Deathcore is blooming into something interesting. Disfiguring the Goddess is the extreme-metal project of Cameron “Big Chocolate” Argon, blending deathcore, slam, brutal death metal, electronics, and industrial sounds into something that refuses to sit still. On Bloom, Argon takes that foundation and throws in trap beats, synths, samples, dance music, and some seriously strange ideas. Across 17 tracks, there’s a lot going on, but what impresses me most is how well these experiments work together. This isn’t just another deathcore album with a few electronic effects thrown in for decoration. It feels like Argon is genuinely interested in pushing the genre somewhere different, and the results are heavy, weird, catchy, and surprisingly cohesive.

“Samba of the Faceless” builds slowly with distorted synths and trap-inspired vocals before bringing in low, chugging slam riffs, steady drums, and deep growls. The electronic elements fit surprisingly well with the heaviness, immediately establishing the sound of an album that refuses to stick to one formula. “Echos Fade, I Remain” leans more toward traditional death metal and deathcore, but the softer synths underneath the riffs add atmosphere without taking away from the crushing guitar work. There’s a solid headbanging groove here, and the balance between the electronic textures and the heavier sections makes the song stand out. It’s heavy without constantly trying to overwhelm you, proving that Argon knows when to let the music breathe.

Then there’s “Deathcore Song,” which essentially throws every deathcore trope into a blender and somehow makes the whole thing work. Blast beats, nasty vocals, pinch harmonics, 808 drops, and slow, crushing breakdowns are all present and accounted for. There’s even a SpongeBob sample, followed by a bizarre Mr. Rogers clip about loving your neighbor over soft piano. It’s ridiculous, but that’s exactly the point. Instead of treating the genre’s familiar characteristics too seriously, Argon plays around with them while still delivering the heaviness that fans come for. It’s one of the album’s most memorable moments because it manages to be both a joke about deathcore and a genuinely entertaining deathcore track.

“AWOL” takes a more hypnotic approach, pairing pulled-back vocals and slower riffs with bursts of blast beats. “Mask Off,” featuring J-Figure, brings deep gutturals and heavy drums alongside an unexpected Chris Hansen sample. These moments show how much personality the sampling adds to the music. Rather than feeling like random clips pasted between breakdowns, the samples contribute to the album’s unpredictable character and keep you wondering what Argon will throw into the mix next.

The experimentation continues on “Sweet Dreams,” featuring Four Stroke Baron, which introduces rave-like electronics, alien-sounding vocals, and autotuned singing. It’s a striking change of direction that could easily feel out of place on a conventional deathcore record, but here it fits the album’s anything-goes approach. “Low Slam Low” brings the crushing riffs back into focus, while “Goddess Box,” featuring Bodybox, delivers plenty of heaviness without leaving quite as strong an impression as some of the surrounding tracks. Not every experiment lands equally well, but even the less memorable moments help keep the record moving between different sounds and moods.

“Deep Sway” is another highlight, making excellent use of tribal percussion and eerie effects to create an almost hypnotic atmosphere. “Permission to Be Claimed” balances intense riffs with softer sounds, showing off the contrast that makes much of the album work. Then “Kiss the Dice” opens with dance music before shifting into groovy territory that brings nu-metal and djent to mind. Just when you think you have the album figured out, Argon changes direction again.

“Black Widow Spider” adds symphonic synths and another unexpected movie sample, while “Dapper,” once again featuring Four Stroke Baron, combines an almost ’80s-inspired synth opening with catchy riffs. The contrast between the guest’s flamboyant vocals and Argon’s deep growls gives the track its own identity, making it another standout. “Pleasure Island” takes things further by introducing reggae-inspired rhythms. I never expected to hear metal reggae on a Disfiguring the Goddess release, but somehow, it works. It’s an absurd combination on paper, yet the willingness to experiment is one of the album’s biggest strengths.

The closing run of “Old Man’s Bones,” “Lose the Head,” and “Penance” returns to deep riffs, hellish vocals, crushing breakdowns, and atmospheric synths, finishing the record on a suitably heavy note. After so many different sounds and unexpected turns, ending with a run of punishing material feels right, bringing the album back to the extreme-metal foundations that hold everything together.

With 17 tracks, Bloom could easily have become an exhausting collection of ideas that never quite connect. Instead, Argon shows a clear understanding of how to combine different influences without sacrificing the weight and aggression at the heart of the project. The synths, samples, beats, and varied vocal approaches give the songs their own identities, so the album rarely feels repetitive. A few tracks make a stronger impression than others, but the willingness to take risks more than makes up for those weaker moments. Bloom is heavy, weird, catchy, and genuinely creative. Disfiguring the Goddess proves that deathcore still has room to grow when artists are willing to experiment rather than simply repeat the formula.