Impermanence, an unconditional doctrine that imposes the fact that there is no actual certainty for existence, at least according to Buddhism beliefs, is always there to prove that nothing is carved in stone. There is always doubt whether to elect or do with one's life, how to act in various events, what to say, how to respond. Sounds like total chaos for a thinking mind that always weigh its decision making. On the other hand, as it would appear, this course of uncertainty is crucial, even though it can be construed as a menace. Honestly, this experience I am about to tell you about shook me pretty hard with its unending vagueness and awkwardness that I nearly went crazy with dissonances. After listening for a fair share of time, I was still bewildered and puzzled, always trying to guess what in the world this epos tried to convey within its lines.

AZURE EMOTE, an mind provocative Death Metal project led by Mike Hrubovcak, vocalist of both animals, VILE and MONSTROSITY, along two other key members, Ryan Moll of RUMPLESTILTSKIN GRINDER in charge of guitars and bass, and FEAR FACTORY's latest human battery, Mike Heller. Making a comeback after six years without an album, "The Gravity of Impermanence", via Selfmadegod Records, was set free out of its cage, relishing an unknown world, where nothing is clear, paved brick by brick with brutish onslaught, revealing an unnamed terror, bestowing modern modifications and fragmented compositions. Nothing is easy when it comes to this one, yet I won't call it technical abuse. Featuring various of guests of DEATH, TRISTANIA and other acts, AZURE EMOTE turned out to be the picture resilience, hard to comprehend and so sophisticated.

As it would seem, nearly every track, other than the instrumentals that delivered their own sickness, is a story on its own, a riddle that isn't so easy to decipher. It will make you think of plenty of things, presenting stuff that is so vile and harsh, yet also past morals that were never actually learnt by anyone. As for the music, it is the same different tale for each. In overall, this is Death Metal, partially brutal with various old school markers. On the other hand, it is technical, filled with a selection of instruments like violins, saxophone, keytar, harmonica, dramatic Operatic vocals and electronic encoding. The fact is that every single track, when infused with those attributes was handled with care, thus resulting in amazing turnouts of complexity, interest, brutality and unending chaos. Life is changing as we know it and mankind will have to take notice of its own moralities.

"Conduit of Atrophy", exploding with a definitive main riff onwards for the blastoff of screams and robust soloing, the core of heaviness and smite of Death Metal is alive and well. Too short of a track, but left its mark as an addictive bastard. Pete Johansen started with his violin playing, such a wonderful addition to the raging guitars. "Carpe Diem", an epos of wonders, at first nothing seemed connected on this long length hail for the dead, but after listening to the big picture, it startled me how brilliant it was. I noticed a main riff that was played via guitars, piano and bass. The Operatic assembly and keyboards enhanced the feeling of suspense and doubt. "Destroyer of Suffering" slightly on the verge of aching as a Black Metal stomping ground, Kelly Colon's bass work was amazing with multifarious musicianship. "Obsessive Time Directive", an relentless Death Metal combustion, so offensive and pompous. Bruce Lamont with his saxophone lines at first seemed out of context, but overtime I came to appreciate this mellow deliveries and that those did suited the impending doom that this track projected. I think I will have to stop here because this is overwhelming; I have a slight headache, suffocation my mind. However, don't go weary on me, this album might be technical, but it is worth listening and contemplating on the possibilities and who we really are.