Chaos Over Cosmos is the personal project of Polish guitarist Rafal Bowman, founded in 2017. Since then, as the sole composer, he has explored progressive death metal and metalcore infused with electronic elements, collaborating with a different guest vocalist from a new country on each album. It’s a peculiar example of long-distance work, since the composer and the featured singers likely never meet in person. Bowman also leans heavily into programming, which lends his creations a sci-fi, cosmic atmosphere.
Recently, he independently released his fourth album, “The Hypercosmic Paradox”, this time collaborating with Pakistani vocalist Taha Mohsin, who also contributed the lyrics. As expected, the material is precise and highly technical, reflecting a progressive approach to modern extreme music. Still, what wears me down with albums like this is how computerized everything sounds. Over its brief thirty-three minutes runtime, I couldn’t shake the feeling I was listening to a computer performing rather than real musicians — an effect that diminishes any sense of originality.
The album is driven by Bowman’s shredding technique (he plays incredibly fast!). However, I can’t help wondering whether the guitars are real, as their synth-like tone sounds artificial. Regardless, the leads dominate, but the lack of variation inevitably turns into repetition and, at times, annoyance. More than once, I found myself wishing for something beyond the excessive solos (like in the intro instrumental), which often seem to go nowhere. I had the same reaction to “Rings of Saturn”, where the main goal appeared to be simply showing off virtuosity.
The rapid shredding and heavy rhythmic patterns, layered over a largely electronic soundscape, certainly highlight strong execution, but the ambient sections often feel oddly disconnected. Some of the ideas across the three lengthy main tracks are far from captivating, and the focus is clearly on technical mastery rather than structure or vocal development, which is given limited space. Indeed, Mohsin appears sporadically, and his delivery sounds somewhat unoriginal and not fully aligned with the sci-fi concept (so keeping his role minimal may have been the right choice…).
None of this is to say the album lacks strengths. On “Event Horizon Rebirth”, the skills serve a more intriguing structure, and the progression of patterns is genuinely immersive. “The Cosmo-Agony: Requiem” is similarly effective, building a gloomier atmosphere. And I still wonder how Bowman keeps up with the high-speed drums — but once the guitar babbling takes over again, I simply lose interest.
“The Hypercosmic Paradox” feels more like a shredding seminar you might attend at a conservatory than a proper album. To be as objective as possible, Bowman is undeniably skilled at playing fast, demanding patterns. If he were a conservatory instructor and I were a musician, I’d gladly pay to attend his classes. But teaching is one thing — composing requires other qualities that are largely absent here.
Overall, the heavy reliance on electronic tones and programmed drum patterns makes everything accurate, but it also strips the album of any real emotional impact. As a result, “The Hypercosmic Paradox” is cold and soulless, keeping the listener at a distance despite a few scattered good ideas. It might work well as a video game soundtrack, but personally, I look for different things when I sit down to listen.
I think Bowman has written better albums. If you’re drawn to electronic, ultra-precise soundscapes, you should check out the superior and far more intriguing “The Silver Lining Between the Stars” (2021). It features the splendid “The Sins Between the Stars”, which is, in my view, best track he has composed so far.
I’d like to listen to his work when he enters a proper studio and go through a full recording process with real instruments from start to finish. On that occasion, I’m confident his ideas would take on a more authentic and tangible character. Until then, I’ll insist on avoiding overly polished, plastic productions.
♦ 3,5/10
Alex Nikolaidis
