When I first listened to "Engineering The Void" all that astounded me were the guitar work and the production of the album. This release's production blew me away! It's not over-the-top but it isn't rough either. It has just the right amount of edge to it. It's such a refreshing mechanical sound. The bass is so thick and clear it almost sounds like a chorus of croaking toads. I don't know who exactly produced this but the extremity, groove, adrenaline-driven characteristics are befittingly captured that it adds a new dimension to the listening experience.

The riffs take form depending on the disposition of the song. Anton Svedin has all the legitimate amount of groove that Vogg (DECAPITATED) exhibits. He also has the technical proficiency of that of Joe Haley (PSYCROPTIC). The solos are well-crafted and have that space of looming astonishment (also a peculiar trademark of Michael Keene (THE FACELESS)). If these descriptions invigorate you then most likely you'll be much obliged to "Engineering the Void". Being as neutral as possible, I've also seen counterarguments about any one of these groups. But for me personally, I love all these musicians. If all my words seem like propaganda just remember this. Anton Svedin is like water. Water takes the shape of its container. Water does not try to supersede even in the most extreme conditions. Water just goes with the flow.

The guitar work is so exquisitely hypnotic. So much so that after my first run through I had to go back and give the album another spin to grasp the drummer's technique. It's not that I couldn't hear Tony Westermark. It's just that all mind had to be centered on the interworking of the guitar and bass. The rest became perceptual blindness (look it up, really neat psychological phenomenon). Westermark stays as conservative as possible but also contributes to the extremities. He's at a safe distance and does not do too much to ostensibly enhance the sound. Instead, he creatively inputs some light beats while respectively laying out vectors for his band mates during the intense moments. The way he uses the double kick pedal is more on the liberal side but is used in such a way that enhances the overall brutality. The production was only a bit iffy when it came to the drums. It felt like they were a bit too polished that the human aspect at times escapes.

Now this is the part I wish I weren't writing. I dubbed as to what's to come as "The Three Cheeses". "The Three Cheeses" stars "Breaking the Great Narcissist", "Monumental Burden", "Engineering the Void". When I listen to Technical Death Metal that's what I want to listen to not "The Three Cheeses". These three songs have a secret port hole that take you to a magical fantasy land with talking flowers and flying chairs. Well, actually that doesn't sound too bad. "Breaking the Great Narcissist" has a symphonic part that starts fairly decent than it abruptly switches to a soundtrack that appears to come straight from a Harry Potter movie. "Monumental Burden" is even worse since its symphonic part is purely jammed in there to make it sound outwardly mystical. I might've exaggerated "Engineering the Void". Its symphonic piece does kind of fit as the mental imagery I was getting was at least valid.

So please SOREPTION if you're going to utilize more symphonic elements in future endeavors at least do them like the title track and not like "Breaking the Great Narcissist" and "Monumental Burden". If it were up to me I'd keep it away from music altogether.