Album Review – Intercepting Pattern / The Encounter (2020)

A free-flowing 30-minute long composition ebbing and flowing between heavy syncopated grooves, Jazz fusion flourishes, ethereal synth-layered passages and cybernetic Death Metal.

Formed in 2016 in the city of Berlin, Germany, a distinguished Progressive Metal unity known as Intercepting Pattern is comprised of vocalist Daniel Sander, guitarist and keyboardist Marte Auer, bassist Clemens Engert and drummer Lille Gruber, all seasoned musicians known for their time in projects such as Defeated Sanity, Infecting the Swarm and Cerebric Turmoil. Produced, mixed & mastered by Tom ‘Fountainhead’ Geldschläger at FountainheadHQ and featuring a stunning artwork by Niklas Sundin (Mitochondrial Sun, Dark Tranquillity), Intercepting Pattern’s debut effort, entitled The Encounter, was created and designed as one free-flowing 30-minute long genre-bending composition, ebbing and flowing between heavy syncopated grooves, Jazz fusion flourishes, ethereal synth-layered passages and cybernetic Death Metal with seamless ease, appealing to fans of groups such as Meshuggah, Cynic and Panzerballett, among others. For release purposes, The Encounter is split into 10 “song” sections, although it is strongly suggested to listen to it in one session as it was intended when being created.

Clearly inspired by classic TV shows and movies that dealt with alien forms of life, the opening track Extragalactic Radio presents Lille and Clemens bringing endless groove and intricacy to the music with their beats and bass punches while Marte adds a touch of finesse to the overall result with his riffs and solos, flowing into the Progressive Death Metal feast titled Signal-to-Noise, where Daniel fires anguished, raspy roars accompanied by the always blazing guitars by Marte, resulting in an excellent option for breaking your neck headbanging. And their mysterious, otherworldly story goes on in Interlude I, an atmospheric and futuristic creation by Intercepting Pattern that will certainly send shivers down your spine before Eigenlicht offers us all Jazz and Blues united with the band’s hybrid of Progressive and Groove Metal, or in other words, a complex and extremely enjoyable tune where Marte and Lille are in absolute sync with their incendiary riffs and beats, whereas Hypnagogia is another wicked instrumental creation by the quartet with Clemens’ bass jabs making your head tremble in awe, all spiced up by background voices and ethereal keys, and running smoothly until its whimsical conclusion.

Interlude II is a cinematic bridge created to keep the listener hypnotized and eager for what’s next, as Daniel returns in full force with his rabid growls in Rebiogenesis, with the band’s razor-edged guitars and rumbling bass together with the sick drums by Lille generating a multi-layered wall of sounds for our total delectation. Then featuring guest Jimmy Pitts (Eternity’s End, Eynomia, NorthTale, NYN, The Fractured Dimension) on keyboards we have Fuga Finalis, an explosion of Progressive Groove Metal infused with Jazz and other idiosyncratic sounds and tones. Not only that, can you feel the anger bursting from Daniel’s roars? It’s sick and amazing at the same time, of course. And the music makes an instant bridge with the also demented and progressive Asmodeus, sounding as bold and weird as possible while led by the jamming beats by Lille, being therefore highly recommended for musicians who love the fusion of metal and Jazz, before the outro Epilogue ends the album in a cryptic and again atmospheric manner, with its instrumental pieces exhaling melancholy and heaviness until all is said and done.

“Having played in various metal bands before, we were kind of drawn to modern jazz and fusion records at the time and wanted to challenge ourselves with a more complex and improvisational approach to music. Of course, being the metal kids that we are, we couldn’t totally hide from our roots, but overall we tried to emphasize extended harmonic concepts and recurring rhythmic motives common to a Jazz/Fusion context”, commented the band about their newborn spawn, and after listening to the album in its entirety it’s easy to understand exactly what they wanted to accomplish in The Encounter. Needless to say, they more than succeeded in their quest, and if you want to give Intercepting Pattern a try you can grab your copy of The Encounter from the Rising Nemesis Records’ BandCamp page, and soon also from the Rising Nemesis Records’ Big Cartel and from IndieMerchstore. You can also get to know more about the band by following them on Facebook, showing your appreciation for their wicked hybrid of Heavy Metal and Jazz, and inspiring them to keep exploring the outer space and alien life with their refined music for many years to come.

Best moments of the album: Signal-to-Noise, Rebiogenesis and Fuga Finalis.

Worst moments of the album: None.

Released in 2020 Rising Nemesis Records

Track listing
1. Extragalactic Radio 3:26
2. Signal-to-Noise 1:56
3. Interlude I 1:38
4. Eigenlicht 3:07
5. Hypnagogia 3:56
6. Interlude II 1:46
7. Rebiogenesis 4:48
8. Fuga Finalis 2:34
9. Asmodeus 4:35
10. Epilogue 2:15

Band members
Daniel Sander – vocals
Marte Auer – guitars, synths
Clemens Engert – bass
Lille Gruber – drums

Guest musician
Jimmy Pitts – guest keyboards solo on “Fuga Finalis”

Album Review – Humanitas Error Est / Human Pathomorphism (2016)

Mankind is nothing but a failed experiment in this sick world we live in, and this demented Black Metal horde from Germany is here to show you why.


141-1Human Pathomorphism, a perverted or abnormal morphology (or study of the human form), is not only the debut full-length opus by German Black Metal horde Humanitas Error Est, but a cutting statement that mankind is nothing but a failed experiment in this sick world we live in. Furthermore, the name of the band translated from Latin already means “humanity is a mistake”, a pivotal detail that shows you the band is not fooling around, sending their sad but true message to everyone that somehow still believes our society has a promising future ahead even after all the shit we’ve been witnessing lately.

And this deranged army from the city of Leipzig, also known as the “boomtown of eastern Germany”, vehemently spills their venom against any type of religion throughout the entire album, which according to the band can be considered the first chapter of their pandemic hatred against mankind. Evidently, there couldn’t be a better sub-genre of heavy music to perfectly represent all their negative feelings and thoughts than our good old Black Metal, and due to the highly developed skills by each band member what we have is an extremely well-crafted sonic assault that achieves its main goal hands down.

The intro Destroyer Of Worlds gives you about a minute to get ready to be destroyed by the band, which is what will happen to you when you face their heavy artillery in Quod Homo Appellatur Morbus Est (or something like “that man called disease”, translated from Latin). What a fantastic massacre generated by those six musicians, sounding like a rawer version of Dimmu Borgir with a merciless approach. Their bursting Black Metal keeps crushing our minds in Pain Feeder, where Ahephaïm is a lunatic fringe on drums while the band’s own succubus S Caedes and the barbarian demon Ghoul provide us their most nightmarish growls, and despite the second half of the song slowing down a bit it ends up getting even more demonic than usual.

HEE-Band2-printOne interesting fact in Human Pathomorphism is that there isn’t a single second of silence between songs, and the insane fury emanating from the guitars by Tsar and Void114 in Jagdzeit (or “hunting season” in German) from the very first second of the song only corroborates that, leading to an important question: how can a band sound more violent than this? It’s a gargantuan level of devastation without a shadow of a doubt. Then we have some eerie sounds kicking off another boisterous chant entitled My Sexual Benediction, an ancient Black Metal tune with a disturbing musicality tailored for fans of the genre, followed by Raping Religions, a Black Metal hymn with hints of brutal Death Metal where S Caedes and Ghoul keep spewing their dark words upon humanity. Well, I guess the name of the song says it all.

In One Piece Human the listener will probably face the most disturbing rhythm of all, never getting too fast but always being deeply dark. In addition, all vocal lines are as hellish as possible (including some sick howling), with some blast beating moments adding more complexity to the overall result. Humanitas Error Est are back to their “wrecking mode” in Die Macht Deines Glaubens (“the power of your faith”, from German), with Tsar, Void114 and Ahephaïm becoming unstoppable music machines firing endless amounts of darkness through their instruments; whereas in Skinning Alive, a thrilling Blackened Death Metal tune, the guitar lines sound more metallic than ever. It’s four minutes of sheer savagery led by S Caedes (what a voice this woman has!) and Ghoul, or in other words, a spot-on ode to human violence. And why not closing the album with more inhumanity in the form of music, starting with a track fondly named Bestial Penetration? Albeit being a decent song, it lacks its own identity to differentiate it from the previous tracks. Nothing that damages the high quality of the album, though. And lastly we have the title-track Human Pathomorphism, which might not be exactly a full-bodied song, but it is definitely one of the most disquieting outros you’ll ever listen to.

Now that you have finally become aware of the soundtrack to human extinction crafted by Humanitas Error Est, go pay a visit to the band’s Facebook page and listen to their blatant music at their YouTube channel, SoundCloud and ReverbNation. And in order to truly show your support for this amazing band, you can buy your copy of Human Pathomorphism at their BandCamp page, at the Satanath Records’ BandCamp page or official webstore, or also at where you can find the regular version of the album as well as the digipak version including the official video for “Raping Religions”. Do you still believe humanity is not a mistake after listening to the music by Humanitas Error Est?

Best moments of the album: Quod Homo Appellatur Morbus Est, My Sexual Benediction and Die Macht Deines Glaubens.

Worst moments of the album: Bestial Penetration.

Released in 2016 Satanath Records

Track listing
1. Destroyer Of Worlds 0:55
2. Quod Homo Appellatur Morbus Est 3:26
3. Pain Feeder 3:42
4. Jagdzeit 3:06
5. My Sexual Benediction 5:09
6. Raping Religions 3:12
7. One Piece Human 6:23
8. Die Macht Deines Glaubens 1:58
9. Skinning Alive 4:14
10. Bestial Penetration 5:20
11. Human Pathomorphism 2:02

Band members
S Caedes – vocals
Ghoul – vocals
Tsar – guitar
Void114 – guitar
Rogan – bass
Ahephaïm – drums