In a scene that is relatively young, hybrid deathcore act Diarsia are bringing a new intensity to the Vietnamese heavy music scene. With their debut album ‘Armageddon’ dropping last week, my curiosity was sparked about what this band has to offer.

They say that curiosity kills the cat, but satisfaction revives it- and upon many listens of this album through- I was well and truly revived. Let me tell you why.

From the get-go, it has apocalyptic feel. Living up to the name, there seems to be a strong theme of devastation and destruction running through the tracks. Kicking off with the atmospheric introductory track ‘SalvationX’, it sets the tone of what sort of brutality is about to be unveiled. Already we are given a nasty vocal performance that flows seamlessly into the first full track on the album ‘The Plague’.

This is where we are met with chug city. With a slow groove and a classic deathcore flow, the raspy, snarling vocals pair effortlessly with the shredding guitars. Bringing us into a slow, grinding breakdown that embodies all the necessary deathcore conventions. The only way to adequate describe it is a sonic representation of a biblical plague- living up to its name.

From a plague to a ‘Purge’, this is where the hybrid moniker is introduced. The digital samples interwoven throughout the song add an interesting dynamic to what has till now just been a typical deathcore album. Just when I thought it could not offer more, the vocalist kicks up the intensity, displaying more of his range. From deep gutturals to black metal inspired shrieks, he doesn’t sound human at all. Also, the rave in the breakdown? A simple touch, but it’s genius cannot be overlooked.

Pushing in a different direction, a clean guitar brings in ‘Bloodmoon’, drenching the rest of the instrumentation into a blackened metal direction. Despite its heaviness, there is never a loss of catchiness in the riffs. The sickening breakdowns, animalistic vocals and well-timed guitar squeals just make it an enjoyable listen. It never sits in the same pocket too long, keeping you on your toes.

‘Genocide’ follows on in the same vein. The pacing and switching between flows keep you engaged and there is something wonderful about how this band is not afraid to use different sounds. Every layer added takes things in a new direction. While throughout the drumming is incredible, here is where it stands proud. This is also the first track I noticed the language and that they are singing in Vietnamese- which I think is a nice touch.

The next song, ‘Berzerker’ was my introduction to this band and I’m happy to see how it fits into this album. With a guest feature from Ryu Miara from Divintist, this track is fun. Its use of samples that have more a resemblance to 90’s D&B, it hits the right spot. The long running atmospheric doomsday feel is still interwoven throughout. This one has more a metalcore vibe at times but still plunges back into the deathcore elements.

Speaking of a metalcore vibe, the ‘Self Destruction’ featuring Huy Huynh of fellow Vietnamese band District 105, really hits this metalcore kid’s heart at full force. It picks up the pace and plays to Huy’s strengths, giving it more of a collaboration feel than just a guest feature. The vocal melodies are ridiculously good. The gutturals are something else. The breakdowns are nuts. If this band wanted to throw itself fully into the metalcore/hardcore direction, they truly have the skills to do it. I am of the suspicion though, after listening to this whole album- they could take on any genre and make it work.

From here, the influence of movies and stories like Godzilla have a strong bearing on this album’s concept. With an interlude named ‘Kaiju’, this is even more apparent. The interlude creates an unsettling introduction into the next phase of the story. Put into two parts, ‘Red Prison 1: Heaven’ and ‘Red Prison 2: Hell’ show two sides of the same coin. Remember how I said this band are not afraid to pull sounds from anywhere? Well, ‘Red Prison 1: Heaven’ is further proof of that. Hitting us like an oncoming freight train of brutality, it twists and turns. On first listen, the J-pop sample threw me off, but as I listened repeatedly, I began to understand it’s charm. I applaud the fearlessness of a Nico Nico breakdown. It truly was fucking wild.

‘Red Prison 2: Hell’ on the other hand reverted us back to the apocalyptic vibes. Vicious growls, hellish instrumentation and brutal breakdown- it would wet the appetite of any deathcore aficionado. The guitarists working overtime, giving us some squeals and shreds that make the hair on the back of your neck stand on end. Oh and of course, taking that breakdown and slowing it down to ensure that you are feeling every single sound.

After all of the hellish brutality that was unleashed, the album finishes with an outro in Japanese. ‘Gospelion In The New World’ drives home the feeling that you survived either an anime or a Japanese monster movie. The strings, the monologue and piano? It is dramatic but oh how it works.

Overall, this album would be impressive for a band that been round the block for decades, but for a debut album? This is on another level. Diarsia are not necessarily a brand-new band- so ‘Armageddon’ feels like a culmination of all their hard work. It is mature, it is adventurous and best of all? It is interesting and it is fresh. If this album is anything to go by, Diarsia has a long career ahead of them and honestly, I cannot wait to see where they go.

Rating: 9 / 10
Review by Kayla Hamilton (@kaylazomboid)
‘Armageddon’ is out now.
You can listen here.