A quick EP of melodic metalcore/techdeaf – Arreat Summit’s Frostburn definitely hits all the expected points of 2008’s darling fusion – high levels of technical proficiency, candy coated melody, constant breakdowns, haphazard composition, and so forth. Usually this sort of thing doesn’t even rise to the point of being worthy of discussion (and I did find the actual music went almost unnoticed as I listened), but in this case, it resonated with me how eerily similar this is to playing the video games in the Diablo series that inspired it.
A quick primer – The first two games in the series are surprisingly atmospheric titles, at least by the standards of their age. In fact, I would go as far as to say that much of their potency is a result of Matt Uelmen’s excellent soundtrack work; Diablo II in particular frequently demonstrates his ability to mix coherent thematic development into unsettling ambient soundscapes. Back when I was most thoroughly engrossed in the game (read: 2008), though, my attention was instead turned towards repetitively grinding the game’s bosses in the slim hope of locating a powerful item that would allow me to do so slightly more efficiently. That was a much shallower and less fulfilling experience, albeit a powerfully addictive one more capable of destroying productivity than heroin. When you remove the setting from Diablo, it turns the game into a series of tangentially related and nonsensical murders. Similarly, when you remove the ‘setting’ from metal music, you’re left with what is little more than a technical exercise.
In summary, Arreat Summit’s successful portrayal of the grinding postgame of the series (to the point that they are named after a valuable piece of treasure that has no real lore attached to it) is a dubious honor at best.