How does Veil of Maya/The Faceless/Sumerian Record get that ridiculously large sound?

the records you just mentioned are recorded by Michael Keene, who is IN the faceless. Nothing majorly special about the recordings other than very separated instruments squashed to hell with a master buss limiter. Those records don't need dynamics, so it's just a lot of pump pump pump in your face with a combination of roboticly gridded material which lends a hand to transients working together instead of causing clutter, and subtractive EQ everywhere to make sure that certain elements aren't stomping on other more important elements. The guitars on the faceless record to sound pretty damn good, but i don't like the veil of maya mix. really blown out and kinda dull, lacking top end, and a little TOO sound replaced for my liking.

Anyways, your answer in short, programmed drums, good samples, DI guitar and Bass chopped and gridded to perfection, and compression compression compression
 
i love the low end on the first born of osiris album and the veil of maya album. ridiculous punchy palm mutes, very cool.
i wouldnt usually dig records with that kinda sound, but michael keene somehow gets away with it
 
roboticly gridded material which lends a hand to transients working together instead of causing clutter, and subtractive EQ everywhere to make sure that certain elements aren't stomping on other more important elements.

+19x5352

The more absurdly perfect your edits are, and if you each individual instrument/element into its own little EQ "slot", you can squash the mix into absolute oblivion and everything will still sound sharp and distinguishable. However if you apply said squashing to a project that is NOT edited to absolute perfection and meticulously EQ'd, the result will be the sound of extremely heavy doodoo filtered through a brick wall.