This German band’s previous release was a Gothenburg inspired opus of scintillating harmonies, nifty guitar work and a tapestry of vocal styles and this new effort sees that template being emboldened and intensified. Formulating their song writing to encompass all that is melodic Swedeath Human Debris begin their album intelligently with a gentle acoustic guitar piece that has some symphonic aspects before it ends with a sample and the start of “Radiation Damage” and a sweeping melodic hook explodes this album into life like a defibrillator setting a still lifeless heart into motion. The blast is used sparingly for added impact whereas the guitar work is focused to ingrain itself in your head. “Crimson Tears” begins with a spoken intro piece of political diatribe berating the media right before its start and at the end of “Radiation Damage” and sets the tone for the song very well. It is highly accessible metal and though the vocals are roared and bellowed predominantly there are some softer cleaner moments which work in a kind of Amorphis way. There is plenty going on with the drumming being particularly skilled and accomplished, and that does not mean it’s played fast, the nuances of adding texture through percussion is often forgotten about in metal in favour of beating the living daylights out of the listener.
Parts of this album reminded me of Carcass for the guitar riffing style but also Soilwork and Susperia for the sheer melodious power the songs have for imbibing that memorable quality. The interlude “Ruinous Redemption” has Amorphis engraved all over it and serves as an intro to “A Good Man” which hits you firmly between the ears with its wonderfully harmonious guitar hook with keyboards being used for added depth, clarity and mood, much like the aforementioned Amorphis to a degree. Standout tune of this release has to be “Athiest Jihad” which saunters in with a snare roll before the double kick comes steamrollering in. As the longest song it takes on many guises with thrash coming first after the opening sequence and some good cymbal smashing. The clean vocals work well, a modernistic insertion that is very common within this style nowadays, and sound genuine and relaxed without being strained as they quite often can be. The shift to death metal is smoothly undertaken as the tune drops into a gentle guitar piece with soft drums tingeing the edges with melody and subtlety. The accompanying background noises offer theatricality to the song as it meanders into percussive elements, acoustic guitar and a rather wonderful lead break. Closing the album is “On The Wing” which again is preceded by a sample piece and a moving folk inspired acoustic guitar section and some spoken vocals. The tune is tranquil, like the noises of flowing water that decorate the background of the song. It is also a little haunting in places and ends the album on a soft lighter note but it works for me completely just like the whole album. Splendid stuff indeed.
(8.5/10 Martin Harris)