You haven’t lived until you’ve heard an Australian recite Dante. Once a niche ritual available only to the geographically privileged, everyone’s somethingth-favorite Australian prog-death band Xenobiotic are using their aptly titled third LP to democratize access to this sonorous phenomenon, and some other sonorous phenomena to boot, familiar to those acquainted with much-lauded sophomore effort Mordrake. The band’s adventurous efforts are well-suited to epic literature, and, as for the subject matter, recall that this is a death metal record. But also recall, if you will, your favorite moment from Mordrake. We’ll need it later.
As expected, Dante is all about drama. Vocalist TJ Sinclair kicks off the record with narration from Inferno, and largely directs the show from there, whether by burly roars or acrid sneers. Guitarist Nish Raghavan’s repertoire of drawn-out arpeggios, palm-muted chugs, and hammer-on grooves tends to take a backseat to whatever Sinclair is doing, but comes out in force when allowed to. “The Slave State” is a mid-album highlight because of his athletic interpolation of Joe Haley and Duplantier, sprinting through hammer-on grooves, then stumbling into syncopation. The following “Dante II: Pariah” gives the whole band a chance to charge together through quick Gorod-ey odd-time riffs and gives new(ish) drummer Matt Unkovich a nice opportunity to step back from the blasts and add a bit of flair, which he pulls off well under a solo from Raghavan and a memorable chorus from Sinclair. Whenever given a chance to hit a big new vocal moment, the band take it, but for all their effort, Dante doesn’t quite land.
Now, for me, the standout moment from Mordrake would be the scrambling tremolo lead from “Light that Burns the Sky.” That whiny, winding melody that ends on such an alarming and unexpected note was a stroke of brilliance that the band integrated perfectly into a dense song with a lot of other things going on. Your favorite moment probably has similar properties; cool alone, brilliant with backup. Like Kardashev, Xenobiotic rely heavily on atmosphere and melodrama, at times propelling their records through orchestration rather than riffcraft. Mordrake suffered a bit from this, but the mass of novel ideas, executed with ample kinetic energy, shot through the fluff and made quite an impact. Danteis lightweight and slow-moving, trying to make up momentum through combinations of interchangeable chuggy riffs, chord-outline tremolos, and heavily produced vocals.
Maximalist production and a compressed master exacerbate these writing faults. High-register guitar leads are muffled by beefed-up kick drums and guitar chugs. Sinclair’s roars, screams and narrations, subject to near-continuous studio embellishments, fight for space with the guitars when double-or triple-tracked. Not much of the contested territory really seems worth the battle. When the group quiet down, as in the subdued guitar solo in the middle of “Dante II: Pariah,” they give themselves enough space for performances to really matter, but they don’t seem to have much panache to lend. Unkovich is bent over blasting at every opportunity and seems religiously opposed to fills, and even when Raghavan’s written something interesting for himself, it’s hard to tell what that is.
I jealously snatched Dante from the promo pit in the hope that Xenobiotic would treat me to another Mordrake. While Dante follows closely in that style, it’s a far less substantial record, too focused on executing its concept to introduce much musical interest and too overproduced to let those scraps of interesting music make an impact. Raghavan’s strong sense of melody keeps a few of the slow-moving leads stuck in my head for a while after the record, and Sinclair’s narration makes for a few emotionally resonant moments, especially in the record’s climax. But after so many listens, I’m left wondering how all of this sound adds up to so little.
Rating: 2.5/5.0
DR: 5 | Format Reviewed: 320 kbps MP3
Label: Self-Released
Websites: facebook.com/xenobioticau | xenobiotic.bandcamp.com
Releases Worldwide: March 3rd, 2026
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