Combining elements of djent and metal with electro, Parisian one-man band Heptaedium has created an eclectic sound that he has interestingly termed “Baguettecore.”
The tech-metal project is the brainchild of Florent Lambert, who tells us the idea for the unique music fusion came to him way back in 2011: “I was listening to Motionless Battle and The Algorithm a lot and I thought to myself ‘I’m gonna do this too, it’s gonna be fun!’ And yeah, at the beginning it was only about making music for the sake of making music but now it’s kinda a form of therapy to me. It’s become more a need than just a fun thing if you know what I mean.”
And on the Heptaedium sound itself, he explains: “It’s a difficult question because my albums are all quite different. I would say that with the wire of the albums passes from fun to something colder, more monolithic and calculated but still with this recipe of ‘mathematic’ Dj0nt riffing style mixed with elements from the electronic music. I think it’s still fun to listen to but the goal isn’t the same anymore!”
Essentially the Heptaedium style is big fat riffs fused with electro synth that add a certain mystique and intrigue to proceedings. The latest offering of this is The Great Herald of Misery, released in May, which is chocked full of synth-infused djenty goodness. But the big difference is that the album sees vocals introduced to the Heptaedium sound, with Laurent recruiting his best friend Mickaël Ratinaud.
The first track after intro track Now sums this up beautifully, with Watch Me Break the Neck of the Hypocrites opening up with a burst of guitars then booming djent chords, a big scream then synth bursts and chugging chords under powerful shouty vocals. The chuging chords take prominence over a prolonged scream as wild bass drum pounds away in the background.
That’s followed by the equally good, and brilliantly titled, Spill Torrents of Carcass on the Ground and Piss on Them, which opens up with djenty riffs and screamed vocals then a more energetic riff kicks in before dropping into an eerie drawn-out synth sound. The wild riffs and vocals return as the song smashes to a powerful conclusion.
Then Till the Seventh Snake Eat Their Empty Shell sees the most prominent use of electro, with bursts of synth sound over booming riffs and heavy vocals.
The album’s title track I’m the Great Herald of Misery, has a near four-minute long introduction track, Trapped in a Gravitational Abyss, then launches into a low-tuned, booming mass of djenty riffs with creepy synth sounds lingering in the background. Wild screams are accompanied by huge pounding drums in a frantic closing track that sums up the intensity of Heptaedium’s sound.
On the album and how people may perceive it, Laurent tells us: “Actually I don’t pay too much attention to that even though it always kinda freaks me out to know if people will like it or not, in the sense that they judge a work that is personal. I mean, it’s me, Heptaedium is me I think, and so you have to know how to accept that people take ownership of that part of you even though I didn’t make the album for them in the first place. Yep that’s weird I know.”
And in terms of what inspires his music, he continues: “Our world, the people and things around me, the ones I love, the others, life. A lot of things influence me musically speaking but to be honest I’d say the main engine of my music is love, in all of its forms. For the lyrics, it’s about all the deviances of the human being and his servitude in a general way.”
And Laurent tells us he’s already thinking about the next Heptaedium offering: “Yes, a few gigs here and there and I’ve already starting to think about the next album, I’ve already recorded some riffs but I’ll get into it more seriously in a few months.”
The Great Herald of Misery is out now and available on all platforms here. or you can stram it in full on YouTube. You can follow Heptaedium on Facebook and check out his music on Spotify, Soundcloud and Bandcamp.