"Entanglement" is a short bout of proggy melodic death metal by the Texas-based Malconstruct that, despite signing with the hilariously-named Glorp Records, has been independently released with the intention to crush as many spirits as possible. During these twenty-six minutes, I felt few emotions that Malconstruct set out for me to feel, and whether that's a good thing or not is to be decided...

Malconstruct isn't new to the melodic metal game, as they've maintained a relatively active presence since their self-titled 2013 demo tape. From there, three full-length records, one EP, and a handful of singles were released, most receiving positive reception. Sadly, I will not be a critic joining this conga line of positivity, because "Entanglement" did absolutely nothing for me as a listener. The content of the album, already minuscule courtesy of its runtime, sounds empty. Most tracks are filled with "progressive" guitar chugs and drum blasts that, sonically, sound quite naked: a complete lack of in-between atmosphere. Wonkily-crafted melodies are apparent from the first seconds of "Misery Epoch," and while I'll touch up more on the highlights of the record, it stays the same until the closing track. Here I am, shitting on a prog band. I'd never imagined this day would come. The tenuous yet clean production could be the underlying cause of the emptiness. I hear Webb's properly-delivered gutturals just fine, and all instruments are audible.

Y'all probably remember The Polar Express, right? Those poorly-made characters and their uncomfortable appearances? The uncanny valley was in full effect there, and it rears its inhuman head to me with this record's mixing. I'm no master, mixer, or producer, but I'm sure something's awry with a good 72% of "Entanglement." The two tracks not included in this calculation are the beacons of hope, but somehow, they're the shortest, both barely crossing three minutes. "The Fly" and "Amalgamate" are musically dense, with the former clearly influenced by thrash metal and the latter hosting busier playing. "The Fly" has sound effects of flies and ends with the zap from an electric fly swatter, proving that Malconstruct has ideas, plays around with them, but is ultimately hindered in some way or another. These picks, of course, had to be ephemeral, but there's hope for the band.

Being progressive takes a whole lot more than oddly-timed guitar chugs and complicated drumwork. It means to break musical boundaries that, at this point, may not exist anymore. Even though I will totally contradict this claim in my next prog-related write-up, there needs to be a final lesson learned. Malconstruct has potential, but "Entanglement" needs work.