For many years, MALADIE have defied the limitations of genre, walking a path entirely their own. With "Symptoms V," the avant-garde collective once again challenges conventions, pushing their unique "plague metal" into new, uncharted territory while remaining unmistakably MALADIE. Themes of time, futility, creation and decay permeate the five tracks, each a sonic embodiment of the inescapable weight of existence. "Symptoms V" doesn't simply continue MALADIE's story, it reinforces why they remain one of the most daring characters in extreme music: ever-changing, yet always true to themselves.

The album has five songs, and "The Implacability of Time" is first. Saxophone notes lead off the song, and they are smooth, and calming. But, something is brewing in the background, and in comes harrowing guitars. The harsh vocals are very throaty, and remind me of IHSAHN. There are also Progressive elements afoot, in both the chord progressions and unorthodox connecting passages. It grows stranger by the minute, adding additional seasoning to the already well- rounded dish. "Black Hole Weight in our Hearts" flies straight at you with an aggressive and contentious sound that is full of rage and anger. The saxophone notes provide the duality of sanity on the song, so that its weight doesn't crush you, and the clean vocal passage is even somewhat catchy.

"Procreation of a Dead God" begins with eerie, dissonant tones, and once again the vocals are harrowing. Listen to the meaty bass notes in the background…combined with saxophone and piano they almost create a jovial landscape. To me, it sounds tongue in cheek, but the band is dead serious, especially when it comes to the intense harsh vocals. "Black Chamber within Golden Walls" has a dissonant combination of odd guitar chords and sax notes, and with each passing bar, the clash you hear in your ears grows longer. Harsh vocals paint the landscape black, and although melodies slip through the cracks, they are stamped out by the absolutely filth. More piano and sax notes saunter in, and they provide the sharp contrast.

"All Shall See" is the final offering, and it drips with sadness, loss, regret, and even warning. It's almost as if they vocalist is mourning his own mistakes, while warning you not to follow his path. This was a very strange but impressive album…based in Black Metal, but with the modern day established boundaries of nearly anything goes, it warps and bend the guard rails to the point of almost breaking. Progressive elements abound, and they offer a rich seasoning to the already hearty stew. The five songs offer a lot of diversity, and their musicianship is off the charts.