“Graveyard of Eden”

by Thor

Belgium death metelers Dehuman return with a new full-length album entitled “Graveyard of Eden” out now from Kaotoxin Records.

Dehuman is the type of no-frills death metal act that would have fit in with the underground music scene 20 years ago every bit as well as they do now.  The tracks on “Graveyard of Eden” recall the stylings of early Morbid Angel and Immolation, both musically and conceptually.

This collection of songs features a balanced blend of blasts, d-beats, and grooves that comprise songs that have relatively conventional structures.  The vocals are articulate, mid-ranged gutturals that generally use complimentary phrasing to optimize the heaviness of the riffs beneath them.  The guitar work is a mix of tremolo-picked speed and meaty palm-mutes with some dissonant, black metal-style chording showing up here and there, though without any conventionally melodic framework—and make no mistake, nothing about this album can be construed as black metal.  The drumming follows suit with the guitar playing, mixing fast and tightly accurate blast beats with riff-synchronized fills and d-beats to create an extraordinarily aggressive and punchy aural assault.

The songs aren’t the only things oozing aggression on “Graveyard of Eden.”  The album’s production is pushed to the very limit as well, having been mastered extremely hot and straddling the line of distorting at all times.  Yet, the mix is clear and mud-free while retaining some sense of warmth and a distinct organic vibe all too rare in extreme metal anymore.

Dehuman don’t do anything you haven’t heard a million times, but as is the case with so many of these death metal releases, they do what they do very well.  The songs run a little long on average and the entire vibe can be static at times, but that’s kind of like getting mad that your horse has hooves—it comes with the territory.  Fans of early to mid-90s death metal will dig “Graveyard of Eden.”