![]() Your vocal warm-up routine for metal screaming begins before you’ve even sung a note. Here are some reliable exercises you can use. ![]() Metal screaming is an intense vocal technique, so you must develop a suitable warm-up to avoid injury. In the same way that an athlete must gradually warm up their muscles before undertaking physical activity, a vocalist needs to prepare their vocal cords, diaphragm, and the various muscles that are engaged when they sing. Step 1 – Vocal Warm-UpĮvery singer should have a vocal warm-up routine that they perform before they sing, but this is especially important if you’re attempting metal screaming techniques. Then you need to sing from your diaphragm while controlling your breath, and finally, you must practice guttural growling. Firstly, you need to develop a suitable warm-up routine that protects your vocal cords and prevents straining them. That’s a hard balance to nail, and I feel it’s in part thanks to Maze of Sothoth’s decision to return to some of the roots and explore a now oft-forgotten old school side of the subgenre.Learning how to do metal vocals requires you to consistently practice three key steps. It’s got breathing room for everything but it’s got enough grime and intelligent design that it still fills punchy, heavy, and organic. But this album sounds good without getting too close to being sterile or too clean, a pitfall for many a tech death band. Often times something will get mixed poorly when buried under the layers of countless guitar tracks, drum fills, blast beats, vocals, and various pedals and effects. ![]() The production has to be praised as well, because tech death production is one of the hardest things to nail. Every single member of the band has to be praised, no one stands out because they’re all delivering – the riffs and drums are pummeling, the bass moves and lives, the leads are face liquefying, the vocals are gripping and sometimes legible. “The Plague” features a slew of guitar leads that absolutely slay me, and they’re probably my favourite on the record. Even when it kicks back into higher gear, it feels better for that buildup and brief respite, which lends even more weight to the return of the doomy trawl. It’s a refreshing break from the nonstop onslaught of the opening trio of songs and gives ample room to highlight some drum skills from Mateo. You can see this when the band decides to show off some variety, like on track “Blood Tribute” that’s slow, groovy, and dripping with sludge. Many of these songs sound like they exist in that space between the original death metal scene and the modern technical death metal scene. There’s a clear love of old school death metal here, where the beginnings of tech death were emerging without becoming the over-the-top style that is associated with modern tech bands. The following track “Eliminate Contamination” similarly kicks off with no pause, features an even better solo, and has some nice little chugs and elements that remind me of Deicide, not least of which is Cristiano’s vocal tone. The song is barely three minutes in length, and with the entire album clocking at just over 36 minutes across 9 songs, it’s a great representation of what’s to come. ![]() The album rips straight out of the gate, no interludes or atmospheric buildup, just delivering an immediate pummeling in opener “The Unspeakable” before ripping off a well-placed solo near the track’s close, followed by a brief Cannibal Corpse-esque solo bass riff, and ending. ![]()
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