Apogean's sophomore LP, 'Waste Where Life Begins', is a bold step away from the confines of technical death metal. The band's promotional blurb hints at a broader sound, incorporating blackened, classical, and neofolk elements, and this is indeed what the album delivers. It's a refreshing change of pace for fans of the genre, especially those who have absorbed a lot of conventional tech death. The album's sound is a chuggy, Gojira-inspired blend of black metal flourishes, tremolos, and deathcore elements, with a thick atmosphere and ambient touches. The album's opener, 'Daughter of the Oak', sets the tone with its catchy melody and violin accents, while the short runtime of 33 minutes means the album is concise and to the point. The album's standout moments include the catchy black 'n' roll riff in 'White Trees, Black Leaves', the proggy 'Nassaru', and the shreddy leads in 'Black Smoke, Bleeding Earth'. However, the album's formulaic nature and slight lack of excitement for those with a saturated tech death sponge may be a turn-off for some. Nonetheless, 'Waste Where Life Begins' is a solid album that showcases Apogean's versatility and keeps the compositions concise and performances tight. The album's elements are rock solid, if not always exciting, but it certainly made for some enjoyable listens and put Apogean on my radar. The band's use of guest musicians, including Laura Bates and Joshua Ward, adds depth and emotion to the album, making it a fitting tribute to Ward, who was tragically killed by a drunk driver. Overall, 'Waste Where Life Begins' is a solid album that showcases Apogean's versatility and keeps the compositions concise and performances tight. The album's elements are rock solid, if not always exciting, but it certainly made for some enjoyable listens and put Apogean on my radar. The band's use of guest musicians, including Laura Bates and Joshua Ward, adds depth and emotion to the album, making it a fitting tribute to Ward, who was tragically killed by a drunk driver.
