Originally written by Erik Thomas
Why are we reviewing an album that’s over a year old?
Because it’s fucking worth it, that’s why.
Indisputably one of the more respected Danish bands around and arguably the grand fathers of Danish metal, Illdisposed burst onto the metal scene along with Konkhra back in 1993 with a form of chunky but melodic thrash/death metal and has steadily been releasing quality but underrated albums since and now with album number eight, they look to still be the kings of Danish metal and show bands like Hatesphere, Koldborn and Dawn of Demise where they got their sound from.
In an age of Obscura, Oceano and such, as much as I enjoy pushing the limits of technicality and heaviness, it’s actually refreshing to sit back and listen to an album like this; hardly any blast beats or uber noodling, just a sturdy simple gallop and groove with memorable, chunky riffs and well constructed songwriting that stays with you. Throw in Bo Hammer’s super deep and layered bellows (think Vehemence’s Nathan Gearhart), giving the material a more menacing death metal lean.
If you are unfamiliar with Illdisposed, the music lies somewhere betweenErase era Gorefest and Hating Life era Grave, and a dash of Gothenburg melodies thrown in. All the chunky Danish sound that many bands play can be directly traced back to these guys. Each of the twelve songs delivers a robust sense of groove and dynamics that simply out weigh much of today’s technically proficient but soulless metal. It’s nothing groundbreaking or genre shattering, but I’ll be damned if they aren’t catchy as heck while retaining a satisfying sense of heft with that oh so typical thick Danish production and tone (though they could have spent a little less on the Frederick Nordstrom mix and a little more on the cover art).
Tracks like the sturdy intro of “Let Go,” deadly catchy canter of “Working Class Zero” and “A Song of Myself,” rumbling “She Knows” and killer hooks of “…Your Devoted Slave” display many great riffs and a svelte mix of lumbering grooves and cool solos. The standout has to be the somber “A Child is Missing” with just a killer solo filled chorus that commands your attention.
When slower closer “Ich Bin Verloren in Berlin” ends the album you actually feel like you have listened to an actual album, not just a series of moments or riffs strung together by blast beats or break downs – an actual, well constructed, well written, well thought out, metal album and as much as I love modern metal, it’s been since the 1990’s since I felt that way.