COMPLEXANT Unleash The Savage Force Of “Cyclops”

2026 interview with Complexant bassist Chris Tuckley. The Australian band's full-length debut album is Apex.

YouTube video by Metal Institute of Thrashology

Some bands just know what they’re about right away. Australia’s blackened death metal band Complexant poise themselves as a rising star in the continent/country/island’s extreme metal ecosystem, storming the scene with “a sound defined by weight, darkness, and unrelenting intensity.” There’s little fanfare to Complexant’s promo around their debut full-length Apex: in so many words, they merely promise to kick as much ass as they can fit in a thirty-four-minute session. They’ve tormented their home country since 2022, but Apex aims to make Complexant a global menace. But can Apex raise Complexant to the cream of the blackened death crop? That Apex is a debut isn’t too shocking. Complexant play a dense, modern-sounding brand of brutal death metal dusted with black metal vitriol and (slight) deathcore stank. Think Cordyceps—restless riffing, crushed production, murderous intent, etcetera—but with more human-sounding vocals and a willingness to let their boots off your neck from time to time. Apex is heavy, raw, and blunt, but Complexant’s greenness shows in some undercooked ideas and seriously ham-fisted moments. Clean vocals worm their way onto “No Angels Weep” and “Afterlife,” which aren’t nearly as vital as vocalist Dan Greigsy’s screams and tack on an unwanted Stone Sour butt rockiness to the latter track’s ending. Endings are another issue. Although it’s worth celebrating Complexant’s realization of the power of editing, “Heretical Supremacy” and “Critical Mass” both end before they’ve hit their stride. Add some clumsy lyricism—”Cyclops, you only see through one perspective.” (“Cyclops”), “My head is at critical mass. One more thought and my cranium will surely collapse.” (“Critical Mass”)—and Apex’s rawness sometimes doesn’t work to Complexant’s benefit. No Angels Weep by Complexant But more often than not, Complexant uses Apex’s bluntness as a proper instrument of devastation. Under the oppressive fury of drummer Seb Su’s blast beats, guitarists Shannon Zivkovic and Gavin Bradley and bassist Chris Tuckley churn out seething, brutish riffs one after the other, underpinning Greigsy’s incensed performance across Apex. Songs like “Swing Myself to Sleep” and “Eye for an Eye” attack with a balanced approach of imposing, dissonant blackened chords and neanderthal death chugs, the former deploying some fucked up noodling bits in the bridge and the latter ending in seriously caustic heaviness. Complexant’s mix highlights Su’s drums, who complements the guitars with a similarly dynamic balance of concussive speed (“No Angels Weep,” “Apex”) and groove (“No Hope for Sanctuary,” “Eye for an Eye”) while littering just enough fills across Apex for good measure. Finally, Complexant utilize breakdowns conservatively and effectively to punctuate dramatic moments in their songs (“Swing Myself to Sleep,” “Cyclops”) rather than writing everything tailored to the breakdown. Apex is a thematically uncompromising record, and thus benefits from the unsophisticated sound Complexant bestows it. Not to be cruel, but Apex sounds best to these ears when Complexant sound just miserable. Apex features some truly harrowing and uncomfortable lyrics, and these moments usually encompass Complexant’s best material. From the suicidal ideation of “Swing Myself to Sleep,” to the vengeful murder fantasies of “Eye for an Eye,” to the proclamations against life itself on “Afterlife,” Complexant don’t endear themselves to you with their sunny dispositions. When Greigsy screams, “Eye for an eye when you take a man’s life. You brought a weapon, a weapon to a fist fight,” (“Eye for an Eye”), you best believe the instrumentals rise to meet his vitriol. At times Apex reminds me of Whitechapel’s The Valley in both sound and in barefaced confessional lyricism, reaching its emotional zenith on closer and album highlight “No Hope for Sanctuary.” Relaying the speaker’s childhood home life, his early claim of how he “was raised by fucking vandals” is bolstered by scenes of harrowing domestic violence and abuse, offering up an apt metaphor of being trapped under debris for the unstable environment he came up in. Apex doesn’t reach greatness as a whole, but in these uncompromisingly bleak moments Complexant reach the mark. I had a good time having a bad time with Apex. Proving further that everything from Australia wants to kill you, Complexant can bring the hurt with the best of them, and Apex is a more than adequate exercise in hostility. Even where songwriting faltered, Apex is still enjoyable through the simple joy of the disgusting riff. Now, if Complexant hone their songwriting further by the time they’re ready for album number two, we’ll have something truly worth watching. If for our own safety, at the least. --- Rating: Good! DR: 4 | Format Reviewed: ???1 Labels: Bleeding Art Collective and Blood Blast Distribution Websites: complexant.bandcamp.com | facebook.com/complexantband Releases Worldwide: July 31, 2026 The post Complexant – Apex Review appeared first on Angry Metal Guy.

Rounding up new releases from Sinner, Nothingness, Disfiguring the Goddess, Altarage, Bedtimemagic, Sinner, Bear McCreary, Sir Richard Bishop, The Salt Pale Collective, Dumb Waiter, As Bright As The Stars, Complexant, Arca and more.

Complexant · Album · 2026 · 10曲

Australian Blackened Death band COMPLEXANT shared the official visualizer for "Cyclops" and announced Japanese tour dates. Nov 18 - Tokyo, Japan @ Shinjuku Catshole https://riffwiremag.com/story/14280001 #metalthreads #complexant #localwire

COMPLEXANT (Blackened Deathcore, Australie) a publié une vidéo pour le morceau ''Cyclops'' tiré de son premier long-format Apex sorti en juillet via Bleeding Art Collective.\n\nhttps://www.youtube.com...