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. 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.
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. I needn’t have concerned myself whatsoever, and nor will you, because this album flies by and in an extremely good way. 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.
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. 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. ‘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.
‘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. 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. ‘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 so many tracks to consider for writing about, choices have been difficult as every single one deserves some credit, as they are all unique in their own way, but I will continue with the awesome ‘Breathe In The Flames’ because I love the opening riff and resultant demolition that still retains a hefty proportion of catchiness, but it’s the unerring speed I like the most, the blast beat feels like its beating you to a pulp, until the colossal deviation into melodic realms, that again catches you unawares making it one of the standouts, on an album packed with standouts.
Branching even further out is ‘The Age Of Death’ where a short fade-in links into a string arrangement I found skin crawling and beautifully executed, as here we get that complementing at its very best, the epic atmosphere is captured via a cool gutter creeping riff, that doom-death fans will appreciate as a brake is kept on the pace. Returning to beastly fayre with ‘Oh Fire Of Hate’ the song elevates you out of the morosity of the previous tune by delivering a fine hook that will thread its way through your brain. Maintaining the utmost brutality is ‘Divine Pain’ where that monstrously dense double bass carpet-bombs the entire track before a puncturing riff break sets the song down a slower avenue.
When the band slows things down, the results are formidable, chokingly dense, as on ‘Departure From The Light’ where a short fade-in leads into that wall of drums plus the pulsing bass work as the pace is kept within the realms of doominess, but no less heavy, right until it pivots into a blast, and even if short-lived, the impact is there for all to hear especially with that cleaner vocal I’ve mentioned. Closing this monster of a release is ‘On A Path Of Repulsion’ and where I expected something more measured I instead was floored by what this band does best, pulverising death metal of pristine quality. The song bulldozes in without ceremony, its animosity and acrimony coursing through as that clean vocal reasserts and reminded me of Travis Ryan (Cattle Decapitation) and the way he uses a cleaner vocal tone. That being said, it is still unique as the calming pause halfway unveils a really creepy, dread infused string section. The steady return to full death metal, is done brilliantly layering on the tension, intensifying the track to its and the albums climactic explosive finale.
If I’d had this album before my top 20 went into the site it would have been in the top ten with ease. An astounding album by Sweden’s Wombbath, and one I guarantee will be worshipped for decades to come.
(9.5/10 Martin Harris)
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