As times wears on, technical death metal seems less like a subgenre and more like a competition: every band out there, whether they be veterans like Cryptopsy or up-and-coming stars like Archspire, seems determined to be the fastest, deadliest, most cutthroat of the lot. California’s Fallujah, meanwhile, appear to be side-stepping that contest altogether— though speed and instrumental proficiency are core pillars of their sound, the five-piece demonstrate a greater focus on melody, on atmosphere, on a complete album experience. Such is the case for new record ‘Xenotaph,’ which seeks to set the band apart by blending furious shredding and blast beats with a wide-reaching sci-fi aesthetic. It’s a shame, then, that the release doesn’t quite stick the landing: despite some dazzling displays of promise in its final leg, ‘Xenotaph’ takes far too long to nail down an identity for itself.

Even if Fallujah aren’t aiming to be the single most earth-shatteringly impressive act out there, we’d nonetheless be remiss not to praise just how phenomenal a number of their performances are. Every note and drum hit throughout the record is captured incredibly cleanly (perhaps too cleanly, as we’ll touch on later), putting the emphasis squarely on the impossibly feats of musicianship. The guitar work from Scott Carstairs and Sam Mooradian is particularly jaw-dropping— just check out the overwhelming riffs of ‘Labyrinth of Stone’ or the virtuosic soloing of ‘The Crystalline Veil’ for a taste of the technical wizardry these performers are capable of— while Kevin Alexander proves himself a master of his instrument, even if his drumming can feel a little overbearing at times. Vocalist Kyle Schaefer is similarly impressive in his versatility, indulging in a mixture of both menacing growls and ethereal clean vocals throughout the project: regardless of any criticisms laid against them, the performances Fallujah bring to the table here are almost beyond critique.

Interestingly enough, it’s actually the record’s slower moments that stand out as its most memorable: once Kevin Alexander finally stops hammering away on the double kick, moments of melody and atmosphere begin to seep in. Some of the best passages of ‘Xenotaph’ come when the band do an impression of ‘Louis Armstrong in space,’ settling into some lounge-esque grooves that balance calm against the record’s ever-present theme of space. A cut like ‘Kaleidoscopic Waves’ seems content to bouncy back and forth between brutal tech death riffs and slower, more atmospheric moments— ironically enough, it’s the track’s softest passages that feel the most engaging. The dreamy soundscapes of ‘Xenotaph’ lend themselves extremely well to angelic vocal harmonies and seas of synth: if anything, the production fits better here than it does in the album’s heavier segments, where a focus on clarity strips the record of some of its heft.

This combination of blistering tech death and sultry ambience is the central idea that ‘Xenotaph’ explores throughout its eight tracks: it’s a fascinating combination, though not one the record nails from the off. The opening suite of tracks feel fairly uncertain if anything, stumbling their way through a host of awkward transitions. Opener ‘In Stars We Drown’ builds for almost two minutes, adding layer upon layer of synth, yet nonetheless fails to seamlessly transition into the first (of many) whiplash-inducing riffs throughout the project— the song lacks some identity, kicking the record off on a disconcerting note. ‘Kaleidoscopic Waves’ and ‘Labyrinth of Stone’ suffer similarly, jerking awkwardly between the various sounds and ideas Fallujah are employing here: though there’s certainly some strong moments to be found, ‘Xenotaph’ feels quite unsure of itself in its opening leg.

Thankfully, the band seems to settle in somewhat on ’The Crystalline Veil,’ plowing through an onslaught of riffs and screams— it’s reassuring to hear Fallujah sticking to an idea here, even if the track’s most memorable melodies feel buried beneath the avalanche of blast beats and guitar leads. Much of the rest of the album exists in this uncomfortable state where Fallujah seem loathe to indulge in the harmonies that underscore ‘Xenotaph,’ rushing through too many disconnected ideas too fast: it’s not until ‘The Obsidian Architect’ that the band bring out a genuinely infectious hook, leaving songs like ‘Step Through the Portal and Breathe’ feeling fairly unmemorable (even despite the impressive performances that continue to define it). It’s in its final leg that the album truly begins to shine, flying through the dense atmospheres of ‘A Parasitic Dream,’ as well as an absolute show-stealer of a title track that finally strikes the perfect balance between technical excess and solid composition: Fallujah absolutely prove this project’s worth, however inconsistently.

In its best moments, ‘Xenotaph’ is a striking fusion of instrumental mastery and melodic wonder. In its worst, it’s a confused hodge-podge of conflicting ideas. Fallujah are certainly an impressive group, and their latest work is a daring move from them: we just wish the band had struck gold much sooner. ‘Xenotaph’ may not live up to the consistency of an album like ‘Dreamless,’ or even the promise of its own highlights, but the project remains a shocking and dazzling one nonetheless.