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* LoudnessWar: Surprisingly averted (for the most part) with ''Antithesis'' and ''Entity''. ''Antithesis'' had decent dynamic range ([=DR9=]) but still had noticeable clipping issues and general muddiness, but ''Entity'', while slightly more compressed ([=DR8=]), took great pains to avoid clipping, creating a wonderfully crisp, balanced, and engrossing mix that set a fantastic example for how modern death metal albums should aspire to sound. They have generally kept this up since then; their latest, ''Chaosmos'', is also [=DR8=].
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* LoudnessWar: Surprisingly averted (for the most part) with ''Antithesis'' and ''Entity''. ''Antithesis'' had decent dynamic range ([=DR9=]) but still had noticeable clipping issues and general muddiness, but ''Entity'', while slightly more compressed ([=DR8=]), took great pains to avoid clipping, creating a wonderfully crisp, balanced, and engrossing mix that set a fantastic example for how modern death metal albums should aspire to sound. They have generally kept this up since then; their latest, ''Chaosmos'', is also [=DR8=]. Then again, with Colin Marston (of Music/{{Krallice}}, Music/{{Gorguts}}, and numerous other acts) responsible for mastering all albums since ''Entity'', this is to be expected.
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Changed line(s) 41 (click to see context) from:
* LoudnessWar: Surprisingly averted (for the most part) with ''Antithesis and ''Entity''. ''Antithesis'' had decent dynamic range but still had noticeable clipping issues and general muddiness, but ''Entity'', while slightly more compressed, took great pains to avoid clipping, creating a wonderfully crisp, balanced, and engrossing mix that set a fantastic example for how modern death metal albums should aspire to sound.
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* LoudnessWar: Surprisingly averted (for the most part) with ''Antithesis ''Antithesis'' and ''Entity''. ''Antithesis'' had decent dynamic range ([=DR9=]) but still had noticeable clipping issues and general muddiness, but ''Entity'', while slightly more compressed, compressed ([=DR8=]), took great pains to avoid clipping, creating a wonderfully crisp, balanced, and engrossing mix that set a fantastic example for how modern death metal albums should aspire to sound.sound. They have generally kept this up since then; their latest, ''Chaosmos'', is also [=DR8=].
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* LongestSongGoesLast:
** ''Echoes of Decimation'' closes with "Echoes of Decimation" (04:02).
** ''Antithesis'' closes with "Antithesis" (9:32).
** ''Chaosmos'' closes with "Heat Death" (11:21).
** ''Echoes of Decimation'' closes with "Echoes of Decimation" (04:02).
** ''Antithesis'' closes with "Antithesis" (9:32).
** ''Chaosmos'' closes with "Heat Death" (11:21).
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* SinisterSurveillance: "Panoptical" is in part a protest against this.
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Up To Eleven is a defunct trope
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* UpToEleven: In general as far as technical death goes, but especially live. Some technical death acts have trouble pulling off some of their more complicated material live and/or tend to fall victim to the "stand around playing your instruments" trap; Origin actually plays it even FASTER without a hitch and has cultivated a reputation as a ferocious live act.
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** ''Chaosmos'' is substantially less technical (to the point of barely even qualifying as technical death metal), with extremely prominent old-school death metal, black metal, and hardcore elements and a more mosh-friendly approach than is typical for them.
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* EpicRocking: "Unequivocal" (9:54), "Antithesis" (9:32), "Consequence of Solution" (7:09), and "Saligia" (6:52).
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* EpicRocking: "Heat Death" (11:21), "Unequivocal" (9:54), "Antithesis" (9:32), "Consequence of Solution" (7:09), and "Saligia" (6:52).(6:52), "Decolonizer" (6:30), and "Nostalgia for Oblivion" (6:23).
