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Lost Soul > Immerse in Infinity > Reviews
Lost Soul - Immerse in Infinity

Death metal has reached a new zenith - 95%

Writhingchaos, March 15th, 2022

Out of all the Polish death metal bands, I would have to say that these guys along with Azarath are the most underrated of the lot. Some of the most blistering, apocalyptic death metal your ears will ever feast on but still unable to reach the levels of fame usually attributed to Behemoth,Vader or Decapitated. Unfortunate, but true. Some of the riffs on this album could put even genre stalwarts like Morbid Angel, Decapitated, Entombed and Vader to complete shame. The opening riff of the first scorcher “Revival” should tell you more than you need to know about that followed by an insanely catchy tremolo riff progression. A bold statement? Perhaps, but you will have to give the album several listens to find out for yourself. I for one am certainly glad that in the past 5 years, more and more people are waking up to the fact that this band is a real hidden gem within the realms of death metal.

When it comes to riffs and the sheer power they possess when it comes to pummeling and battering you into complete and total submission, I think it’s safe to say that Lost Soul has a straight A+ on their hands. Even legends like Vader and Behemoth are surpassed in this case, which is no mean feat indeed. “Personal Universe” is a devastating masterclass in brutality done right for a change fused with a myriad of progressive ideas that work perfectly and “If The Dead Can Speak” will get you headbanging like there’s no tomorrow with the opening lick itself hitting you squarely in the jaw followed by a truckload of riffs. Even “216” shows how brilliantly and perfectly they manage to fuse brutal, technical and prog elements into the nucleus of apocalyptic galactic death metal as well as make the journey such a fun and insane ride for every metal fan out there.

When it comes to the aspect of death metal and its many variants but it is quite hard to find a band that will suit the tastes of both a traditional death metal fanatic as well as a fan of the older offshoots of technical death metal. Achieving the perfect middle ground between both genres is clearly no easy feat and a novice band could hardly be expected to do so. Some of the solos (which rule btw) has a delightful middle-eastern flavour to them, bringing the best of seasoned veterans like Melechesh and Nile back in their prime. The most surprising part is that Lost Soul were straightforward death metal till this album where they seem to have achieved the perfect union of old school Polish death metal with a heavy dose of tech death and some prog elements in the mix as well. Now that’s quite a varied mix and most other bands would have made a mess of things for sure, but not these guys. Why you may ask? Simply because they never compromise on the songwriting or brutality aspect for even a second of the album and the fact that they’ve had a considerable amount of time to fuse both the brutality and songwriting skills of their members into one perfect alloy. The scorcher “One Step Too Far” is a masterclass in brutal death metal done right for a change and the epic closer “Simulation” starts off with some slow tribal percussion leading up to an intense eastern-influenced lick, setting the pace for the brutal onslaught of riffs and drums that are to come. Hands down, one of the best and most varied death metal epics you will hear, right up there with the scintillating composing skills of titans like Mithras, Anata and Opeth.

If you are yet to hear this absolute gem of death metal, make sure that you get your hands on it as soon as possible and let its sheer brilliance wash over you with every passing listen. Heck it’s so damn good that even I’d recommend it even if you have a passing interest in death metal as well. Yes, it is really that good and needs to be heard to be believed.

Invincible, chaotic, unstoppable. - 88%

Myrkrarfar, May 15th, 2017

Incredibly, these Polish death metallers are something of a dark horse, as not many seem to know about them. "Chaostream", their latest album prior to this one, was released in 2005 and is arguably one of the best death metal records released in the 2000’s. Still, not much recognition (that would’ve been much deserved) has fallen upon this awesome band, which is really intriguing and sad, ‘cause they kick even Behemoth’s ass. And that’s not saying a little. Well, now they’re finally back with “Immerse in Infinity”. Is it any good? Is it as good as one could hope, considering the prequel? Is Stevie Wonder blind? Well…

No. Fucking. Compromise. It doesn’t get much more extreme than this. This is absolute warfare on a CD. Minds are blown with songwriting, execution, and passion almost beyond mortal comprehension. While blasting this on your stereo, you can choose between three things to do:

1. Close your eyes and mindgasm while nodding in euphoria to the bleak beauty, groove, and power in Lost Soul’s irrefutable and total domination.
2. Shake your head in disbelief at the fantastic brilliance of the musicianship – and I’m not talking about mindless wankery here. This wanking has brains.
3. Thrash up your place, mutilate your neighbors and nail them to the ceiling in a maddened frenzy brought forth by the unfettered aggression pounding out from your speakers.

Yes, this is a fucking fantastic record. I reckon you got that by now. This is death metal at its finest, well-composed, well-played and with the right atmosphere, plus they do their own distinct thing.

We’re treated to some diverse shit on “Immerse in Infinity”; we could be going 666 mph in blast mode and tremolo picking, when a break enters the picture and a groovy steak of a riff enters with rapid double kicks and some demonic barks, which alternate with fast and fluid, somewhat fusion-inspired, guitar solos. A heavy contrast is found in atmospheric clean and semi-clean passages veiled in mist and mystique, which give you a chance to catch your breath before the next assault.

Lost Soul also cunningly incorporate some exotic and deviant elements to spice things up, like tribal drumming, cool samplings, and fusion-esque interludes. These are used very sparsely though and never become more than a spice. The foundation is laden with intricate and half-mad death metal, with a faint tint of black glimmering in the background.

The overall feel is that of an invincible, chaotic and unstoppable kind; like a battle tank the size of a planet ploughing through galaxies and destroying everything in its wake by its sheer aura of pure dominance. The production is clear but rough around the edges, which suits Lost Soul perfectly, giving the listener a chance to catch on while still maintaining the animosity of their soulless message.

Technically precise guitar and drum performances are nowadays every-day eggs & bacon on metal records, but the stuff these fuckers pull off is so amazing, both from a technical, emotional and creative point of view that it just leaves you speechless. And the bassist! Oh. My. The only department I’m not totally sold on are the vocals. Mr. Grecki’s harsh and semi-deep growls sound for the most time very good, but he’s a little one-dimensional and his tone is at times a little too much bark-and-bellow for my taste. I like him a lot, but his grunts aren’t of the same caliber as the other instruments, hence the remark.

If Lost Soul is a new acquaintance to you, and you’re not a complete moron, I suggest you haul yourself to the nearest record/online store and get both “Immerse in Infinity” and “Chaostream”. Now. I’ll end this swarm of infernal praise by quoting the spoken outro of “Revival” (no, the lyrics aren’t bad either):

The truth is not out there – it’s inside your mind.

Immerse in infinity, found in yourself. - 85%

Lane, November 2nd, 2010

After a four-year hiatus, Polish death metal band Lost Soul return. Frontman Jacek Grecki (vocals/guitar) was close to quitting the band, but after some profound soul searching he and the bass player Damian "Czajnik" Czajkowski gathered a new lineup around themselves. The band's fourth full length album,'Immerse in Infinity', is the result this new lineup created.

Lost Soul possesses three important traits: They are bloody good players, they can compose great death metal, and they manage to sound at least somewhat characteristic. "Characteristic" does not mean "unique", mind you. When talking about Polish death metal, yes, Lost Soul do sound very much like it. Take bands like Vader and Behemoth and there are Lost Soul's Polish connections.

Lost Soul love to do it fast, but none of the songs are a quickie. However, usually they don't do much of foreplaying, but give it nimbly like a rabbit, with one drastic difference: Only one of the songs reaches its climax in under 6 minutes; most are between 6-7 minutes, and one lasts almost 10 minutes. Endurance, stamina, potency. Enough of stupid copulating "joke" scribbling for now. Let's try to depict a song or eight, and see how Lost Soul's compositions work like.

Just like the album's cover artwork hints, or made me want to think so, 'Revival' begins sounding like a scifi movie. Distant echoes of the universe and machiney/alien/cybernetic effects fill the void with electric guitar riffing. The intro builds up into disruptive power of a black hole, as the band starts doing their death metal. And let me tell you, they are in their whirling form, as they go into the blasting mode. Some slower riffage comes in, but the pace really does not decelerate. The band are both fast and heavy simultaneously. Plus intelligible when talking about the catchiness of music. Mid-Eastern intonations are utilized. Guitar solos are pretty meaningful. During these seven minutes the band do not lose their grip, so the song stays close to chaotic, never going over the edge, but flushed in dramatic colours. Fast-forwarding to '...If the Dead Can Speak' ('Personal Universe' simply dwells in the same zones as the opener, so that's the reason for skipping detailing it). Now this song is different to the first two with its groovier essence. It is like a Fear Factory song processed through death metal conveyor: Catchier riffing, headbangable tempos and generally with easier-to-enter state of mind, this song serves as a good breather, because '216' again grabs your balls and rips 'em off faster than you realize what happened. Which you never will, if you're not in for some insanely fast stuff. "Insane" is not exaggerated, not a bit. With 'One Step too Far' you also can revisit the depiction of the opener, but reminding that every fast song has a different shading to them... 'Breath of Nibiru' almost made me mention Morbid Angel. Anyway, this monumental song is like a celestial sweep of gods' hands. Both approachable and beastlike, its dramatic narration is superlative on the album. A needed break for only-highspeed songs. 'Divine Project' is more or less about speed again, with numerous interesting tempo changes and flirtings with melodies. The closer 'Simulation' begins with tribal style music, which feels a tad too MIDI. However, it just contrasts the sheer power with what the band crashes in. Throwing on the canvas their whole palette of tempos, atmospheres and skills, the song is a perfect ending.

The only not-so-multi dimensional aspect about Lost Soul are the vocals. Throaty voice of Mr. Grecki is the dominant style. It is good enough, because it is angry enough and what's more important, the words are pretty easily heard. There are some spoken bits and other transitions, so it does not become dull-edged on th vocals department. Vader's Piotr "Peter" Wiwczarek is closest comparison I can think of. Deep lyrics ponder about such things that is human race planned by ancients from stars, who is I (no, not that Norwegian band...), what is I... And of course some bashing of Christianity, done with style. And oh yes, Wieslawsky Bros. production is basically flawless, covering every needed aspect from balanced to heavy.

If the previous album 'Chaostream' (2005) was "just" Earthly hell, then 'Immerse in Infinity' really goes to stars. And beyond the known universe. Lost Soul easily fill the gap of four years of inactivity in releasing territory with this one. Or was it 13,7 billion years' gap...

Crushing cosmic cornucopia - 90%

autothrall, January 5th, 2010

It's been a few years since the crushing Chaostream, an album which proved Lost Soul had the potential to join the very A-list of Polish death metal (Vader, Behemoth, Decapitated, etc.). 4th album Immerse in Infinity arrives, with some new members in tow, and crushes those same floodgates of potential, destroying the previous album and offering 8 tracks of quality death metal with a fine tuned balanced of technical precision, progressive riffing and unrelenting brutality. This is death metal devastation here, the complexity and superb production of the record should vault this band into the radar of many ignorami who have not yet heard of them.

Next to Vader's Necropolis (which is a lot more barebones than this album), it's the best Polish death of the year, easily obliterating the latest Behemoth for that honor. "Revival" opens with a lush cosmic ambience, with a throbbing bass that helps emotionally ascend into a destructive arsenal of storming riffs as the heavens tear asunder. This album is like the Galactus of death metal. Jacek Grecki has a voice very similar to Piotr of Vader, if a little blunter in places. You'll probably want a breather after this first track, but the intimidating "Personal Universe" will not allow such folly, as it bludgeons you into oblivion like a fleet of Star Destroyers en route to a real conflict. "...if the Dead Can Speak" begins with some timid, flowing guitars, elevating with some breakneck chugging, grooves and double bass madness, before the vocals take command over a simple, rolling pattern. "216" then again annihilates the listener into formless space dust. Get used to it, because it's going to happen again with "One Step Too Far", "Divine Project" and the tribally taunting "Simulation".

The album is just fucking sick. It sounds unbelievable, on par with Vader's best, polished works. The cosmic aesthetic is present despite the unforgiving battery of the modern Polish death. To put it simply, Immerse in Infinity is like the interstellar evolution of Immersed in Blood, equally brutal but bathed in a futuristic disposition. Never once does the staggering musical ability of the band interfere with the steady puncture of the songwriting. It's disgustingly humbling and thorough in its hostile statement of intent: if you thought Lost Soul meant business before, they now OWN that business. Enjoy.

-autothrall
http://www.fromthedustreturned.com

An invigorating approach - 95%

Leechmaster, November 18th, 2009

After over four years of constant line-up changes, yet very little productivity since the release of their last album, severely under-rated Polish death metal act Lost Soul, have exploded back onto the extreme metal scene with their fourth full-length Immerse In Infinity. At just under an hour in length, this album is an absolute beast, with enough destructive force to rip the flesh right off the bone of neighboring death metal titans Vader and Behemoth bare-handed, chew it into a fine mush, then spit it square in what’s left of their faces. Part of this sheer power and energy is as a result of the album being so unbelievably loud volume wise, as in 8,000-decibels-of-obliterating-tech-death-insanity-sledge-hammered-against-your-skull kind of loud. However, this is definitely not to say that its overwhelming intensity and length is to the album’s disadvantage, as close to every second of it is simply phenomenal and one of the best death metal releases to ever come out of Poland.

The main factor attaining this deafening volume is the immaculate production, with every last detail precisely refined and polished to perfection. Boosting everything thousandfold, this impeccable job also compliments the album’s celestial, paranormal theme, with many recurring electronic interludes and transitions creating an other-worldly atmosphere and adding an extra dimension to the music. This is just one of the new and imaginative ideas Lost Soul have incorporated into their fresh approach, and evidence of how the master-mind behind the band Jacek’s creativity and song-writing skills as a whole have improved just about exponentially since the release of Chaostream. His guitar work is far beyond incredible, with a level of technicality and razor-sharp precision that is completely unheard of. From the heavily synchronized, militaristic like chugging in “...If the Dead Can Speak?” to the blistering finger tapping during the climatic solo that closes the track, or the harmonized leads in “216” to the pinch harmonic abuse in “Revival,” every last note, riff, string slide and bend is executed so precisely and with such finesse it’s unbelievable. These vast array of techniques are often merged together, usually with two harmonized tremolo picking parts set on top of a thunderous chord progression or with an epic lead at the forefront of the destruction.

Apparently, there are also some sections where Jacek has recorded up to four guitar tracks per channel; another reason why the album is able to produce such monolithic power. I personally find it difficult to identify these specific passages as everything just fuses together perfectly into the one bludgeoning force, rather than stumble and clash together into a painfully jarring mess. This fusion generates that real colossal “wall-of-noise” sound similar to fellow compatriots Behemoth’s later work, and just pummels you relentlessly into the ground, especially when those immense half-time grooves in “Personal Universe” and “Breath of Nibiru” start churning away. Fortifying these impenetrable barricades of sonic annihilation, are the ruthlessly barbaric vocals also provided by Jacek. He’s completely dropped his Nergal/David Vincent hybrid impersonation and utilizes more of a bellowing mid-range growl reminiscent of Vader’s vocalist Peter. These are also layered together with the occasional higher-pitched shriek or throaty guttural, which intensify the overall sound even more and drive you another six feet further into the ground. Spoken word passages akin to Matti from Dismember make a few rare appearances as well, which accompany or follow the electronic interludes and add to their mystic and unearthly atmosphere.

As mind-blowingly diverse and technical the guitar work may be, Desecrate’s drumming performance is the definite highlight for me. The extreme technicality of modern death metal drumming is here, but it transcends far beyond that, with a level of endurance, precision and strength that is out of this world. Keeping in mind that this album is 55 minutes long with individual track lengths ranging from 5 to just under 10 minutes, I want you to imagine the level of energy and effort required to hammer out such unbelievable drumming. My brains are still scrambled just thinking about it because it is quite literally inhumane and some of the most impressive drum work I’ve heard for a while. These mind-boggling skills combined with the immaculate production, give the unrelenting barrages of blasts, double bass and monstrous fills around the toms an enormous sound and crank the volume up a few more notches. In addition to these relentless bombardments, Desecrate also manages to maintain a lot of groove to his drumming in much the same way Kai Hahto can. This is evident in the more down-tempo passages and half-time beats, but there are even some blast beat sections and militant style snare patterns which have this inexplicable groove to them. I’m not sure how he does it, but he certainly needs to be commended for it as well as his performance overall. Epic album closer “Simulation” also features some tribal-esque conga rhythms and other oriental instrumentation, which generate a real ritualistic atmosphere similar to an ambient instrumental track you’d find on an Akercocke album. This is followed by more devastating drum work, outstanding guitar leads and melodic harmonies as well as a staggering guitar solo which concludes a near perfect album.

When you have an album of such length, there is bound to be some excess here and there, however this is fortunately only restricted to the atmospheric interludes which are sometimes drawn out for too long. Another issue which I personally don’t have a problem with but might not sit too well with others, is the slightly -core influenced “...If the Dead Can Speak?” After a climatic build-up, the song breaks out into simplistic, deathcore sounding chugging, and to be honest I was a little disappointed the first time I heard it actually. But now let me tell you, that this isn’t necessarily that bad of a thing, as it allows Damian’s exotic bass lines and grooves to shine through more while the guitars hold back a bit. This restraint however, is short-lived as Jacek explodes out with an absolutely phenomenal guitar solo, which apart from Desecrate’s drumming, is the biggest highlight of the album. After building up with epic, harmonized lead-work, you are instantly smashed to the floor with a flurry of lightning-quick shredding, sweeps and finger-tapping executed with razor-sharp articulation and a piercing melodic flare that stings like shrapnel. The majority of the solos follow this blisteringly fast formula, yet are all distinctively different and don’t even begin to sound re-hashed or repetitive.

With a genre in dire need of some new and imaginative ideas, Lost Soul’s latest full-length Immerse In Infinity has certainly revitalized it with their fresh and invigorating approach. While it may seem a bit long-winded with its length, I promise you that this is not to the album’s disadvantage because this is damn near flawless.