UNDERNEATH — From The Gut Of Gaia (review)

UNDERNEATH — From The Gut Of Gaia album cover

Album · 2024 · Deathcore

4/5 · 2024-02-15
siLLy puPPy

One of the newer kids on the block in the world of extreme metal, UNDERNEATH emerged from the filthy cracks of Pittsburgh, Pennsylvania and turned a few heads with its 2023 debut EP titled “Nothing Here Is Held Sacred.” The atmospheric and melodic take on breakdown hardcore in cahoots with various aspects of metalcore and deathcore was irresistible to many and only a year later UNDERNEATH has returned for another dose of darkened aggression chock full of chaotic dissonant guitar stomps and a propensity for writing songs that don’t sound the same!

Somewhat of a mystery, this band has neither a bio to be found nor even any lineup credits (also no photo op to be found). Letting the music merely stand on its own was a brave move and with its debut full-length release FROM THE GUT OF GAIA it’s evident that this band has indeed mastered the art of spicing things up in the world of core metal that more often than not comes off as a one trick pony. This band has learned the art of meandering through different moods to set a contrast absent in almost anything deathcore related.

FROM THE GUT OF GAIA features 13 tracks at 43 minutes and rampages on with moments of atmospheric checkpoints to prepare you for the next series of outbursts and guitar antics. Most surprisingly about FROM THE GUT OF GAIA is the mix of the familiar sounds of metalcore and deathcore dressed in a sludgy dissonance only with healthy doses of experimentation and explorations beyond the usual chugga chug and breakdown series that more often than not become a bit tedious. On the contrary UNDERNEATH dishes out the expected core chops with enough energy to power a small city but then goes above and beyond the call of duty with intricate atmospheres an interactive second guitar, changes in vocal style, unexpected changes in tempo, dynamics and mood and well whatever suits their fancy.

While pretty much starting out each track as a no nonsenses soul crusher with frenetic chugs and dissonant chord sustain, the songs often make hairpin turns into various soundscapes whether it be an echoey psychedelic resonant chamber or some sort of atmospheric escape from the incessant bombast of the guitar, bass and drum. Keeping in accord with the deathcore / metalcore universe, songs are very short and to the point only with the roller coaster effect of taking you somewhere completely new during the wild ride and after the journey has already begun. The exception is the closing title tracks which totally shifts gears. This 15 minute and 20 second track begins with a long trippy oscillation session of a guitar slowly plucking amongst an atmospheric build up.

When the vocals kick in it eschews the rest of the album’s playbook and rather chugs along much slower. This grand finale is a perfect palette cleanser as it eschews the core speedfests for a more psychedelic sludge effect with a distorted procession through highly atmospheric storms of reverb. After about 10 minutes the entire metal disappears and an old vinyl recording of “Amazing Grace” kicks in and plays for three minutes but at around the 13 minute mark it becomes a record skipping sound with birds chirping in the background for the remaining two minutes. Overall this is a really vibrant example of creative metalcore mixed with deathcore and sludge metal. The band really went the extra mile to infuse it with a creative infusion almost absent from the world of core music unless it ventures into prog. This album should serve as a blueprint for how to make core music diverse and dynamic. Perhaps it’s not perfect, the production is off at times and the vocals don’t exactly thrill me but small quibbles.