For some reason, the craft of blending electronica and metal has proven to be a very precise science for which few bands have found a successful formula. As technology improves and music continually changes, electronic elements are becoming more common in today's metal as it seeps into the infinite supply of sub-genres.
Combining djent's tone, trip-hop beats, dubstep's deep bass range and metalcore's reckless use of breakdowns, Collapse serves as the first real successful hybrid of the recent trends developing within their respective genres. By stacking sub-bass frequencies on breakdowns, Khroma has created a sound that is absolutely crushing. In many ways, the tonal direction of the band is parallel to that of Meshuggah, with the third track, "Keep You Whole," sounding like something that belongs on Catch ThirtyThree.
The significant difference between the two is that Khroma uses its electronic effects to create their sonic tension and rhythmic displacement, instead of using polyrhythms, polymeter and algebra. They also favour fragmenting heavy grooves with breakdowns.
These breakdowns serve as a double-edged sword; while accounting for some of the best moments on the album, they also have an annoying habit of killing momentum. However, songs like "Panopticon" compensate for all these various factors, resulting in metal that will test your ears and your subwoofers.
(Inverse)Combining djent's tone, trip-hop beats, dubstep's deep bass range and metalcore's reckless use of breakdowns, Collapse serves as the first real successful hybrid of the recent trends developing within their respective genres. By stacking sub-bass frequencies on breakdowns, Khroma has created a sound that is absolutely crushing. In many ways, the tonal direction of the band is parallel to that of Meshuggah, with the third track, "Keep You Whole," sounding like something that belongs on Catch ThirtyThree.
The significant difference between the two is that Khroma uses its electronic effects to create their sonic tension and rhythmic displacement, instead of using polyrhythms, polymeter and algebra. They also favour fragmenting heavy grooves with breakdowns.
These breakdowns serve as a double-edged sword; while accounting for some of the best moments on the album, they also have an annoying habit of killing momentum. However, songs like "Panopticon" compensate for all these various factors, resulting in metal that will test your ears and your subwoofers.