Morphium - The Fall

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Metal maniacs, rejoice! I'm proud to present to you: MORPHIUM; signed via Art Gates Records, hailing from Spanish grounds - performing Gothic/Death Metal/Metalcore, on their 4th album entitled: "The Fall" (released March 2021).

Since formation in 2005; the quintet in question have had a Demo, 4 Singles and 4 Full-Length Albums in their discography so far. I am introduced to their fourth deliverance entitled: "The Fall". 12 tracks ranging around 49:37; MORPHIUM arrange an intricately designed formula on some heavy-hitting Gothic/Death Metal/Metalcore amalgamations.

Opening up with this ominously jarring riff; "Dance Of Flies" implodes onto the scene with this striking representation of some monstrously meaty variety, merging this thrilling yet thunderous slab of solid tonality. Where this neat compulsion converges an alternative spectrum on Metalcore rhythms; bruising Death Metal roars, and a hint in Gothic fusions immersively fuels a healthy dose on these sub-genre territories with meticulous foundations in borderline bounciness. Boisterous hymns articulate with wildly rushing sharpness, tempestuously surging this volatile precision while rampantly rompy maelstroms manifests with uniquely versatile vehemence. "The Truth" trailblazes with more punchy jumpiness too, soaring with clobbering calamities and creatively dynamic virtuosity to boot. Kicking into overdrive with killer laceration stability, while revelling with salubriously chunky catchiness in a technical manner.

Consisting of Alex Bace on vocals; the frontman excels at a flamboyant contrast in a fluidly bellowing element as high-pitched pipes yell with shouty yet raspy throatiness, while implementing deep gutturals for good measure. Attributing a clean singing rotation which showcases this quirky yet progressive outrè which works very well, it's as if the songwriting musicianship embellished in converging alt and deadliness into one which forges a blistering but belting package. "Parasite" culminates in a feverish sensation of this, uniting melodic machinations with rumbling reverberating in an energetic but euphonically crunchy way. Mellifluous pursuits ramify with profusely robust dexterity, as guitar fretworks from James Lamb & Javi Delgado both hook a gripping intrigue on relentlessly raw tightness.

Skyrocketing with rapidly swift nimbleness while outlandish vibrancy potently thuds with sturdy yet twinning substance on organic virtuosity, grinding a fierce momentum on primitively groundbreaking firepower expertise that will make you want to break chairs over other chairs while unleashing a killer laceration mobility that slays with harmonic intensity. "Everybody Is Dead In This House'' articulates with a hybrid calamity, experimenting with hefty hymns and a gravitation leap towards zestful pummellings as hammering drummer Sebas Limongi rambunctiously piledrives with vicious pandemonium & ruthless slams that stomp with steely precision while thumping this synthetic bass audibility from Sergi Rivera also. Both integrate frolicking gallops on top of the maelstrom chugs in which snare with chiselling complexity, while this momentously upbeat outburst enchants eardrums with outrageous grooves and uproarious pipes that pursuit with rich yet synergetic steadiness.

"Burn My Skin" features a guest duet from vocalist Mara Lisenko; both sing with stunning èclat, as a diverse shriek notably unravels my attention. A brilliant but deathly outtake that provides a brutally bashful angle in elegant cords, and exhilarating exuberance. Flourishing with jarring yet symphonic tempos, while executing a grumbling grandeur in instrumental grit. "Insorcism" concretely nails this with a drony drill, as immensely sulfurous remedies systematically strife with sublime savagery in an echoing embellishment of stumpy treads roll with steamrolling heat. Advancing towards the "Blacksoul", more atmospheric ethereality distils a calm but chilling aura with some pensive yet symbolic but ballady meditation. Melancholic structures merge this mystifying transgression on gothic allure, especially with the rocking yet trancing scour of "My Apocalypse".

"Something Dead Inside" expertly crafts a captivating but diligently distinguished detail in monolithic pop-rock transparency, where weighty yet tough rips shred with vivaciously intertwining enthusiasm. An epic crescendo roundhouses you with swerving swoops, where an electronic sense of radically wicked tendencies morphs with this wondrous metamorphosis in an evolving entrance as the trippy enterprise in dark soundscapes of the “Past” persists with this eerie pianist segment of creepy haunts while “Tired” brings back the volatile prestige with full force impact and sonically seamless relentlessness. Before the overall concluding ether of the titular track finalises everything with yet another passage of mechanized liturgy, where this blackened but dark and robotic symbiosis on this spoken word ritual that scripts this overshadowing overarch on what envelopes cryptic messages with an encryption cipher in evil empowering deciphering that ultimately stops the record with this unearthing of splendid noise & mesmerising but foreboding intrigue.

Bottom line; MORPHIUM certainly outdone themselves with this one, “The Fall” delivered an impressively flamboyant slice of some uniquely fused and inventively progressive technicality of these sub-genres with this spiralling sophistication that marvellously morphs with replayable value & an enjoyably entertaining discovery that most surely deserves experiencing at least once or twice. Worth the spin!


Songwriting: 9
Musicianship: 9
Memorability: 9
Production: 9