That new album from Artificial Brain isn't the only blast of killer science-fiction influenced death metal on this week's new arrivals list; we also just got the latest album from Floridian tech-death mutants Gigan, Multi-Dimensional Fractal Sorcery And Super Science, which delivers an equally mind-bending level of futuristic, otherworldly brutality. It's the third album from the band, an eight song saga that spans multiple worlds and dimensions, teeming with all sorts of horrific, high-concept images that you discover as you flip through the lyrics, revealing an array of Lovecraftian visions of ice-covered worlds bathed in the negative light from a black sun, quantum witchcraft, armies of sub-human monstrosities, militaristic incursions into the dreamworld, electro-shock torture rituals and various amphibious horrors. It's like witnessing scenes from a Clark Ashton Smith novel being set to a skull-crushing techdeath assault.

On Fractal Sorcery, Gigan continue to unleash a churning, hyper-complex brand of death metal that incorporates lots of mathy, almost Mastodon-esque angularity and sludginess, constantly shifting and warping tempo changes, and some seriously crazed time signatures; the drumming on this album is definitely one of the highlights, and there's some extremely twisted percussive madness going on here, with drummer Nate Cotton spinning off into bludgeoning whirlwind assaults of off-kilter blastscapery and bone-rattling percussive violence. The spirit of Obscura-era Gorguts hangs over much of Gigan's sound, the band blending in lots of strange dissonant guitar skronk, deformed chordal shapes, blasts of atonal alien melodies (some of which are additionally created using theremin and otamatone) into their grinding, bottom-heavy riffage and dizzying arrangements. This isn't quite as abstract as that late era Gorguts stuff, though, instead focusing on weaving those squirming alien riffs, insane squiggly shred-fests and chaotic poly-rhythmic freakouts into the album's expansive and bizarre effects-laden noisescapes, the songs suddenly erupting into storms of cosmic electronics and whirring nebulous noise, psychedelic driftscapes infested with batrachian utterances and erupting into crushing, utterly evil grooves.

It's like some bizarre death metal version of a Skin Graft band, splattered with Hawkwindian synth effects, the guitars splintering into flurries of jagged notes and elliptical shred like some cracked-out version of Nick Sakes from Dazzling Killmen, the music relentlessly complex and brutal, but capable of flowing into passages of shimmering metallic drone and gleaming post-industrial ambience that can intensely creepy. By far the coolest album of maniacal, spaced-out, no-wave tinged death metal madness I've picked up lately.