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Ubiquity is an album by French brutal death metal band Ogarya, released on February 15. Thirty seven minutes long, Ubiquity has twelve very objective and concise tracks, being them an Intro, Downgrading Redemption, Black Sun, Perennial Idolatrous Violence, Ubiquity, T-eraFormer, No wisdom possible, Engine, BiOniric Mechanization, Seven Sin-gularities, Those We Don't Want To See and Another World. A very rapid, brutal and explicitly grotesque album, Ubiquity is primarily fulfilled by all the classic death metal components: a hostile and malevolent style, a thoroughly aggressive sound, guttural vocals and a very explosive musical layout.
Ogarya manages to develop very well their own style, since Ubiquity – despite featuring as its main components the general elements of an ordinary brutal death metal feature –, really has a very original musicality, although eventually you feel yourself absorbed by a more generic pattern, within the uniform sonorous correlation deeply standardized into the songs.
Although there is nothing extraordinary in Ubiquity, the album is good, and certainly has everything to be a favorite among death metal enthusiasts. As a record, in a more detailed and meticulous analysis, Ubiquity is as interesting as it is monotonous. Technically, there is a solid and vehemently ardent splendid proficiency, whose exceedingly high level of competence really demonstrates to the audience what brutal death metal truly is. Nonetheless, on the other hand, since the harmonies are voraciously fast all the way throughout the album, with little to no variations, the sound appears to be too uniform, and you eventually fall under the impression that they are playing the same song over and over again.
Ubiquity is a polarizing album, that certainly has the potential to divide opinions. Not a bad album, if you have a little patience, the expressive musical lines in general reveals very skilled musicians. Enthusiasts of a very extreme and brutal death metal sound probably will find the album a splendid and marvelous experience, since the voracious aggression literally gives you no truce, for the entire run of its thirty seven minutes.
I really can’t say I found Ubiquity a marvelous work of art, but the record certainly has its merits, and they are not scarce. Although Ogarya does not promote a revolution in the way death metal is played, they seem to be fully compromised with the development of their own style. Evidently, Ubiquity has the potential to please the more ardent and extreme enthusiasts of the genre. There is no doubt about it.
Wagner
Ogarya manages to develop very well their own style, since Ubiquity – despite featuring as its main components the general elements of an ordinary brutal death metal feature –, really has a very original musicality, although eventually you feel yourself absorbed by a more generic pattern, within the uniform sonorous correlation deeply standardized into the songs.
Although there is nothing extraordinary in Ubiquity, the album is good, and certainly has everything to be a favorite among death metal enthusiasts. As a record, in a more detailed and meticulous analysis, Ubiquity is as interesting as it is monotonous. Technically, there is a solid and vehemently ardent splendid proficiency, whose exceedingly high level of competence really demonstrates to the audience what brutal death metal truly is. Nonetheless, on the other hand, since the harmonies are voraciously fast all the way throughout the album, with little to no variations, the sound appears to be too uniform, and you eventually fall under the impression that they are playing the same song over and over again.
Ubiquity is a polarizing album, that certainly has the potential to divide opinions. Not a bad album, if you have a little patience, the expressive musical lines in general reveals very skilled musicians. Enthusiasts of a very extreme and brutal death metal sound probably will find the album a splendid and marvelous experience, since the voracious aggression literally gives you no truce, for the entire run of its thirty seven minutes.
I really can’t say I found Ubiquity a marvelous work of art, but the record certainly has its merits, and they are not scarce. Although Ogarya does not promote a revolution in the way death metal is played, they seem to be fully compromised with the development of their own style. Evidently, Ubiquity has the potential to please the more ardent and extreme enthusiasts of the genre. There is no doubt about it.
Wagner