{"id":506053,"date":"2026-02-28T21:47:09","date_gmt":"2026-02-28T21:47:09","guid":{"rendered":"https:\/\/www.newsbeep.com\/ca\/506053\/"},"modified":"2026-02-28T21:47:09","modified_gmt":"2026-02-28T21:47:09","slug":"review-overtoun-death-drive-anthropology","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/ca\/506053\/","title":{"rendered":"Review: Overtoun – Death Drive Anthropology"},"content":{"rendered":"\n

Published by Vince<\/a> on February 28, 2026February 28, 2026<\/p>\n

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Artwork by: Paolo Girardi<\/a><\/p>\n

Style: Progressive Metal, Death Metal (Harsh Vocals)
Recommended for fans of: Death, Gojira, Atheist, Vektor
Country: Chile
Release date: 13 February 2026<\/p>\n

They say never to judge a book by the cover, and while that\u2019s largely sound advice, one cannot overlook the power of first impressions and the potential impact incurred upon a first-time customer. When I first saw the album artwork for Chilean prog-deathers Overtoun\u2019s third LP, Death Drive Anthropology, my eye was immediately drawn to the inconsistent kerning lurking within the album\u2019s title font. Granted, the cover isn\u2019t the most eye-catching to begin with (though I love the color usage and it is nicely rendered), but even if that weren\u2019t the case, I wouldn\u2019t be able to unsee the atrocity being committed in the lower-right corner.<\/p>\n

This may seem like a particularly harsh nitpick to open a review with but even in the audial arts, presentation is extremely important for securing new fans. Luckily, most of what Overtoun offers on Death Drive Anthology follows in the spirit of the artwork\u2019s otherwise decent composition, largely delivering on a platter of solidly built, well-executed, and forward-moving prog death that lends credence to the wisdom that the cover is never the full story. Let\u2019s crack open this tome and discuss, shall we?<\/p>\n<\/p>\n

Fans of acts like Horrendous and the mighty Death will find plenty to enjoy in Overtoun\u2019s structurally fluid yet tight songwriting that ensures experimentation never gets the better of a song\u2019s design. Take \u201cThe Waves Suite: Ocean\u201d, which rolls along on thrash-death riffage before breaking against a spiraling prog-death passage of clockwork guitars and frenetic kitwork and later a Gojira-coded bridge that, despite all these shifts, remembers to drop anchor back into those thrash depths to ensure a cohesive identity throughout. Whereas some progressive death bands can get lost in the introspective sauce, letting atmospheric suites and navel-gazing guitar carry the bulk of an album\u2019s interest, Overtoun focus on delivering high-energy assaults. Drummer Agustin Lobo and guitarist Matias Bahamondes are the forefront of the page-turning brigade, each delivering hyperactive, dizzying performances (\u201cWhat Unites All\u201d, \u201cMemento Mori\u201d), and grooving head-bobbers (\u201cThe Final Beat\u201d, \u201cDeath Drive Anthropology\u201d) alike. Even the plucked acoustics and big drums of \u201cMemento Mori\u201d\u2014perhaps the \u201cslowest\u201d cut on the album\u2014bleed into propulsive death charges and more Gojira-esque guitars that refuse to let you pick up the bookmark.<\/p>\n

Elsewhere, tracks like \u201cJade, Gold, Obsidian\u201d sound like Death resurrected, with a jazzy flair and crisp tone carved out around vivid basslines delivered by Matias Salas. Salas is a treat across the record, his bass mixed nicely against the rest of his cohorts, veining the album with a heft that, even when buried under the album\u2019s busier moments, feels omnipresent. And when Salas rises up from the cacophony to be heard in full, he delivers a current of warm, buoyant tones and seething lines that should be a reminder of just how cool the bass can be when given over not only to a talented player, but a righteous spot in the mix, too. Death Drive Anthropology is a great-sounding record, every instrument coming through clear, Yoav Ruiz-Feingold\u2019s vocals placed complementarily within his bandmates\u2019 musical bedrock to give the album a supercharged sense of cooperation. The societies of man may be built upon hierarchies, but Death Drive Anthropology, thankfully, is not.<\/p>\n

Pacing, however, is something of an issue on Death Drive Anthropology. At fifty minutes, the album starts to sag in the middle with tracks like \u201cDur Khrod\u201d and \u201cYurei\u201d, which, despite being individually enjoyable, feel somewhat invisible in the presence of \u201cMemento Mori\u201d, \u201cJade, Gold, Obsidian\u201d, and \u201cWeeping\u201d. Connected to the pacing problem is the awkwardness of certain transitions. While much of Death Drive Anthropology flows beautifully, like molten gold poured into the cracks of a shattered vase, other areas stumble: the shift into the guitar solo on \u201cJade, Gold, Obsidian\u201d; the extended snare-beating passage on \u201cYurei\u201d that starts shaky and comes close to overstaying its welcome; or an abrupt gang-vocal assault (\u201cWind and Water\u201d). However, Overtoun\u2019s nimble songwriting ensures even these moments of weakness are afforded no more status than a nitpicky mention.<\/p>\n

So. Covers. Judgment. First impressions. Finding the reality within. Overtoun stand as another prime example of how surface-level considerations can often be far off the mark of what lies beneath. Like the eye-marring typesetting hiding in the corner, Death Drive Anthropology is not without the need for some tinkering\u2014but to fixate on so singular (and small) an issue would be to overlook an otherwise strong and entertaining entry for the sake of snobbery. Judging the beauty of the forest for one unseemly tree, as it were. So do yourself a favor: zoom out, look past the imperfections, and let Overtoun turn your pages for a spell.<\/p>\n

Recommended tracks: The Final Beat; The Waves Suite: Ocean; Jade, Gold, Obsidian; Death Drive Anthropology
You may also like: Horrendous<\/a>, Glassbone, Sun of the Suns<\/a>
Final verdict: 7\/10<\/p>\n

Related links: Bandcamp<\/a> | Facebook<\/a> | Instagram<\/a><\/p>\n

Label: Time To Kill Records<\/a><\/p>\n

Overtoun is:
\u2013 Agustin Lobo (drums)
\u2013 Matias Bahamondes (guitars)
\u2013 Yoav Ruiz-Feingold (vocals)
\u2013 Matias Salas (bass)
With guests:
\u2013 Max Phelps (guitar solo on \u201cWhat Unites Us All\u201d)
\u2013 Enrico H. Di Lorenzo (vocals on \u201cMemento Mori\u201d)
\u2013 Shantanu Vyas (additional vocals on \u201cWind and Water\u201d)
\u2013 Juan de Dios Schoennenbeck (acoustic guitars on \u201cMemento Mori\u201d and \u201cThe Waves Suite: Caleuche\u201d)
\u2013 Sebasti\u00e1n Durandeau (acoustic guitars on \u201cMemento Mori\u201d and \u201cThe Waves Suite: Caleuche\u201d)
\u2013 Ana Carolina Rifo (chinchinera on \u201cThe Waves Suite: Siren\u201d)<\/p>\n

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