Angry Metal GuyIn a time where one side-eyes many an image or video online for fear of its having been created with generative AI, it’s bemusing when an artist actively markets themselves as robotic. Calling themselves a “real-fiction metal band,” centering the project on the transmissions of powerful, hyper-intelligent cyborgs, and initially appearing to have zero discoverable human presence on the internet, Polish act Eutanor might have gone a little too far with the gimmick. They are, as it turns out, so extremely far underground that neither Metal Archives, nor Bandcamp, nor any streaming service will offer you their music.1 It was only once I started pasting Google-translated Polish into my search engine that I happened upon reviews and YouTube playlists of the band’s debut, Assembling Tomorrow. The mechanical concept explicitly informs the music’s sound—a self-described “funeral djent”—that every source emphasized being difficult to absorb. But is there more man or machine in Automatocrat?
Sources were not wrong: Automatocrat is no easy listening. Even the track titles are hard to process, being an ordinal series of numbers in rough magnitude of 1.7-1.85Bn. If funeral djent is intended to invoke a blend of syncopated, drop-tuned chugs and erratic rhythms with low, slow riffs and a morose vibe, then it’s somewhat apt since the prevailing pace is slow even as the structures are fickle. But Eutanor take cues from a spectrum of subgenres besides, leaning heavily at uneven intervals towards black metal (“1804068394”), sludge (“1731543705”), stoner (“1771078223”), electronica, brutal death, and grind (“1800748752”)2. Whilst the rhythms and guitar patterns fluctuate a little in turn, the vocals sit almost entirely in some liminal space between what would be appropriate for any of these styles: a gravelly, drawn-out kind of rasp. Really, the main thing Automatocrat shares with the funereal is reverb, and with djent an experimental approach to groove. “Experimental” is probably the best descriptor for the music in general, but while innovation and complexity can make for fantastic metal, in Eutanor’s case, “experimental” is a euphemism.3
Automatocrat is mechanical only in its obstinacy in sounding as bad as possible. Well, that and the computer-generated female voice that appears at some point on every song to read out the number that names it.4 The latter would be funny if the surrounding music weren’t steadily sapping your will to live through a combination of muddled movements, messy execution, and migraine-inducing mixing. At its least offensive, the music could be considered monotonous, with flattened tremolo picking (“1804068394”), trudging doom-death (“1731543705”) or stoner-coded (“1771078223”) riffs accompanied by a basic beat. Even here, you can’t escape from the vocals, croaking—and sometimes, horrifyingly shout-speaking (“1731543705,” “1804068394”)—that scrape the insides of your skull like a rusty spoon. The reverb, which spares no expense in muddying the vocals, guitars, and cymbals alike, mocks you (“1735064161,” “1771078223”, “1804068394”). When you think it can’t get worse, Eutanor put down their metronome for a token exploration so uncoordinated and lacking in imagination it would be generous to call it a jam. Random snippets of electronica are chucked about for all of a second (“1735064161,” “1800748752”), drums have intermittent fits of failed syncopation (“1713721976,” “1804068394”), and guitar lines materialise disconnectedly only to be choked by their mediocre riff peers and endless resonance (“1731543705,” “1771078223”), or simply feint away from development (“1846444894”).
But the hardest thing to digest about Automatocrat may not be its confusing nature or meaningless attempts at experimentation, but how awful it sounds in general. The production is so bad it actually made me angry, because it suggests that Eutanor simply didn’t put much effort in. Just like the lifeless chaos that defines the music’s composition, the relentless forward crush of everything—except of course, the parts that might actually be interesting—and the fuzzy muck smothering the rise of layered guitars while sharpening vocals beyond potency implies a lack of care. There are some good ideas—a cool riff here (“1731543705”), a piece of rhythmic weirdness that works there (“1800748752”)—but they need to be properly audible, and given the room and the treatment to shine. Yes, Eutanor are small and probably low-budget, but this album sounds worse than low-fi and only compounds the structural and aesthetic problems with the music itself.
After my time with Automatocrat, I still can’t decipher the artistic intent behind it, let alone the person or persons responsible. Too boring to earn the label of “avant-garde,” too ugly and messy to be enjoyable, and too bad to feel like a sincere statement, I struggle to see an audience who would appreciate it. The lack of personality and imagination in Euatnor’s grating pretences to music is fitting for inhuman machinery, but its sloppiness feels all too human.
Rating: Unlistenable
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: Bandcamp | Official
Releases Worldwide: June 5th, 2026
BC BY-NC-SA
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