solo), there'd be nothing to set the tracks apart from one another. Each riff is fast and fucktardedly difficult to play, each lead is a lightning fast sweep pattern that resembles a ringing telephone more than a skilled guitar player, and the vocals rarely ever stop. They're hidden pretty well under the polished chaos that the instruments produce though, so all three vocalists (who all sound unique and share about an equal amount of lines) are fairly unimportant in the grand scheme of things. The only time this formula is broken on the record is something around the seven minute mark of the closing title track, where the band slow it down and try for an epic ending. Unsurprisingly, this is doubtlessly the most interesting moment of the entire record (it's also one of the few fade outs that doesn't leave me feeling unfulfilled).

Is this one of the best records of the year? No. Is it one of the better modern tech death releases? In a way, kind of. While it manages to exemplify damn near every cliche in the genre and succumbs to an extremely overpolished production job, its greatest flaw is also its greatest strength. There is no restraint and little coherence, and these work to a fault and a positive. It helps Origin stand out in the sea of Deeds of Flesh and Necrophagist clones as the fastest and most commanding by extension. Yeah, they hail from the former camp of the two when it comes to tech death emulation, but they're far more insane than most anything I've heard. Antithesis lacks staying power in the long run, but it's fun while it lasts. The album falls apart somewhere between the interlude and final track, but most of them contain something worth remembering at the very least (the crazy bass runs in "Ubiquitous", the drum fill in "Algorithm", the sweeping patterns in "The Aftermath", et cetera). Fun every couple of months.

P.S. Seeing this band live is worth it if only for Mike Flores. This man is one of the most talented and technical bassists I've ever had the pleasure of seeing. Please Origin, stop mixing him so damn low on every album.

And They'll Top This How...? - 100%

Casen2004, August 9th, 2009

There's only so much someone can develop on an instrument. The widely-held belief is that it takes 10,000 hours of practice time to become a world-class master at any particular skill. However, listening to Origin's Antithesis CD, it sounds like they've already hit their peak. The scary part is, since this album's release more than a year ago, the musicians in Origin have gotten BETTER, as witnessed in their countless live shows. This blows my musician's mind, because it shouldn't be possible, given the level of technical mastery on this album.

As for the album itself, it stands as the current high-water mark for the mixture of brutal heaviness with instrumental proficiency. Obviously, being Origin, none of the tracks are slow, but they do feature some very headbangable melodies and are catchy in their own right, if not exactly whistleable. Every cut on this album is designed to punish your ears at any volume, though your first instinct is to turn it up since you can't get enough.

The production is perfect for what this band needs: dirty and supercompressed. The guitars are a tit-bit muddy when Paul Ryan and Jeremy Turner are chugging along, but that's part of the Origin aesthetic, and when it comes down to it, you can hear each individual note in the sweeps somehow. Bassist Mike Flores is, simply put, a beast. He reminds me of Jeff Hughell from Brain Drill in that the bass is played like no human should be able to. If there were a hypothetical pool of bassists, he'd be one of the few pissed-off piranhas in a school of goldfish. John Longstreth. Dude. Holy fuckballs. He's pushed the boundaries MUCH further than any other release he's put out there to date with his new double-stroke kick method, and he's had over a year to perfect it, as evident in his pushing the bpm of their songs to well over 300 live. Ergo, I'm literally scared to listen to the new Origin CD when it debuts, since, as quoted on John Longstreth's own website, it's "going to blow Antithesis away". FUCK ME.

One thing I've never been attracted to in the realm of death metal are the stereotypical growled vocals, but James Lee is actually a bit of an exception to my rule. His voice perfectly fits the band and its meaty aesthetic, serving the sound of the music without disrupting the flow, even syncopating his vocal rhythm to match Longstreth's drumming every so often, adding a nice touch of meter to a "melody" instrument.

I wish I COULD give this album less than 100, because I know the new CD will only be better, but there's no way I could let Origin's (current) masterpiece escape with less than a perfect score. I would not change a single part on this album, as it was the best these musicians could do at the time. However, time will prove that if there can be a peak in the limits of brutality and technicality in death metal, it will be Origin's NEXT release. However, until then, I compel you to get out there and add this unrelenting album to your collection.

An excellent release - boring title eh? - 87%

Maarghul, December 12th, 2008

Ever since hearing Origin back in the late 90’s, they have always been a band I’ve kept an eye on. The reason is quite simple - they’re a very good band! One of the strongest points of interest for most people from day 1 was the very extreme and impressive drumming of John Longstreth, one of metal’s more intense and innovative players. In addition, their early work pushed new boundaries, and turned many heads due to the fresh sound and nature of the work they purveyed.

Their fourth full length “Antithesis” sees Longstreth return to the fold after a 1 album and multi-year hiatus from the band. Origin haven’t done a bad album, so this one was very unlikely to suck. Straight away all the trademarks are there, lots of blasting and up tempo sections, and a decent amount of the sweep picking they love to implement into their structures. Although, they seem to have not utilised the sweep quite as much as on previous releases – and I think this works in their favour, as whilst having trademarks or keeping a certain sound or thing within your music is important – it’s good to not become predictable and monotonous.

There does seem to be a slight step back in extremity on this album however, which isn’t necessarily a bad thing. In fact, is simply isn’t. The songs seem to be composed more maturely and with care, and are most enjoyable. There seems to be more sections you can really sit back and appreciate, which is nice. Intensity is still featured quite heavily, as is the Origin way – but this album shows their ability as songs writers is still growing. Track 4 “Wrath of Vishnu” is one of my favourite tracks on the cd, with some excellent riff work and a very cool section around the middle of the track featuring slower riffage but tastily smothered in a blanket of double kicking. Song 8 “ubiquitous” is probably my other favourite track, with some excellent writing and sections especially after the 3:20 mark that are just simply awesome.

Vocalist James Lee is a powerful singer, and applies his vocals in very appropriate sections and has some solid phrasing. But he’s not really gone anywhere new on this album, he seems to be quite happy with the way he does things and hasn’t evolved much since joining the band in their highly praised 2nd full length “Informis Infinitas Inhumanitas”. But this isn’t a bad thing, his performance is strong and completely suitable. Lyrically it’s a mish-mash of apocalyptic themes, comments on the human psyche and in some ways an apathetic analysis of the human condition and our tenacity to destroy ourselves and things of that ilk.

The artwork and layout keeps with the sci-fi and space type themes, and I am glad to say that I think the cover itself is a step up from their previous album “Echoes of Decimation” – which was a bit on the amateur side. The booklet itself has a snazzy little fold out section in the middle, which is kinda cool. It’s nice to see metal bands do something special with their booklets sometimes, cos so many have the standard set-up – which is completely fine, it’s just nice when bands put some extra thought into layouts.

Basically the album is really, really good. It doesn’t have a weak track, has standout riffage and doesn’t just all seem like one big song as is the case with many bands who kind of have “their own” sound. It is well played, well executed and pretty much great all round. The only criticism I have is the production. It sounds a little washy at times – don’t get me wrong, all the levels are there (despite the bass seeming slightly hidden), it just doesn’t seem quite as smooth as my ears would like.
But this is a minor issue, and shouldn’t put anyone off pursuing what is a quality release from a great modern metal band.

Antithesis - 98%

Daemonium_CC, August 6th, 2008

After the phenomenal "Echoes of Decimation" released in 2005, everyone was eager to get a new slab of ultra awesome metal in the form which in only Origin can deliver. And to top if off, this album would feature the same line-up from the now classic "Informis Infinitas Inhumanitas."

Origin are one of those bands you can always count on. They do what they do, and they do it far better than most, and with a true touch of class. You fully know what to expect going in to listen to an Origin album, but you're never left disappointed. And if you are, then there is something wrong with you.

Although this album was released on April 1st, trust me, this is not a joke, and its definitely nothing to laugh about. It's back to business like always.

Or is it?

I mean, though this album is what you would expect from Origin, it's also a step or three beyond that. Origin have took their trademark sound, and given it a few hundred more horsepower and the end result will make every nerve in your body come back to life. This album, does not, in any way, fuck around.

A point soon proven, because the very moment "The Aftermath" comes roaming out of your speakers and into your ears and brain, the intensity just builds up automatically - there is nothing you can do about. Yes, your blood pressure and heart beat have just risen about 20%. Yes, your senses are now wide awake and aching at the glorious sound emitting from your speakers. Though the first riff is unmistakably Origin in nature, it's also quite different, quite more unique from what they were doing before. And the vocals, oh my! I mean, James Lee has to be one of the best vocalists around. Going from high pitched shrieks to ultra low growls faster than you can blink, and he does them both so well that it's fucking ridiculous. The man is hugely talented, and hes an integral part of Origin's sound. This band have a kickass singer, that's for damn sure. But it's not just him. The verse riff which kicks in at 0:47 is truly amazing. It sounds like time and space combing and colliding with each other. It's fucking majestic, and when the section at 1:16 kicks in, we're all treated to the exceptional skill and incredible creativity of none other than Paul Ryan - one of the finest guitarists - and most creative, and most proficient - death metal has ever had the pleasure of witnessing. The section at 2:09 slows the pace down a notch to pave the way for an excellent groove section, then it's back to business as usual - pure death metal orgasm, not diluted in any way, shape or form. We're also fortunate enough to witness quite an awesome guitar solo, before the insane sweep picking section which launches at 3:17. Sure, they're showing off here, but who gives a shit? Certainly not me, as this section is awesome, adds so much character and intensity to the song, and it just sounds alien, and then, just like that, BAM - it's stopped exactly at 3:46, coming to a sudden halt.

Now, just for that track alone, this album very well deserves a truly high score. Simply because in this day and age, when death metal bands are sprouting out of everywhere, and most of them being utter shit in the process, the masters are back to give their students quite the lesson in how a quality tech/death album should be made. For those of you who needed more proof, well then..

"Algorithm" starts off mercilessly, just an onslaught of insane drumming propelled by none other than Sir. John Longstreth, and the intense and relentless riffing of Paul Ryan. He's backed by Jeremy Turner, another outstanding guitar player, who should be well known by his work with Unmerciful. To round off the equation, we have none other than Mr. Mike "Five Fingers" Flores on bass. Just that sentence alone should let you know that this album is not for the weak. It's not for the posers. It's for those who truly appreciate great musicianship and kickass tunes.

Up next is "Consuming Misery", and what this track shows again (besides the obvious incredible and imaginative riffs) is that Origin really took the time to write this thing, because all of the sections have been arranged to perfection, and every song has a theme behind it; it's not just random riffs thrown together with blast beats underneath. Every song tells a story, even with just the music itself! You don't even need to read the lyrics to catch the vibe, as the vibe will most certainly catch you, like it or not.

And if "Consuming Misery" didn't do it for you, then "Wrath of Vishnu" will, no doubt about it. Easily one of the finest songs on the album, it kicks its way into life with a killer intro, followed by James' insane vocals. The man is all over the vocal spectrum, and the fact that he can do what he does so well is just frightening. Most death metal vocalists aren't even as half as good as this. Anyway, the song pushes itself forward in all it's majestic glory, until it just stops suddenly at 1:16 and makes way to one of the most amazing sections not only on this album, but on any album I've ever heard. The riff, the riff!! It's just fucking epic, it's timeless, it's like goddamn magic. You wouldn't expect a middle-eastern influenced riff to make it's way onto an Origin album. Nile, for sure, but Origin? Not in a million years, but here it is, and it just works so well. After the epicness, we are greeted by yet another fantastic riff, and a spectacular guitar solo. The intensity once again rises to some more rabid riffing and inhuman drumming provided by Sir Longstreth. My only gripe about the drumming is in the mix. Certainly not in the technique. I mean come on, that's just fucking flawless now, isn't it? It's just the mix which kind of sucks. I would have expected some more punch from the kicks and snare, so most of the time they seem to be overshadowed by the guitars. But how could they not be, the guitars are just that damned good. And while the song just continues to pummel you, and pummel you some more, once again, BAM!, just like that, a sudden explosion in your face at 4:36 to tell you that the track is over. And what better way to do that than to re-create the universe collapsing unto itself?

Next up we have the first single from the album, in the form of "Finite." First things first, this album was selected as a single probably because of it's length (it's one of the shorter tracks on the album), but what it lacks in length it more than makes up in content. This here is just jam packed with goodness. Wasting no time at all, Origin kick into a riff so fantastic that you're just blown right out of the water. And just as you're about to land from the potential minefield that you crossed, you're shot right back up in the air with the outstanding section which comes, and dominates, at 1:20. But still, it's not over, Origin are not finished with you just yet. Yeah that's right, take that section at 1:35. Read it and weep, fuckers. This is not for the weak. This is not something to listen to if you're not fully prepared. I certainly wasn't, and I just remember sitting and thinking to myself, "Oh no, they just didn't... Holy shit is that fucking good!" The remaining minute or so of the track is by no means filler, it's just fantastic, especially the dual guitar work at 2:53, which just sounds eerie, like something not of this earth.

"The Appaling" starts off with another high intensity riff, which just totally ignores the torso and goes straight for the neck. That said though, it's kind of too much at times. It's just relentless, in every sense of the word. By this time, you should feel like you've just taken a beating, and quite a serious one at that. It just never ends! The album is just packed and packed with riffs, drum fills, the whole nine yards. But thankfully, Origin seemed to have heard my prayers and launched "Void", a short interlude lasting around 40 seconds. Gee, thanks. Then they kicked it back off with "Ubiquitous", which turned everything back up to 11 this time. And what an epic, bastard of a song this is. Starting off nice and slow, the guitar riffs haunting, and in no hurry, it seems, to crush your senses. But then at 1:21 something quite special happens. Everything stops, except for a lone guitar riff, and all the while you're thinking "oh shit, here it comes.." and boy, does it ever come. That fucking guitar riff - what the hell is that!? I don't even want to see the tab for it, I've never heard such chaos and fury unleashed in such a way that it's as sharp as a razor blade, and as precise as a hand made Swiss watch. It has to be heard to be believed, I will say no more about this.

"The Beyond Within" comes rampaging next, with another intense riff and amazing drumming. James does the job just fine and everything seems to be rolling along without any disturbances, that is until the section at 1:23 comes raging along, with yet another immense riff which is just so unmistakably Origin. One thing I love about these guys is that they always sound like themselves. They have their sound set in stone, and what a sound it is! They manage to mix it up so well and keep everything interesting throughout the whole experience of having your head kicked in. So trust me when I say that you will find more than just a few surprises on this album. There is always something lurking just around the corner, ready to jump on you and claw your face off. But when that time will come, no one can ever be so sure.

The title track literally erupts in your brain and all of your senses are on stand-by - they should be fucking pummeled to the point of numbness by now. Clocking it at 9 minutes and 32 seconds, it's the longest song Origin have ever done, and the most epic, perhaps, so I won't ruin it for anyone who has not heard it yet by writing about it here.

And there you have it. This album is absolutely essential. Even just reviewing it was so much fun, there are enough gems in here to keep you occupied for years. This is the way death metal should be done. And for all you supposedly "br00tal" bands out there, do yourself a favor.. sit up and take note. This is how quality death metal is done.

If extraterrestial life forms ever found their way to earth and somehow obtained a copy of this album, I'm quite positive the only thing they'd say would be a whole hearted "Jesus titty-fucking Christ!!"

This Is Something That Should Never Be Ignored... - 100%

TampoN_TerroR, July 30th, 2008

"Antithesis" - Origin

Before this album released at the beginning of April, I came across Origin with their sophomore release "Informis Infinitas Inhumanitas" about a year ago. I was going through alot of artists and albums by that time and I sort of disregarded Origin as just another one of the newer highly-technical death metal bands that appear out of nowhere (how fucking arrogant of me). As I gave "Informis" another try I found myself liking it more, and more, to completely obsessed with it. I wanted more. So I got "Echoes of Decimation", their latest at the time, and loved every second of it, but it sounded too much alike and followed the same pattern (meaning that the songs have the awesome riffs and the equally awesome drumming, and that is practically it). One day I was unknowingly strolling on myspace and I went on Origin's page, what I saw was this giant art cover that looked like something out of HR Giger's work with words saying "ORIGIN... ANTITHESIS.... COMING APRIL 1ST"...

... And this new song starts playing, called "Aftermath". When I heard that song my eyes,ears and mouth were completely pounded, that was the greatest 4 and a half seconds I ever heard... I needed this album. As April 1st came, I bought what I wanted... this, "Antithesis".

The first tract is "Aftermath" the song that made me want to get the album in a heartbeat. It takes most of the elements you'll find in their older work and injects some kind of ultra-mega-performance-enhancing drugs into them. The bombing riffs, the fast-yet-eerie sweeps, the relentless vocals, and the godly-impossible drums! This is what basically ALL the tracts here are, BUT it never gets old because every song has unique structures that binds together in a flawless pattern and it never lets up. It's not like a fucking crazy overly-technical death/grind band- it has the intensity of one, BUT it has the something most of those bands lack and that is STRUCTURE! No song here has 20-something riffs stuck into 2 minutes, but it keeps what makes it purely technical death metal. Origin has always done this before, but "Antithesis" gives the same old Origin sound (plus the deserving high quality production) and refines it to the highest possibility.

Every song stands out, the riffs are epic, grinding and technical, the song structures are so solid that any song here can be used as a single, and drummer John Longstreth is one of the best metal drummers out there and this album shows him justice. The guitars are jaw-dropping; the tone is perfect, the sweeps are impeccable, and the solos don't lose attention from either the listener or the song itself. The bass is thankfully audible (which is rare considering the genre), and Mike Flores is a force to be reckon with. The bass follows the rhythm as the guitars but it takes in solo fills when the time is right for it. And when the album closes, it closes with a BANG! And not a normal BANG! About 7 minutes on the last track ("Antithesis"), prior from hearing the numeral insanely powerful and epic riffs it began with, the music lets up... but doesn't end there. You hear faint playing in the background, then it all comes up INTO YOUR FACE with a loud, haunting, and august riff that could make your mind collapse and lose bowel control and stays there 'til the end with an obsessing guitar solo from Jeremy Turner branching off and Longstreth doing his crazy fills! Then it fades away like an ending of a epic action-packed movie. Perfect closure.

So "Antithesis" gets a 100. For the songwriting, for the technical work, for the instruments and their players, and for the production. It is Origin's best work. It's all chaotic yet structured. To other people, it would sound like an endless barrage of noise (which is a shame since they would be missing A LOT of great things out there). But to death metal fans, it's a modern gem. It's what most tech metal bands should be looking at in the future in making their EP or their next full-length solid. This is something that cannot be ignored, it shouldn't. It's just perfect... it's modern death metal done right. Even TOO right. And this is a heavily jaded metalhead who is writing this review!

Best 3 tracks: "Aftermath" "Finite" "Antithesis"

Tech, and yet still brutal - 100%

Hordeofmordor, July 24th, 2008

My brother got me to check this album out. I was kind of skeptical, I must say, I'd heard bits and pieces, and it sounded really technical. This isn't a bad thing IF you're a musician (which I am) but can be hard to follow if you're the average music fan. Death metal music, to me, is what neanderthals would listen to. I love it, so tribal, so visceral, and it makes me want to go and eat a baby. When you add wild ass time changes and sweeping, I don't know, to me it changes the feel. There've been many bands try to play technical music, push the limits of their musicianship. this is all well and good, except they forget to play HEAVY music, hence the name heavy metal.

Onto this release. The first track says to me "Strap on your safety belts." Relentless. Pummelling. Technical. And, yes, brutal. They mix it up very well, a healthy dose of stunning musicianship with a big slab of rip your face off, eat it, then puke back on your skull HEAVY. The drummer blasts away through most of the album, but changes time signatures at neck snapping speed, and fills in with the appropriate snare beats. Right after the lead/sweep section (you'll know what I'm talking about) comes one of the coolest snare rhythms I've heard in some time, which I saying a lot, since I don't normally praise drummers. The guitars are fast, furious, and very clean sounding in the mixing. The bass playing is incredible, and definately shines on this album. I am impressed with any bass player pulling off sweeps as proficiently as the player on this release does. Now onto my favorite subject. Being a vocalist, I look for this first. Given the complicated aspect of the music, the vocals could've gone either way, uber incredible, or uber disappointing. I salivated. I peed. I cried. This guy is AWESOME! His highs are just as good as his lows. Bloodcurdling shrieks, and stomache bursting growls abound, and are well placed. A highly enjoyable listening experience.

Holy shit, son! - 85%

TheJizzHammer, May 21st, 2008

I love to listen to music that is brutal. I love to listen to music that is fast. I also love to listen to music that is technical. All three mixed together? Shit, I know a lot of people do it, but it always comes out as frenzied noise. Very few people can take these elements, mix them together, and get a good result. Origin are one of those bands. I looked into this album knowing that these three elements would be put to use. I was thinking that this album would be an absolute abortion, but I decided that it would be better to be open. People were talking about it and seemed to like it a lot, and this fueled my curiosity.

This record definitely exceeded my expectations. What did I expect? A half hour of non-stop blasting, tremolo picking, and 'BLARARARARARARARARRARA-BLARARA-BLARARAH!!!' style vocals. I definitely got a taste of blasting, tremolo picking, and the aforementioned vocal style (but just a little bit), but these things are all good in moderation. The vocals aren't really special and unique, but I think the vocalist does a good job in that he does a better job of enunciating. I can't tell what he says, but I can tell he is saying something, and I can read along, unlike the garbled screams of Lord Worm from Cryptopsy, who kind of does whatever and seems to say 'fuck what I wrote'. There are also some higher pitch screams thrown into the mix, showing that the vocalist can mix it up a bit. There are a few too many peices of death metal out there with a monotonous vocal style that does not change for the length of the album.

The drummer is mad good. He plays VERY fast, blasts a lot, but also throws in a few other goodies, some interesting fills and whatnot. His footwork is very fast but he maintains his precision for the duration of this album. The guitarists also maintain precision as they play at break-neck speeds, incorporating multiple techniques other than the typical tremolo picking used my many a death-metal guitarist.

The aforementioned precision is what really caught my attention. How do you pull that off when you're playing like this? So fast, so tech, so heavy, all the while staying on top of it. A very good job on the part of these men for being able to do that. I wonder how well they do live.

I was purely taken aback my this album, and through this listening experienced have learned to forget about expectations. This is a very pleasing listen.

Tech I Can Enjoy - 84%

invaded, May 19th, 2008

I've always liked Origin. I listened to Echoes of Decimation and thought there was a lot of good, in fact much more good than bad, but it was a tough pill to swallow at times. My bone with them was A) too many vocals, B) "tech demo" like sweep patterns that could get a bit tiring. Well Origin seem to have upped their craft and Antithesis is a quite enjoyable listen.

While the band remains unequivocally technical, it's nice to see some occasional subdued playing from Ryan and Turner. The sweeps are still there but there is room left for actual riffs and leads, yes, traditional leads. Don't get me wrong, Origin still rips your face off, but with a little bit more tastefulness than before.

On to individual performances: James Lee I've always thought was a very good vocalist. His range is a strong asset in not becoming formulaic or repetitive and now... he shuts up sometimes! Where on Echoes the vocals were excellent but overdone, I have nothing bad to say about the vocal performance on Antithesis. Lee sounds angry and poised and fits the band's sound very well.

Needless to say, Paul Ryan and Jeremy Turner can play. In fact they play very fast and precisely, but anyone reading this review should know that by now. It's tough to state whether or not they have improved since the last record when you're dealing with a band as technical as Origin, but rather I would say the songwriting has improved. The tracks are a fair bit longer than the usual Origin standard, but they manage to keep things interesting with their note selections and impactful use of rythm.

On to the actual rythm section. I am delighted to say (although this has more to do with the mix than anxything else) that you can hear the bass on this record. Far too often in metal and death metal in particular, the bassist is more of an honorary position and doesn't get its just due in the actual sound, but Mike Flores is an audible member of the band and, well, he can definitely play. Nice little slaps, fills and subtleties definitely add flavor and punch to the record. John Longstreth is technically flawless showing off his pounding prowess to the listener quite handily. My only problem is the constant blasting. I understand blast definitely add the intensity the band necessitates in order to forge through, but I'd enjoy hearing some more compex rythm patterns with a little less redundancy.

The songwriting is the true area in which Origin has improved. Songs are easily differentiable and stagnation is not a problem. The album's opener "The Aftermath" kicks things off nicely with some freakout riffs and remains high octane energy throughout. "Wrath of Vishnu", arguably my favorite track has a nice mid paced break in the middle where Longstreth gets the chance to offer something a little different. "Algorithm" and "Consuming Misery" are also nvery nice pieces of the puzzle as is the epic title track which closes things off. "The Aftermath" may seem like a chore to listen to clocking in at over nine minutes, but the band easily pulls it off and ends the record as intensely as they kick it off.

If you're looking for some good technical death metal I would recommend this over many other bands trying to make it in this genre.

No soul, no substance, no problem! - 80%

RedMisanthrope, May 17th, 2008

Origin represent a growing problem with death metal. Lately, it seems that a "good" death metal band pretty much means they have a really fast drummer and throw in as many random tempo changes as possible. "How fast can you blast?", essentially. There's a real lack of soul and creativity in this new wave of death metal, that being said, Origin's "Antithesis" pretty much fits in to this category. That also being said, it's a damn fine album, it's one huge contradiction against my opinion of this new wave of death metal. Trust me, I couldn't be more pleased about this.

There's no way for me to really describe "Antithesis", let alone individual songs. It's pretty much a blur of death metal with the aforementioned "blasty blast" drums and random tempo changes. Sometimes, you can barely fit a dime between the ending of one song and the beginning of another, and if it wasn't for certain vocal lines and completely out- of- nowhere-three-second-bass-solos, the songs would be pretty much indistinguishable from one another. So why am I giving this a positive score? It's a rather strange reason to be honest. I think it was somewhere in the middle of "Algorithm" (this was my third full listen through the album mind you) when something awesome happened. I "got it". Suddenly, the album and I just clicked and I realized that I had blindly purchased a solid fucking slab of too-technical-for-its-own-good death metal.

Despite what I said about the songs be indistinguishable, certain moments on certain songs make it very easy to pick favorites. The first few minutes of opener "The Aftermath" are fucking monstrous, and the lead guitar is memorable, and surprisingly addictive. Also, the entirety of "Wrath of Vishnu" pounds like one giant war drum, and with drums like these it's hard to believe that the it isn't the four armed god himself behind the kit. Really, John Longstreth is pretty damn fast. Unfortunately thats about it. Don't expect the jazz/death drumming of David Gray here folks, what you hear is pretty much what you get. However, the snare is almost completely lost in the extreme fuckery happening in the songs. It's there, but it ever so conspicuously brings intensity to the song, without it being the main attraction, as it is with many other death metal bands. Smart move, Origin.

Unfortunately, about half way through the album begins to drag a bit. "The Appalling" and "The Beyond Within" are pretty much the fillers of the album, with almost nothing to make them distinguishable from the rest of the songs. It's just that same old blur of instruments and brutal vocals. "Void" is also completely useless, albeit a bit interesting, especially if you're in the correct mood. I almost cringed when I saw the nine minute running time of the title track and thought "Great, this is going to be a nine minute version of the song I just got done listening to". Boy, was I wrong. The title track almost makes the entire experience worthwhile with, whats this?! Structure!??!? In an Origin song? Well I'll be god damned. That's right folks, this song moves, sounds, and feels like an epic closing song, and actually makes me wish that it didn't end so soon. And just when I thought I had Origin figured out, it seems I don't know the first thing about them.

I shouldn't like this album, but I do. It just works, there's no other way to put it. I can't say too much about Origin's future however. They're just going to have to keep blasting faster, and change tempos at even more random moments in order to keep the people coming back, until they reach their physical limits. Or, maybe they've got a solid formula, and know how to manipulate it to keep just fresh and interesting enough to make albums like this one, good albums.

The tag-line to this album is "I am become death, the destroyer of worlds". This album isn't exactly a full fledged reaper, and doesn't quite destroy worlds, but it leaves them pretty fucking barren. Why are you still reading this? Go get this album, now!

A Cut Above...Way Above - 97%

MikeyC, May 1st, 2008

When I heard about Antithesis, I was excited. Not over-the-top excited, but I was interested, as I did enjoy Echoes Of Decimation (and Informis Infinitas Inhumanitas to a degree, but not quite as much). What I heard, when I finally got my hands on their latest, was not quite what I expected. And this is a good thing.

Essentially, what we have on Antithesis is pretty much exactly what they’ve been doing on past albums. If you break it down into its core elements, it really is the same! Frenetic guitar work, blasting drums, screeching vocals…they are all still present. But what is it that makes Antithesis just so much more enjoyable?

I guess that can be summed up in one word: Refining. Not complete changing of their style, but warping, and tweaking it ever so slightly that the final product seems worlds ahead of all their previous material. In doing this, Origin have produced not just the best album of their career, but one of the best albums of 2008. This is some statement, considering we’re just 5 months in, but it would have to take a great effort to beat this (and who knows? It may just happen).

The addition of distinct solos is one of the more obvious changes the band underwent. The soloing on The Aftermath and Wrath Of Vishnu are not only new, but they actually work, as does the soloing on other tracks. Overall, the guitar work is nothing short of excellent. The riffs are just better (take the beginnings of Finite and Ubiquitous as examples)…there is no other way of describing them. The guitar work used on Echoes Of Decimation was also great, but they have stepped it up here.

There are still a fair amount of vocals, but this time they have learnt to keep quiet a little more than on previous efforts. Their dual vocal effort between low growls and high screams (not quite shrieks) still works to excellent effect, as shown on the opening vocals of Wrath Of Vishnu. Lyrically, they are still awesome, but again, they seem to have stepped it up and are writing some excellent lyrics…not that you will take a lot of notice to that, as there is a lot more happening in terms of the music.

The drumming is, once again, excellent, despite the prevalence of blasting. John Longstrength (came back after departing following III) is a master behind the kit, and even though he’s blasting away for most of the album, it doesn’t sound overbearing or forced. It tends to fit the rest of the music quite well.

When you have all these parts working at full capacity, you are almost guaranteed a superb album, and Antithesis delivers quality in the space of 10 tracks (one filler, but even that track works). It will be hard for their next album to top this, but for now, strap yourself in for some of the best brutal death you’ll hear in recent times.

Best tracks: Wrath Of Vishnu, Ubiquitous, Antithesis (or, more accurately, all of them)

Origin deliver the goods - 97%

tominous, April 17th, 2008

The titans of technical death metal are back with a cataclysmic new record. This is exactly what you expected and could ever desire to have from Origin. Antithesis is a statement and a warning to the metal community showing their capacity for world class blasting.

Origin may have even topped the stellar heights achieved on 2002’s Informis Infinitas Inhumanitas and 2005’s Echoes of Decimation. Another blinding performance by John Longstreth behind the kit as well as wicked guitar work from Ryan and Turner who have conjured spiralling leads that sweep so fast yet are tangible enough to get hooked; especially on “Finite”. Dual vocals as usual, but perfectly placed and the vocal rhythm is spot on to push the riffs to the otherworldly heaviness on Antithesis.

Instantly scorched to your memory this album slays with mind bending changes, mirroring the extreme physical forces at play in outer space. Enough to tear the universe into fundamental particles with face melting technique. The lyrical content is almost as remorseless as the music; every song conveying the futility of mankind, impending armageddon and death through various end of the world scenarios.

It really is difficult to pick any tracks that stand out, because they all do. Title track is a death metal nine-and-a-half-minute odyssey, forging a eternal monument to the gods of obliteration similar to the omnipotence of Nile’s “Unas Slayer of the Gods”. Opening with precise pneumatic eradication, the track “Wrath of Vishnu” is just a taste of the relentless deathmarch. Every tune will warrant an outburst of ‘Holy shit!’ straight afterwards, due to the sheer ability of the onslaught to crush everything in its path.

This is of such high calibre, only Necrophagist stand a chance to top Antithesis. A bold statement indeed. What stands out about Antithesis is how unambiguous the assault is. Antithesis could have been compromised by over-complicating the songs, but pure speed and heaviness are delivered through traditional media. Origin have channelled a lucidity through chaotic riffs and tight blasting which rings clear and makes the album enjoyable as opposed to a chore.

A death metal underwear soiler - 100%

sysyphis, April 11th, 2008

I own all of Origins albums and I think they progress slightly on each one.
Echos of Decimation almost seemed like a pointless blur that made good death metal background music. If listened to carefully, it was a marvel of wicked riffs and intensity that could not be topped, that is until now.
Origin obviously wanted to take the intensity factor one more step ahead, but this time they may have created one of the best death metal records of all time.

The aftermath starts it of with the trademark precision drumming, surgical precision guitar playing. I have the vinyl and cd versions and the bass is more audible on the vinyl, although it doesn't sound too bad on the cd. Although it sounds impossible humans could make these sounds, it has a warm feel to it.
Regarding my statement about being one of the best death metal records of all time, here is why. Guitar tone is brick heavy but clear enough to distinguish every riff, but at the same time it is mixed so well, it bleeds fucking heaviness. Too many bands go for the heavy sound and fall short because they try to hard for a wall of brooootality. This record actually has space to breath, which is usually not the case in this genre. In fact it is a downright miracle. I know bands like Atheist and Cynic retain a lot of space in the music, but they cannot be lumped in with this type of metal.

The record is not as technical as say Spawn of Possession, but that is a good thing. In about thirty minutes your ready to hit play again. The vocals are deep without the cookie monster effect, but still retain a very powerfull kick in the ass to the music. This is one of the few death metal bands that, if they lost the current vocalist, the music would suffer.

Standout tracks are the opener The Aftermath, Void and basically the whole damn album. There are stand alone bass licks peppered throughout and sweep arppegios, but these guys know when to stop showing you they have fine motor skills that allow them to boggle us all with wankery.

The production is fantastic. I have never heard of Rob Rebeck, but If were putting together a record I would scrape up all the dough he needed to do my record. Also let me backtrack and say that on the last track, Antithesis, there is a lot of sweep picking, but somehow it feels appropriate to the song.

I know I am going to get a lashing from the metal community for saying this may be one of the best death metal record ever made, but this record made me dust off those old Incantation and Morbid Angel records and give them a spin. Of course those bands are different, but in a genre that has become parody of itself, it's good to hear something worthwhile.

In the Shadows of Decimation - 85%

M0RDGAARD, April 6th, 2008

After Originâ€™s last release, â€œEchoes of Decimationâ€, I was greatly looking forward to this album coming out. After having it on my playlists for a few years and enjoying it every listen, I was a little dissatisfied with â€œAntithesisâ€. Everyone in this band is a wonderful musician capable of so much, which makes the monotony of this album even more dissapointing.

While everything is played with the utmost precision, it is wholly predictable. I continued to wait for anything I didnâ€™t see coming, and it never happened. I longed for the abrupt changes Iâ€™ve become accustomed to ever since â€œInformis Infinitas Inhumanitasâ€. Exceptions are the title track, which is the best closer and longest track ever put out by Origin, â€œWrath of Vishnuâ€, which is still interesting after the first hearing, and â€œThe Aftermathâ€, which follows the usual origin song structure and has those catchy guitar licks.

â€œAntithesisâ€ as a whole is much darker then their previous work, and that can be a good thing, but in this case it sort of takes some of the fun out of the equation, it has more brutality and less groove then â€œEchoesâ€¦â€ The guitars seem far less sporadic then previously. Being a drummer myself, I have to complain about Longstrethâ€™s performance. I need to first say what an incredible drummer he is. But, while his part is executed flawlessly, it never really has the awe factor like it used to. This might be because the guitar parts are less inviting and are aimed at being more technical, but almost everything here has been done before. I wish he would take some risks and try some unexplored territory in drumming, which might be hard for someone who has been doing it for as long as he has. Plus, the cymbals sound really weak. I do, however, like the inclusion of whatever that other drum is that is being played at the end of â€œUbiquitousâ€.

Even though this album is not as spectacular as one might hope, it still stands above so many other death metal albums, especially if you have never listened to Origin before.
If that is the case, buy â€œEchoes of Decimationâ€ after you get used to â€œAntithesisâ€. It will be the most mind-blowing 26 minutes and 28 seconds of your life.

This will auditorily rape you - 98%

ozzeh, April 4th, 2008

This is my first introduction to Origin. Having no prior knowledge of this band before listening to "Antithesis" I am completely open-minded to their music. I must say that this is an impressive show of talent from all musicians. I still prefer Anata's style of technical death metal more, but this is a solid, bloody slab of quality USDM.

The dual guitars are simply crushing, opting for a more straight forward in-your-face soundscape. The drumming is absolutely destructive with a serious emphasis on creative blast beats and other percussive gymnastics my feeble mind can barely comprehend (this is not an album you can digest in one listening).

The vocals use a Glen Benton-type low/high approach (Anata as well) which sounds absolutely great and very fucking angry. Weird as it seems, I listen to music of this nature because it soothes me... that's right, death metal soothes me. But make no mistake, "Antithesis" is loaded with neck-snapping violence and can cause irreparable spine damage.

Music of this nature tends to become very boring very fast, but luckily Origin don't fall into that category. Song-writing skills are put in front guitar hero skills and the result is a brutal amalgam of every type of death metal imaginable and every song is highly memorable. Every band member from the bassist to the vocalist are on top of their game and the awesome production job suits the album well.

This is not for people who dislike death metal. In fact, if you played this to somebody who is completely oblivious to the fact a genre of music called Death Metal exists, odds are in the favor of that person never exploring the genre further. But for the seasoned death metal lover, this is auditory bliss.

The Antithesis of Try-Hard Tech Death Bands - 100%

serial_killer_miller, March 25th, 2008

So, I've been having a discussion with some friends in my town's metal community about technical death metal bands. There were some good bands that were brought up, Odious Mortem, Decrepit Birth, Neuraxis etc. There were also a few that are as see it, trying too hard to be technical, Brain Drill, Beneath the Massacre.

Learning that the same lineup who put forth Origin's strongest effort, 2002's Informis Infinitas Inhumanitas, I was extremely excited. Then they put out the first track from the album, opener; "The Aftermath" and what I really noticed about this album is that Longstreth is back with with a vengeance. I also noticed a huge change in the guitar work, it has become much more technical with more solos and use of complex scales. I also heard a demo of the third track, "Consuming Misery" and I was really impressed with the tempo changes and Longstreth's entertaining use of fast cymbal hits going straight into a blistering blast beat. It just absolutely blew me away.

So today, is the big day I have finally been able to give the entire album a listen, then another, and another and I have to say they have set a new standard for technical death metal in 2008 . It seems like they are really experimenting with melody on this record, however, don't be alarmed if you were not a fan of Decrepit Birth's latest album, don't let that discourage you! Origin's latest effort sounds nothing like that. On songs like "Wrath of Vishnu" and "The Appalling" the dual guitar attack of Jeremy Turner and Paul Ryan unleash catchy riffs that instantly pull you in.

The ending track, also the title track Antithesis is probably the best album closer Origin has ever done. I know they have never had a over the five minute mark until this album, but with the over nine minute closing track they show how much they have matured in their sound. It is laced with the catchiest riffs on the album and some excellent sweeps that Origin has made known to their own style.

An absolute masterpiece of technical death metal and a must for anyone who is a fan of this style and for those who are looking to get into alike. This album is easily the front runner for my candidate for album of the year.