Umbah
Trilobeth
6.2
Umbah must have one hell of an odd story to tell because this is actually the band’s 11th studio album according to quick but efficient research, despite myself or anyone I know ever having heard of them. And this isn’t even the band’s most recent album. That would be Aradrolos, released last year. So what gives? Who are these oddballs and what can we glean from their under-the-radar but considerably lengthy career?
It’s made pretty clear from the outset that Umbah is the epitome of a “project.” People come and people go, but Umbah remains Umbah. This is the kind of group that is bandied about as a quote unquote collective, with only one member being a constant contributor. Perhaps the artsy fartsy aesthetic is warranted in this case. Gargled vocals and Sigh-esque WTF transitions decorate this industrial death metal album like sprinkles on a third-grader’s cupcake, the product of a people less concerned with order than overwhelming the senses. There’s more going on here than most could handle, that’s for sure.
The more adventurous listener will find enough to like on Trilobeth. Riffs twist and turn quicker than a Tim Hardaway crossover. Genres meld to the point where distinguishing them becomes a pointless task. The general ambience is not unlike Buckethead shredfest meets Sigh synth fun, all with a death metal overtone. It is quite the production. I would be lying if I said I wasn’t impressed by how together it sounds given the chaos. Unfortunately the novelty can wear a bit thin and by album’s end you’re not sure what song you like best because it was a pretty big blur.
