From Bandcamp, "Palingenæon" is a ritual disguised as an album, documenting a series of rebirths that were never approved by any known cosmology. Across abyssal prog structures, philosophical slapstick, and moments of genuine dread, ANGERER explores what happens when the self reincarnates incorrectly and keeps doing it anyway. Eldritch entities, lagging grandparents, militant rodents, and bioluminescent regrets coexist here not as jokes, but as symptoms. Enlightenment is achieved briefly, then immediately undermined by pigeons, hamsters, and Nyarlathotep doing something unspeakable in 29/8. Think progressive metal met a film score at a party, and they invited jazz, circus music, and a parrot. Long hair, longer song intros, and a severe allergy to small talk and sudden changes in routine. Known to befriend more geckos than guitarists. If you fancy the sound of a man losing his mind in 7/8 time, welcome."

"Submechanophobia" is first, and it's an odd song. Electronica and rapped vocals lead off the song, followed by a stern riff and vocals that are a little more dangerous. Rounding the half-way mark, much of the sound drops to a strange spoken word sequence, and then it returns with a vengeance. "S'epanouir dans la solitude" is a creepy piano song, and it sound like something you might hear a skeleton play in the dark room at the far end of the abandoned factory. "The Haunting of Hutteldorf" is a much smoother ride. Darkness and tension still remain high on the album, but this song is gentler. A smashingly heavy Djent section appears out of nowhere however. "Shaolin Combat Pigeons" is exactly how it sounds. Beginning with heavy staccato notes, it segues into five alarm fire. Here, you get a distinct picture of the band's incredible musicianship, especially in the jazzy section.

"I Think Grandpa is Lagging" is another bizarre song that somehow manages to combine the fervor of Metal with experimental passages, and the two jagged boulders melt nicely and smoothy in the pot. There is full on Funk here. "All Lies Mask Atrocities" is a firm and aggressive plate of Metal that features orchestration, some backing electronica, harsh vocals, and the kitchen sink is in there as well. There is a rapped sequence that segues back to Metal as seamlessly as it started. "To Escape What Was Never Real" moves directly and quickly into that mashup territory that runs throughout the album. It is also straightforward and traditional at other times, and it seems the band is able to push both in equal doses. Flute, trumpet, voice alterations, even disco…they are all present in the complex stew.

"Nyarlathostep on Me, Daddy" is the final offering, and it comes out of the gate with a crushing weight that is augmented with thick staccato notes that are hit with deadly accuracy. Listen to how well they combine orchestral elements on this dark shadow of a song. They even work in some high-pitched demon vocals. I've heard jazz, funk, and other forms of music combined with Metal, but never quite to these reaches, and never this smoothly. When you hear the aggressive weight of Progressive Metal and Djent elements on the album, their energy fires you up. When the band adds in all the other sounds, and consider the album as whole, these seemingly foreign elements just enhance the album. Their musicianship is outstanding as well.