Modder – Destroying Ourselves for a Place in the Sun Review

By Grin Reaper

Blending sludge metal and electronica make for fascinating bedfellows, and that’s exactly what instrumental outfit Modder brings to the table with Destroying Ourselves for a Place in the Sun. I don’t recall encountering this genre combo before, but the unlikely pairing fits together in compelling and novel ways. Destroying Ourselves for a Place in the Sun is one part early Mastodon and one part The Prodigy, and it works better in practice than I’d ever expect it to on paper. Both styles embrace the bottom end, and in a live setting, I imagine Modder is unapologetically crushing. But it takes more than novelty to guarantee a grand time, so let’s dig in and see what goodies this Belgian quintet serves up.1

Though third outing Destroying Ourselves for a Place in the Sun unites sludge and dance, it wasn’t always so, as Modder has evolved with each release. On their self-titled debut, Modder trod the well-worn doom path with low-end crunch and abundant fuzz, recalling Sleep and Electric Wizard. Sophomore album The Great Liberation Through Hearing injected quicker paces and subdued attitudes, delivering a rich variety of textures that plays like Inter Arma sans vocals. Destroying Ourselves for a Place in the Sun continues the evolution of Modder’s sound, this time embracing dance-ready pulses and electronic trappings that occasionally approach Fear Factory’s Remanufacture (“Chaoism”). It’s a direction hinted at on The Great Liberation Through Hearing, but here Modder triumphs in fully fleshing it out.

On Destroying Ourselves for a Place in the Sun, Modder succeeds in evoking an assortment of influences while maintaining the band’s distinct identity. From the Korn-fed intro of “Stone Eternal” to the Gojira-glazed grooves of “In the Sun,” the album packs a broad range of sounds into its forty-two minutes. Each one of the album’s six tracks brings unerringly heavy riffs. “Mather” begins with a Prodigy-induced flourish, then drops into a disgustingly dense lurch that shakes the room like a herd of mammoths tromping past. Guitars, bass, and electronics weave an intricate tapestry, with melodies and countermelodies coalescing into grooves thicker than a bowl of oatmeal (“Stone Eternal,” “Mutant Body Double”). The drumming flits and hammers, with actual and programmed drums enabling quick shifts between sludge and breakbeat (“Chaoism”). This five-piece flaunts chops, and they pack them into an easily digestible package.

Even if Modder’s latest is a barrel of fun, its imperfections hold it back from greener pastures. For starters, the mix is distractingly crowded. I suspect the goal was to create a concussive bombshell that rattles listeners to the core. While effective on that front, there are times when the sludgy crunch warps into over-compressed artifacts (“Stone Eternal,” “Mather”). This may be a challenge with the merger of styles, where the electronic elements don’t require the auditory depth needed to express the timbre of acoustic drums or bass. Instead, the music gets rammed through the aural equivalent of Fat Man’s Squeeze, coming out the other side flat and jarring. Another issue with Destroying Ourselves for a Place in the Sun is immediacy. Both sludge and dance emanate a hypnotic sheen onto their styles, whether through towering, droning riffs or persistent electro-throbs. This makes great music for focusing on other tasks, but rarely did I stay engaged for an entire listen. If the goal is to surpass the novelty of instrumental electrosludge, something more is needed. As it is, Modder has strung together fun moments without enough cohesion. If you remove one of the songs or reorder them, the end result doesn’t change substantially, indicating that the whole is no greater than the sum of its parts.

Destroying Ourselves for a Place in the Sun is a study in cross-genre pollination that bears fruit worth sampling, but won’t sustain you for long. I really like the idea of what Modder has concocted, but the album would have benefited from further refinement. A more dynamic mix would immediately boost listenability, and upping their songwriting game could help push their brand of electrosludge past the point of novelty and into territory with more active engagement and longevity. Modder oozes potential, but there’s ultimately not enough on Destroying Ourselves for a Place in the Sun to keep me coming back.

Rating: Mixed
DR: 5 | Format Reviewed: 320 kpbs mp3
Label: Consouling Sounds / Lay Bare Recordings
Websites: Bandcamp | Facebook
Releases Worldwide: October 3rd, 2025

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Mütterlein – Amidst the Flames, May Our Organs Resound Review

By Dear Hollow

I’ve always unfairly ranked Rorcal above Overmars. What can I say? I got into Heliogabalus and Born Again around the same time, enamored by both single epic song interpretations of hardcore vigor, pained dissonance, and pitch-black sludge. Still, Heliogabalus took the cake when it came to bottom-scraping hellish riffs, wailing, and gnashing of teeth. Themes differ, as Rorcal’s elegant storytelling added further majesty to their colossal attack, while Overmars’ scrappy commentary on injustice and religious trauma owed a more anti-establishment aura. Rorcal remains one of my favorite acts, while Overmars broke up in 2011. Out of sight, out of mind, but it wasn’t until now that Overmars has come back to haunt me in the form of Mütterlein.

Mütterlein is a project of Overmars vocalist/bassist Marion Leclercq,1 but the sound in comparison to Overmars is a spiritual successor only. The sludge is present in the density in much the same way Author & Punisher offers, in walls of electronic darkness, synthesized percussion, and trip-hop beats, while climactic moments of mammoth post-metal chugs crash through like a freight train. Always rooted in more ominous atmospheres recalling the resounding organ of its cover, third full-length Amidst the Flames, May Our Organs Resound offers an electronic trip to the shadows that feels grandiose and explosive where it ought to, but far too stripped down in others.

Mütterlein revolves its movements around a synthesized beat, resembling either a darkwave pulse that feels a tad like Perturbator or a thunderously precise snare that feels like an electronic interpretation of Isis, and its movements flow around and atop it. It’s a simple but effective structure, as largely these percussion movements carry across an entire song, while Leclercq’s atmospheric songwriting allows more metallic movements to mesh in a slurry with the synth-driven elements that combine into a haunting overture that recalls some of horror’s more cinematic moments. From a synth-centric version of Amenra in its diminished post-metal rhythms, leads, and call-and-response riffage (“Wounded Grace”) to the pulsing wave of density interwoven with angelic choirs atop trip-hop beats (“Concrete Black,” “Ivory Claws”), and guest appearances of Church of Ra’s Treha Sektori in sprawling dark ambient interludes (“Memorial One,” “Memorial Two”), Mütterlein has a formula that is effectively simple and simply crushing when it needs to be, although its more minimalist pieces drag on for far too long (“Anarcha,” “Division of Pain”).

Mütterlein places its claustrophobic sound design front and center, and like any good post-metal album, vocals are just another instrument in Amidst the Flames, May Our Organs Resound. It’s a bit of a shame, because Leclercq gives her most passionate and disconcerting vocal performance, relying on a drawling Audrey Sylvain (ex-Amesoeurs) post-punk groan (“Ivory Claws,” “Memorial Two”) and a rabid Kristin Michael Hayter (formerly Lingua Ignota) sermonic howl (“Memorial One,” “Division of Pain”). Too much of the music becomes monotonous and repetitive without enough of her vocals to keep up the vigor and energy, its pulse quickly dwindling to a flatline (“Division of Pain”), making the tracks that feature a switch-up at its midpoint highlights (“Wounded Grace,” “Ivory Claws”). The sound palette is nice when her vocals guide the horror, giving a climactic three-prong attack of vocals, electronic pulses, and overlaying leads, but when one of those crucial elements is removed, Mütterlein quickly loses its bite.

I miss Overmars, but Mütterlein offers a brand new sound that’s both densely crushing and darkly atmospheric, even if the sound is imperfect. Recalling the likes of Author & Punisher in swaths of punishing electronics, Amenra in its haunting melodic approach, and Lingua Ignota in the fury behind the mic, there’s a lot to like about Amidst the Flames. However, there’s a thin line between intrigue and monotony, and when the track goes too long or Leclercq removes her vocals, the result becomes painfully dull in its more stark passages. Feeling a tad long at a normally reasonable forty minutes, Mütterlein offers a mixed bag with triumphant highs and dull lows in Amidst the Flames, May Our Organs Resound.

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Debemur Morti Productions
Websites: mutterlein.bandcamp.com | facebook.com/mutterlein
Releases Worldwide: May 9th, 2025

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Dissocia – To Lift the Veil Review

By Carcharodon

Dissocia is the brainchild of multi-instrumentalist Daniel R Flys (of Persefone and Eternal Storm) and drummer Gabriel Valcázar (Wormed and Cancer). On their debut, To Lift the Veil, the duo set themselves a challenge: blend extreme metal with synthwave and dreamwave elements to create a catchy, yet unpredictable, blend of genres that come together into a progressive package. Were these two complete unknowns presenting that vision, one would rightly expect a horrifically unlistenable car crash. However, given Flys and Valcázar’s pedigree with their other outfits, I had somewhat higher hopes (albeit with expectations carefully managed) for Dissocia. I’m not entirely sure what dreamwave is, and synthwave is not my go-to, although it has its place1 but, mixed with extreme metal, I envisaged some sort of off-the-wall Devin Townsend craziness happening.

Straight out of the gate, the dancing arpeggio-like guitar line and swelling synths that open “Existentialist” make clear that To Lift the Veil is going to be a wild ride. And so it proves. Across a chaotic 41 minutes and change, Dissocia lurch between progressive melodeath, something that approaches deathcore in a few places (“He Who Dwells”), symphonic synth movements, dreamy Unreqvited-esque sequences and more, the whole often set to weirdly discordant, pulsing rhythms that border on industrial groove. All in all, the album’s structures have the same levels of predictability as the movements of a severely inebriated person crossing an ice rink. This need not necessarily be viewed as a bad thing though. Flys is both a talented guitarist and a versatile vocalist, his harsh vox often recalling Gojira’s Joe Duplantier (“Existentialist”), while his surprisingly delicate cleans, which occasionally wander into Caligula’s Horse territory (“Evasion”), offer a much-needed extra dimension. Similarly, Valcázar’s work on drums is stellar and the sheer unpredictability of this record is part of its charm.

The challenge for Dissocia is to somehow tie the numerous threads of To Lift the Veil into a cohesive tapestry, rather than a ball of yarn. At its strongest, they manage this well. There’s a rabid groove to “Samsara” that it’s almost impossible not to enjoy, while the slow build synth opening to “Zenosyne” gradually unfolds itself, the tension building, before the Flys’ guitar lets loose progressive death riffs and Valcázar unleashes overlapping broadsides behind the kit. This flows well into “The Lucifer Effect,” which similarly shifts between soaring moments of chaos and more reflective passages. While the turn-on-a-dime nature of the craziness does in some ways recall Devin Townsend, it’s not until the heavily distorted screams at the midway point of closer “Out of Slumber” that Hevy Devy really shows through in the vocals.

Not everything on To Lift the Veil works though and, at times, it feels like Dissocia are losing their grasp on the myriad elements of the record. “He Who Dwells” is the most obvious example of this, as the progressive extreme elements, which often mirror opener “Existentialist,” stray into deathcore territory, particularly in Valcázar’s drumming. This simply doesn’t gel with the rest of To Lift the Veil. Equally, the drifting moods of “Evasion” seem rather aimless at times, while Flys’ vocals rather get away from him on closer “Out of Slumber,” which by its end feels like someone desperately trying to claw themselves out of slumber and into wakefulness. The production, also handled by Flys, doesn’t always help, with the drums sometimes seeming to disappear down a hole (middle of “He Who Dwells”) before roaring back to the front of the stage, and the whole thing feeling loud and slightly flat, despite the DR6.

You have to admire the vision and ambition on show on To Lift the Veil, which in other hands would likely have been a hot mess. Far from easing themselves into things on their debut, Dissocia have thrown everything at this record and some of it’s really good (“Samsara” and “Zenosyne”). The stunning artwork by Rein Van Oyen (Haken) gives a sense of the surreal, expansive journey you can expect, but perhaps not the chaotic nature of the ride. I hope Dissocia have a second album in them because, with just a little more refinement and focus to iron out some of the inconsistencies, as well as improve the production a little, there is a helluva lot of very interesting potential here.

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Willowtip Records
Websites: dissociaofficial.bandcamp.com/album/to-lift-the-veil | facebook.com/dissociaofficial
Releases Worldwide: March 21st, 2025

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