![]() ![]() ‘Blindly They Follow’ is obliterating, crammed with mutilating aggression, the song smashes in with double kick blasting deployed to great effect as the lead break screeches by with equal vehemence, but even here they temper the tune with a melodic overtone you just don’t expect, as the catchy stop-start structure works a treat. With cavernous, soul-destroying vocals the song epitomises how grisly this act can be as the clean vocals reappear on the groove laden ‘Inquisition Reborn’ that owes plenty to mid era Carcass. ‘The Seventh Seal’ has an eerie brooding melody kicking it off, one that meanders before the crunching drop in pace and massive double kick that ensues. ‘At The Giant’s Feet’ follows and here we get that experimentality as whilst the tune begins in true gruesome fashion, with blasted insertions and a hook infestation, the band injects a slightly different vocal approach, cleaner, distantly mixed but ensuring the tune is lifted skywards. Opener ‘The Law Of Everything’ is typical of the band, dense, oppressive blasted death metal that fans of the 90s will adore, the impact is there for all to hear, grooving brutality hooked into the monstrous vocals we all love in this genre. Never forgetting the roots of death metal Wombbath have cleverly crafted an album that utilises that fundamental art form but brings in a raft of other ideas, each complementing the other without competing. Everything surrounding ‘Agma’ is monumental, the cover art by Juanjo Castellano is wondrous, to the song writing expertise by three of the guys involved then to the fabulous production afforded, and not forgetting the sublime editions being released by Transcending Obscurity, make this a brilliant album in every way. I needn’t have concerned myself whatsoever, and nor will you, because this album flies by and in an extremely good way. This is a double album comprising 16 tracks of staggeringly effective death metal, though I must admit I was truly daunted at the proposition of 72 minutes of deathliness. However, I do question why a band of this stature would see fit to have the release date as the 31st December apart from novelty value of course, as whilst promo copies will certainly hit review piles worldwide, like mine did, it is difficult to see how such a fine album can make it onto best of 2021 lists and can’t in 2022, but I guess that’s just my list geekiness coming to fore, as I love making lists. Quite possibly one of the most underrated and overlooked death metal bands of the last 30 years, Sweden’s Wombbath may have a moniker conjuring up images of sonic rancidity but they offer so much more than that, indeed their latest effort is by far their most adventurous, ambitious and experimental release to date.
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