[Cover art by Jef Whitehead]
Cognizance’s In Light, No Shape serves as a useful reminder that when it comes to our musical preferences, our whats are subservient to our whys. If, for example, you are a fan of the early ‘90s wave of technical death metal forefronted by bands like Death, Atheist and Cynic because you favored the guitar-forward production, catchy riffs and refined melodic sensibility, then the Leeds, U.K.’s fourth full-length might be right up your alley. However, if that particular clutch of bands caught your ear simply because they were offering some of the most innovative and technically accomplished metal on the market at the time–because they were something new– then I’m not sure Cognizance’s latest will scratch your itchy parts.
At 1:52 of closing track “The Zone,” twin guitars harmonize legato riffs over a splashy but not overly flashy odd-meter rhythm laid down by polymelian skins-man David Diepold. Once you meet In Light, No Shape where it’s at, it’s hard to stop noticing all the exceptionally neat and well-executed musical moments it has to offer.
But, what of the latter group? Those who, yes, have made knowing and loving music the very essence of their existence, but are also in search of something novel. Perhaps they heard it on Unquestionable Presence, and so simply won’t hear it here. In 2026, their pleasure center can only be accessed by the sound of flash-frozen rotisserie chickens being fed into a high-efficiency toilet with a flusher that activates a rusty garbage disposal attachment. It’s up for debate as to whether this particular album of complex but easily discernible riffs, drum patterns, and vocal lines is too complex or not complex enough for that crowd, but in the final estimation, it is probably not enough for that kind of mind. And, full disclosure, I can feel where they’re coming from. Despite its many merits, In Light, No Shape’s narrow dynamic range and predictable pacing do have a tendency to fade into background noise. This may be because, while no doubt a challenging album to compose and perform for the band, this style of moderately tempered technical death metal doesn’t really pose any serious challenges to the listener.
I ultimately stand somewhere between these two groups. As much as I seek to have my breath taken away by metal’s unique capacity to repulse, terrify and scandalize, I’m also a bit of a dork who likes when bass, drums and guitars do cool stuff. Cool stuff indeed abounds here. Up top, we discussed what we like and why we like what we like. So I think now it’s appropriate to mention our hows – if yours revolve around seeking the initial rush of exhilaration that attends setting foot on uncharted territory, then you’ll find little respite here, weary traveler. But if you’re the type to set aside some attentive time for new dogs doing some old tricks well, then this might be a place to stop and rest a while.
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