In a year of comebacks and legends, a puny yet feisty genre is cementing its base. Misha Mansoor’s madness has treaded a long-drawn path to various artists, and djentally proliferated. Neurothing is an even newer dimension to the novel idea of djent and with a profusion of vocal ingenuity; it has affirmed its status in the intellidjently carved microcosm.

Murder book is a masterpiece, not for the singles and tracks that it belts out, but for a nothing-esque love of coalescence and coherence. Each separate work contributes to the entirety of pummeling grooves and mind-boggling sensations. The palm-muting and high gain razor sharp tones are mixed with the occasional screams and tonal ranges like never before. An anticipated release of this summer, Neurothing, has made djent special for its ardent followers.

‘Hope’ follows the trend of short openers with a placating bass line and crunchy guitars garnished with the regular changes in signatures and eerie tempos. ‘kill it’ and ‘hands of death’ help pick up the pace and ‘high pain threshold’ is the vintage mix of beat-down drumming with start/stop attacks.

‘Railroad track’ is a crowning achievement, and ‘Infinity’ is probably the best track on the album. ‘Last page has begun’ is a majestic outro, placidly written.

Throughout the length of the album, there is a touch of maturity shown by the whole unit and in their introductory work; there is an effusive show of a proclivity to play bizarrely decent music. Be it to mollify the soul or vent rage, each song goes through the roller coaster. To cap off a sound album, the naming seems to do justice to the establishment of socket like pieces. This puts djent in a league of its own.

[youtube]http://www.youtube.com/watch?v=z0XdE7amciY[/youtube]