Perhaps it’s the boyish charm or the almost bear-like facial hair, but I have always had a soft spot for Big Chocolate and his products. Despite the fact that his fans are typically of the annoying obnoxious shirt variety, I manage to look beyond that and enjoy BC’s music for what it is, a nonsense ride of slamming destruction from start to finish.
What I always liked, even from his early youtube videos is BC never seems to take himself too seriously, and by doing so he tends to push the boundaries of the stale deathcore formula and come out with a fun product, and while I have not dived too deep into Disfiguring the Goddess’ discography, Sleeper absolutely rules.
Covering everything from vocal duties to guitars to electronics, Big Chocolate’s Disfiguring The Goddess is a mashup of bulldozer deathcore and dubstep-esque electronics. There’s the standard wall of noise that comes from good slam, but there’s also a heavy dose of glitch, elaborate synthwork and backing electronics that make create a super fun blend that you can both dance to as well as break some skulls. And one thing’s for certain, this shit is catchy. With slamtastic rhythms and patterns almost every track pushes you to the very limit of having to resist grooving along to the music, and mixed with the awesome sporadic electronic buildups and interludes, Sleeper gives leads you through a seven track journey that begins in the bowels of Nevada and transports through a Vatican service and then plops you down dead in the Netherlands for a kickass music festival, all in one spin. As far as the mastering and production goes, the guitars are crisp and noisy, the vocals are oozingly clear, the drums aren’t annoyingly programmed and the electronics tie everything together to make it a full and balanced meal.
I do not know if this would work for the anti-deathcore brutal death metal fans, but if you’re open for a new experience with some catchy hooks and brutal death metal vocals, it would be criminal to write this off without listening to it.
Overall, Sleeper was a super fun time, and clocking in at a hair over 21 minutes it is the perfect length for this style of music. It packs a punch from the first track that manages to keep ramming your ears to the very last, however (and maybe this is just my copy) but the last track ‘Ocean Tomb’ ends abruptly like the rip was cut early or something, which kind of killed the ending.
Complaints? Aside from the ending on ‘Ocean Tomb’ I really do not have any. BC showcased not only his unique vocal abilities but he also stretched out his song writing and electronic wings as well and by himself made one of the better deathcore releases of the year.
SHIT RATING: GOOD
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