Dispersed via circumstances beyond their control and recollected in skeleton crew Pittsburg, California-based progressive death metal band HEMOTOXIN return to terra firmae with increased potency of collective idealism in mind four years later, intent on a more freely achieved yet no less engaging fourth full-length album. Set beyond the trials of time and presented in various modes of fiery and contemplative command ‘When Time Becomes Loss‘ comes in the best tradition of Morrisound-era progressive thrashing death metal translated to a post-millennium ear. No less crammed with ideas and well-constructed displays of rich detail this record yet finds a way to arrive with less restricted movement, flowing past the sharper edges of their three prior records for a progressive death metal record which touches upon various eras of the sub-genre in constructing their own new-found sense of self.

Hemotoxin was formed by Michael Chavez (Ripped to Shreds, Condition Critical) I believe as a sophomore in high school circa 2010 recording songs with a tape recorder, a very ‘old school’ place to start considering the tools available at the time, before eventually bringing in drummer Brandon Wilcox and switching over to GuitarPro within a couple of years. Per interviews over the years the goal of the band has moreso focused on playing the style of music that’d provided its core inspiration and less a matter of contorting oneself for the sake of popularity or trend. As a result there never seemed to be any issue with the clear inspiration taken from Death (‘Between Forever​.​.​. and the End‘, 2013) but also from a generation of listener where the higher standard for popular thrashing technical and progressive death metal was set by bands like Vektor and Revocation (see: ‘Biological Enslavement‘, 2016). You could feel that whole era and vibe echoing throughout the band’s first two full-length albums but it’d been their notable third album (‘Restructure the Molded Mind‘, 2020) that’d set their vision apart and realized their own personae most clearly. When I reviewed the album I wasn’t convinced to start but eventually had to hand it to them for presenting a unique article in an admirable tradition. Today we can consider those three albums of a different era and developmental cycle, a realization of potential where their brand of tech-thrash influenced ‘old school’ prog-death aimed for an unexpected, challenging and concise work all their own. You could feel the shoulders hiked and the blood pressure ripping through that third album and for the sake of that tension (and its callous production values) it has held up pretty well thus far.

No doubt I rushed to hear this new album as fast as I could as Hemotoxin have thus far been a reputable name in thrashing progressive death metal of a certain tradition but also for the sake of the instantly recognizable brilliance of cover artist Mark Cooper who brings a psychoactive color palette with shocking contrast and freely dabbed yet meticulous forms in depiction of an unreal ascension, a truly eye-blazing realm without any heavy use of black applied for definition. The thorny, dark side of the artists work is well represented in death metal but we don’t see the other side of his work and it fits this album quite well while also making a strong first impression.

There is no escaping the circumstances of environment when acting as a functional unit and the test of the most recent pandemic surely displaced Hemotoxin to the point of having to slowly hit the reset button beyond 2020. As a result ‘When Time Becomes Loss‘ is functionally a solo album from Chavez who employs session drums and a few guests to help build up this fourth full-length after the pandemic dispersed the folks who’d joined him on the band’s third LP. The most notable absence felt is probably longtime drummer Brandon Wilcox who is replaced by session work from the more straightforward pro-level kicks of Scott Fuller, best known for playing on the most recent Morbid Angel album. The kinda slapping blasts and ultra-slick technical congestion of the riffs that’d characterized the previous album are replaced by an easier sense of movement, a still blasting but different pulse entirely per the hand and foot of Fuller. This means this fourth LP is far more concerned with the natural flow of its ideas, think of an album like ‘Independent Thought Patterns‘ with complete distance from the early 2000’s tech-prog death translation and expansion of that work, instead almost resembling the more aggressive side of an album like ‘Terminal Redux‘ in that sense but still interested in retaining a late 80’s/early 90’s level of death-thrashing edge.

“Malediction” does the most vital job of illustrating this cohesion of forms up front on the first half of the album where the double-bass patterned finesse of the drums helps to mark the path ahead rather than squarely dictate it. That song in particular finds a different place to plant itself in the ground from one motion to another, constantly shifting its footing in a way which ultimately best represents what Hemotoxin are capable of, or, aiming for. Opener “Morbid Reflections” otherwise sets a more impatient and busied tone up front with its scaling riffs and frenzied push on the drums but by the time we’ve settled into the rush of the full listen a bit and caught wind of at least a dozen solos we’ve gotten the sense that when left to his own devices what flows from Chavez‘ mind still bears most of its tics and trademarks yet the result is decidedly different, circuitous in a more patient way than anything the band released prior.

If you’re in it for the detail, the riffs, the surprising interruptions and the ‘old school’ built bursts of thrashing speed you’ve got it all no doubt. There is no arguing away the sense that even a more intently chill album from this fellowe is still maniac level stuff and I think “Call From the Abyss” is the best song to suggest this between its ‘Nemesis‘ worthy riffs and kinda typical prog metal leads, we’re still waist deep in the work of a classics minded artist but I wouldn’t say this is a softer side or sea-change toward pretty-ass chill death metal. As we reach the end of Side A I couldn’t help but feel like this was one of the least self-conscious nods to ‘Symbolic‘ we’ve gotten in terms of how “Abstract Commands” is written and this feeling only intensifies with the tone of the lyrics as well. Of course the song then turns a corner moreso into something like, an early Skeletonwitch kind of riff to break things up but I’d still found this piece was a great way to close the first half of this ~30 minute record with the same intensity that’d kicked it off.

Where I think I get a little bit lost in the clashing waves of enthusiasm here is somewhere nearby “Conscious Descent” wherein the directive of the main riffs, the cadence of the vocals, and the numerous guitar solos seem rushed in reaching their conclusion and aren’t as impactful as they might’ve otherwise been given some room to breathe. While I appreciate this level of momentum built the next level aspect of Side A was that each song had its moment of separation or distinction and that feeling doesn’t quite return until “Reborn in Tragedy”, probably my favorite piece on the album beyond “Malediction”. I’m not sure that I am devoutly passionate about the progressive death metal tropes used on the guitar work for songs like “Call From the Abyss” and album closer/title track “When Time Becomes Loss” but I appreciate the sentimental tone they present, it really is a classic Morrisound-era progressive death metal sound and feeling which they’ve elevated but not redefined on this album.

Taking a lens to a brief yet idea-rich half hour album like ‘When Time Becomes Loss‘ should naturally cause some analytical fatigue and of course for the sake of the skillful, busied nature of the sub-genre and the artists own intense style. After the first five or so listens this was not a record I’d cared to pine over every detail with but rather just enjoy for its classic-era minded approach and the trade-off between rushed-at kinda ‘Imperial Doom‘ level bursts of speed and its otherwise wailing and shredding obsession intertwined with various bouts of thrashing death metal. It might seem odd to suggest I’d appreciated Hemotoxin‘s approach on this album more once I’d set it as background music for other tasks but, this speaks to being able to check your skull at the door and jump into the skin of an artist, in this case an album concerned with grief, solitude and morbidity as far as I’ve gathered. So, I think there is some reasonable face value read the weary classicist death metal fandom could appreciate here as well as some depth and feeling enough applied here that this record feels like an approachable but no less authentic step forward for the band.

---