Next year, Swedish tech metal band Meshuggah celebrate their 30th anniversary. Few bands can lay such a claim. Hell, most give up before reaching a tenth of that. So I feel that some respect must be presented to any band that offers forth new music after such a career. The Violent Sleep of Reason marks the band’s eighth studio album, following 2012’s Koloss (review), and offers 10 new tracks of social, political, and religious commentary (more about that here) couched in blistering, disjointed metal that’s so fierce, it practically begs to rip and tear into your body.

“Clockworks” masterfully opens the album, immediately making it clear that fans are going to get what they want, which is masterful performances and deep, crunchy riffs. It mixes rage and technical mastery with the staggered dissonance that the band is known for, although it must be said that the chorus is surprisingly melodic and almost beautiful amidst the ugliness of the chaos that surrounds it, while also acting as the longest song of the album. From here on out, everything will be shorter but under no circumstances will it be forgiving.

“Born in Dissonance”, a song about religion taking the form of a massive asteroid that will eventually smash into Earth, destroying it, is a mid-tempo track that feels as huge as its topic. It simply thunders across your ears, laying waste to all in its path. “MonstroCity” brings forth a strange kind of groove, dare I say something almost funky? Let me be clear that there is no funk in the song. Rather, it simply has this swagger, this kind of attitude that I would call “funky” and goddamn do I love it. It’s the kind of track that will annihilate any unsuspecting soul who finds themselves in the mosh pit when this plays.

“By The Ton” feels as heavy as its name implies. There is an quality, an air about this song that sets it apart from the others. It’s still 100% Meshuggah but it feels different from the other songs, as though it’s its own beast.”Violent Sleep of Reason” opens with a psychedelic, swirling chaos before locking down into a vicious, snarling riff. Towards the end, vocalist Jens Kidman pulls back on the growls and recites vocals almost like some terrifying bedtime story, angrily whispering them into the mic before roaring back.

Throughout these tracks, I couldn’t help but notice that Kidman’s voice sounds different from Koloss. It’s a bit raspier, a bit more harsh. It’s not a bad thing because it matches the style of the album perfectly. He still sounds absolutely enraged when he sings, his growl not being used simply because the music calls for it. It’s also by this point that I realized that the album sounds glorious. The production is crisp and tight, each instrument clearly heard.

As the album progressed, I came to another realization: I was having a blast. Meshuggah have crafted an album that is just as much fun to listen to as it is heavy. It may be an assault on the senses but to paraphrase Frank from Hellraiser, “Meshuggah gave me an experience beyond limits… pain and pleasure, indivisible.”

I could go on about the rest of the tracks, such as the beautiful (no, I’m being serious) outro to “Stifled” or the sludgy, almost filthy tones used on “Into Decay”, but I feel like I’d be ruining the experience you’d get by listening to it yourself. Do yourself a favor and get this.

The Final Word: There is no denying that Meshuggah are trailblazers in the metal genre. They pave the way with each new release and The Violent Sleep of Reason only furthers this tradition, proving that there is no band that can write music like this except Meshuggah. Expect this to show up on nearly every “Best Metal Albums of the Year” list.