From the enkindled embers of a dying sun emerges DETRITUS on their return to the surface bearing the same fortitude and valor which had borne them in the first place-after near 3 decades of radio silence their message has finally reached anxious ears with their newest LP the aptly titled, "Myths."

The long awaiting release begins with the introduction entitled, "Myth Of Redemptive Violence," a minute long instrumental with a keen focus upon an acoustic lead as the bass provides a pulsing rhythm and the lead creates an atmosphere of shifting tones, the song seamlessly merges into the next track, "Bright Black." The song opens immediately with some lively drums and the rhythm to parallel setting up the repeating motif for the whole of the track to follow-the song is, itself, simple in construction and delivery but without question serves in great juxtaposition of the opening number signaling the heavy aptitude of the band. "Call Me Human" exists in the realms of sweet and subtle and wrathful and relentless as its progressions intertwine with both concepts in an odd manner. The early choruses possess the clean guitar from the verses which offsets the dynamic in full, I think a better approach to this one section of would've been to rely on the percussive nature of strummed acoustic chords as the clean paralleled with a heavy band just feels off for a lack of words. "Exoria" opens with warm strings over a crackling fire which segue the introduction of deep percussive atmosphere and a mid-range piano and the higher baritone vocal melody adjoins the collective with this introduction lasting about a quarter of the way of the song. The rest of the song follows a progression of similar construction and magnitude though with the added emphasis of a full band in backing, and the outro is quite stunning being exponentially grander than the outro which finishes the album. The last song on the listing, "Forever Soldier," begins with a hymn layered over the sounds of war before the band joins in great fervor. This track feels itself the liveliest out of every song on the album and pairs the vocals with the guitar and beat to create an overtly Thrash kind of progression. The song ends on a chamber chorus matching the melodic elements of a clean rhythm before fading into silence.

The instrumentation and pacing are quite unique on the album as it contains elements of old school and contemporary approaches in writing and sound design. The fortitude of each instrument amalgamates together to form one cohesive unit being, for the most part, greater than the sum of its parts, there does exist specific instances where the transitions or dynamics are a bit jarring and off-putting but these are mostly quelled by the sheer immensity of the music.

A return to the throes of metal after decades of lying in wait, DETRITUS, offers a unique and askance view on the genre as they focus on some of the more dismal and denigrative qualities of the human condition which stands in paramount as almost a completely different theme than their original endeavors. Of any accord, Myths, is a welcomed return into a different light.