It is becoming quite rare that a fresh young band can find the happy medium between the blast beat induced, heavy chugging of guitars and the eloquence of atmospheric background symphonies. The problem seems to be that a thin line exists between achieving a steady contrast of these styles and a simple blending of them. While melodic death outfits such as OMNIUM GATHERUM and SKYFIRE have proven that a melding of the elements can grasp the most essential components of the esoteric, those looking for something a little heavier and 'in your face' have been left to wonder how an absolute balance may be accomplished, while at the same time maintaining a respectable level of technical execution. The U.K.-based Extreme Metal quartet, XERATH, aims to demonstrate exactly that with their debut album, "I".

Self described as 'Orchestral Groove Metal', their sound came about through the heavy influences of experimental acts such as MESHUGGAH, STRAPPING YOUNG LAD, and DIMMU BORGIR, and it definitely shows. What this group succeeds in accomplishing is a steady progression of hard and soft, highlighting the contrasts of their musical styles rather than dissolving them into one another. The most effective aspects of the album can be heard in the intuitive performances of guitarist Andy Phillips, who seamlessly executes transitions from palm-muted blasts to melodic soloing with great precision. Drummer Michael Pitman and bassist Owain Williams do a sufficient job in setting and resetting the pace for each respective track, but given their experimental influences, they often fall short of keeping the beats sounding fresh and original. In other words, they aren't anything we haven't heard before. Vocalist Richard Thompson proves to have a varied selection of guttural techniques, but is easily the weakest element of the album as he limits the use of his abilities.

The highlights of the album are far from masterpieces, but they do a thorough job establishing the band as capable performers. "Alterra" features an onslaught of heavy bass notes and highly melodic guitar textures for a short but sweet ride. "False History" is the band's anthem of sorts, witnessing the band's best orchestral mix in the entire album. "Reform Part I" offers listeners the full extent of the band's diversity, with a surprising mid section that sounds identical to the band PAIN OF SALVATION (yes, vocals too). On the other hand, tracks like "Consequences" and "Right To Exist" are too repetitious and slow paced to really enjoy, and really take away from the progressive feel of the rest of the disc.

The sheer intensity of this album is enough for any Melodic Death fan to enjoy a listen through. "I" may not be the seeping of originality, but as a whole it is an interesting and ambitious debut from a promising new band. It will be exciting to see how this band continues to develop their sound in the coming years, as they are evidently off to a pretty good start.