From Bandcamp, “In honor of their 10-year anniversary as a band DISTANT are thrilled to present "Tsukuyomi: The Origin," an expanded and revitalized version of their debut EP, "Tsukuyomi." This release features seven brand new tracks alongside six revamped originals, weaving a comprehensive tale that predates Tyrannt's conquest through the universe. “Tsukuyomi: The Origin" not only delves into DISTANT's origins but also explores the lore behind their lyrics. It isn't a standard remaster or simple rerecording, but the band overhauled the original songs to reflect their current sound and vision, ensuring the tracks get the attention they deserve.”

The album has 12 songs, and “The Pale Moonlight” is first. The opening tones are electronic and weighted, with an air of mystery, but what follows are hardened, angled Djent riffs that are impossibly low. The song is very short however, as is the case with many in the genre, because the sheer amount of sound packed so tightly lends itself to this format. “Feast of Misery” has vulgar, filthy gutturals, and riffs that will grab the listener by the head and pull him deep underwater with the weight of a concrete block chained to his leg. There is a real energy here also. “Cradled in Shards of Glass” is full of dissonance and some nifty effects in the riffs. It almost sounds like the void of the black hole from the lack of melody is being played by machines, and not humans.

“The Undying” has some electronic melody to go along with the punishment from the vocals, drums, and guitars. It’s like being beat over the head with a sledgehammer while the assailant smiles in delight. “Acolytes of Damnation” is faster and more energetic, fueled mostly by thunderous drumming, a steady barrage of riffs, and a varied vocal style that ranges from deep gutturals to blood-curdling screams. The title track embraces some melody, although it is dark and twisted, as well as short lived. The breakdown in this song is about as brutal as anything I have heard this year. “Broken Cross” is the final song, and it’s the shortest, at under two minutes. Pig squeals abound.

Talk about dense. There’s an almost claustrophobic quality here, as if the music surrounds you from all sides, with towering walls of sound pressing inward. Guitars don’t simply riff; they resonate with weight, strumming with a force that feels like it could split the ground. Percussion is not just rhythmic; it’s a dense, insistent heartbeat, driving the momentum and capturing a sense of urgency. The vocals add a whole other layer of weight to the album as well. Dense isn’t just a description here; it’s the very essence of the experience.