Gorod - A Maze of Recycled Creeds (2015) Review

While missing input on Gorod’s debut full-length album Neurotripsicks (and while the title sounds promising) from 2005, I hold both Leading Vision (2006) and A Process of a New Decline (2009) in quite high regard, as prime examples of top-notch technical death metal fueled by great musicianship and not lacking in heaviness. In 2012, the band released the exquisite A Perfect Absolution, which got them even more traction in the scene, but it still didn’t live up to their previous two works for me, despite its excessive bombast. The first thing that caught my eye with A Maze of Recycled Creeds (2015) was the fantastic cover art, almost to a point that I hoped for the album to become my favorite from them, even before listening to it. While it may not be the case, eventually, it remains a high point in the band’s discography, highlighting all the elements they excel at. And in some of these elements, they excel ridiculously much.

The virtuosity and musicality that overflows A Maze... is immediately noticeable, but it comes as no surprise to anyone familiar with this band. It is not a case of a record that is characterized by clear-cut brutality, as the progressive and jazz intersections throughout the death metal corpus are frequent, expertly executed, and highly effective. Through tempos constantly chopped and re-wired in new frequencies, unfurling fierce riffing in between fretwork aerobatics and thrilling soloing, Gorod communicates their story from their own, particular perspective. A Maze... is a clear tech-death album, yet it separates itself and makes the band’s sound, completely recognizable. Despite the complexity of the compositions, the record succeeds in being accessible and pleasant to go through, as it also isn’t shy of uplifting moments, when things dare to get more fun. 

By flashing a short, hopeful piano introduction in “Air de L'Ordre”, it’s almost as if it’s unsuspected of what’s about to follow. Both “Temple of the Art God” and “Celestial Nature” burst with tense and airtight, prog-driven death metal played on time signatures impossible to count, and the first listen serves purely to sit back and appreciate the mind-bending capabilities of all the members and their instrument worship. Harmonies are used and abused in the entirety of the record, but it’s also the spectacular bass lines and drumming that lives up to the needs of such material. There’s not a lot of space for pure headbanging here, as the brain will constantly be trying to catch up with the number of exciting ideas constantly appearing and dissolving. 

Gorod’s jazz adeptness sometimes takes over (check “The Mystic Triad of Artistry” or “An Order to Reclaim”), and the heavier moments are more distinct when they unfold, than constantly being in the forefront. For example, potent grooving is what opens “From Passion to Holiness”, which transforms into an almost funk metal crescendo later, and the intro of the last track, “Syncretic Delirium”, is possibly the album’s most aggressive instance (nearly reminding me of Spawn of Possession). I must admit, I am not the biggest fan of the shouty vocals sometimes employed in the tracks, like in “Rejoice Your Soul”, which was the weakest for me in the record. Pieces like “Inner Alchemy” (despite the vocal elasticity) are among the strongest points in A Maze..., while e.g. “Dig Into Yourself” were for me, significantly less memorable. 

I still haven’t heard The Orb (2023) properly but remember Æthra (2018) positively, which shows that there’s still homework to go through when it comes to Gorod. In A Maze..., I found the framework in which this band operates quite exciting, despite not enjoying all parts of the album at the same extent. There are so many hooks and twists in the tracks, so much energy out of the band, and so much creativity, that it’s hard not to recognize the musical level of the record, even if such a demanding genre isn’t your cup of tea (as it might not be mine). Naturally, the band has moved on from what they had been trying to do up to that point, but it’s not a matter of abandoning previous approaches, just reinventing them. [3.5 out of 5]

Out of reach of idle hands