MILES TO PERDITION - 2084

Miles To Perdition - 2084

7 songs
37:08 minutes
***** ****
(self-released)

Bandpage

In high school, I learned about geometric progression in maths class, and many years later I still remember the working principle, and caught myself smiling when I realised that this concept also applies to Luxembourgish metal band Miles To Perdition. They released a first demo in 2008, followed two years later by an EP. Then it took the band another four years to come up with their first longplayer, and to stay in line with geometric progressions, they needed this time six whole years for its follow-up.

Back in the beginning, I was not really convinced by their first demo, but the band did progress over time, one might say also geometrically, because their new effort 2084 was well worth the wait. 2084 is a concept album about the dichotomy between utopias and dystopias, mostly influenced by George Orwell’s 1984, but also by Aldous Huxley’s Brave New World and probably some other genre novels too. Let me start with the negative: if you subtract the one minute spoken word intro and the (dark synth / chill / vapor… pick whatever is fine with you) wave instrumental Cognitive Dissonance, we are only left with thirty-four minutes of music.

The positive is that this good half hour of music show the band from its most accomplished side. Gone are the juvenile days of metalcore. The band has developed into a fully-fledged melodic death metal band, and we even get the occasional guitar solo. There are three kinds of songs on the album. Terror Of Lies and Divide Et Impera are six minute long majestic death metal songs that prove how varied the band has become over the years. The guitars unleashed searing riffs, the drums are pounding you to death, the bass guitar always surprises again with progressive runs, and the vocals are purest venom. Then we have with To The Guns and S.O.M.A., the latter being the first single, two four minute songs that are quite good too but not on the same utopian level as the aforementioned tracks. The album ends on a third and new type of song: Doom is thirteen minutes long, which I didn’t expect from Miles To Perdition. Just like on the other longer tracks, the band adds tons of different parts. This is quite impressive even though in the end I prefer their mid-length songs where the musicians are definitely most at ease.

The production of the album is also top notch, giving each musician and the vocals ample room, so that we are left with a rather short yet very engaging album that should appeal to every fan of high class melodic death metal. The lyrics feel sometimes maybe a little overly didactic, but that’s maybe only because I read 1984 and Brave New World in high school.

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