Modern tendencies in Metal are still being treated by many Metalheads as pariahs into the scene (especially by those into Old School Metal ways). But no one can deny the value of those that are trying to bring things to another level, to give a step ahead into the unknown future. In Brazil, from times to times, some bands dare to defy the rigid models, and have to face hardships. But the hard things define a band and their talent becomes evident, as in the case of the São Paulo sextet HATEMATTER. Their new album, “Antithesis” is proof of those words.

The band focus their energy into a modern form of Melodic Groove/Death Metal that’s intense, aggressive, but full of melodic orchestrations (as heard clearly on “Condemned to Unexist”) and traces of lessons learned with Melodic Death Metal School of Gothenburg, traces from traditional Heavy Metal here and there, some Thrash Metal intense riffing on the guitars, a thunderous and technical work of bass guitar and drums, insane vocals using grunts and harsh screams (and even some clean tunes as well), and keyboards orchestrations and effects as well. It means that the band’s music is rich in contrasts and emotions (brutal and nasty sometimes, bitter and introspective on others), but always bleeding in pure energy. It’s different, unusual, and excellent.

The band worked at Casanegra Studios during 90 days, under the guidance of Rafael Augusto Lopes (the same one who previously with CRYPTA, LIVING METAL, WARSHIPPER, HANGAR, FANTTASMA, HANGAR, IMMINENT ATTACK, IMPERIUM INFERNALE, INDIVIDUAL, KIKO LOUREIRO and others), so it was a careful work focuses on take the best of the band out, with mixing and mastering done by Brendan Duffey. The sonority is clean and defined, but aggressive and distorted as well. And as guest, here is Mayara “Undead” Puertas (singer of TORTURE SQUAD) on “Liberate Me”. And the artwork created by Daniel Gava is really amazing, subjective and real at the same time.

“Antithesis” is solid as a rock (even being composed during the worst phase of Covid-19’s pandemic), and works as all the songs were interconnected. “The Veiled Truth” works as a climatic intro of orchestrations that kick starts “Last Thread of Hope”, a greasy, aggressively modern and melodic song with excellent orchestrations contrasting with the guitar riffs and themes. On “S.T.A.Y.” the focus lies on a climatic and complex song (in terms of ambiences and arrangements), with very good tempos and contrasts (bass guitar and drums are working in an intense way, with some clean vocals tempering its aggressiveness).

The technical level decreases a bit to give chance to melodies on “Where the Grasshopper Lies”, where clearly the influence of Melodic Death Metal is stronger, with keyboards increasing things up in an excellent way. “Precognitive Dissonance” is another atmospheric and short intro, this time for the thunderous “Condemned to Unexist”, a bitter song with a sinuous and technical appeal, with defined melodies of the guitars contrasting with keyboards and effects (that gives to it an Industrial Metal touch). “All Blind Eyes Turned” brings the band to a more traditional Melodic Death Metal embodiment, with excellent melodic parts contrasting with massive bitter moments (and fine contrasts between grunts and screams can be heard), with careful keyboards parts tempering things up. And “Liberate Me” is an incredible song, where the band’s intense musicality meets accessible moments, with Industrial Rock elements and nasty Death Metal contrasting perfectly (and what lovely guitar parts, as the vocals contrasts between screams and female melodies are really amazing).

Another atmospheric intro (based on keyboards’ orchestrations and some guitars) is what “Unseen to Lesser Eyes” depicts, as preparing the ears for the new recording of “With Mankind Beneath My Feet [Reloaded]”, the same song released on the Single of the same name, here with some new arrangements (and amazing guitar solo). And “In the Silent Still” the members of the band open their hearts in a song filled with emotions, especially sadness (due the passing of their guitarist and friend Gustavo Polidori on 2020), so it’s a song with simple arrangements, but with excellent contrasts.

It can be said that HATEMATTER is a survivor in the Brazilian Metal scene, and “Antithesis” comes to crown their career as one of the best albums of 2023.