Kev Rowland I can’t be the only one who thought we would never see another Autopsy album, given it had been eight years since the release of ‘Tourniquets, Hacksaws and Graves’, but they are back, boy are they back. They may have lost bassist Joe Allen, who has been replaced by Greg Wilkinson (who plays with Chris in Static Abyss) but guitarists Eric Cutler and Danny Coralles are there, as they were more than 30 years ago, while at the drumming and vocal helm is the legend who is Chris Reifert. Reifert has rarely put a foot wrong since appearing on Death’s ‘Scream Bloody Gore’, but there are some releases which are more important that others, for multiple reasons, and this is one of those.

The band have stopped and started a few times, and they have periods of intense activity before taking another break, so let us hope that this is the dawn of a new era for the band as this is brutal death with nods to both doom and grind, with hardcore aggression thrown in there for good measure. The guys may not be getting any younger but with this release they are yet again stamping their presence on the throats of the death metal genre and making a huge statement. Reifert is a demon on the drums, yet also provides plenty of finesse, Wilkinson is locked in as he is used to playing with Chris, and then we have Eric and Danny bringing the storm as they have ever since first becoming a partnership back in 1988. On the top of that we have the growls and aggression, yet the band also move into areas which at times are almost black metal as they bring in emotion and atmosphere which means that when they ram it down again the contrast makes the sound even more dynamic.

Autopsy are back with an album which shows they mean business, and let us hope we do not have to wait eight years for the next one!

Necrotica Death metal trends may come and go, but Chris Reifert is one of those special musicians you can (almost) always rely on to keep the flame of the old guard alive; after all, we’re talking about the same guy who performed on Death’s classic Scream Bloody Gore and helped spearhead the first wave of the genre. Through thick and thin, Autopsy’s vile brand of death/doom riffery has remained largely unchanged (excepting Shitfun, but let’s not talk about that). If it ain’t broke, why fix it? Just give me some disgusting gutturals, brutal riffs, and stank-face breakdowns, and I’ll be happy. Still, even in the context of Autopsy’s recent string of successes, I get the sense that the boys felt they had a bit more to prove on 2022’s Morbidity Triumphant.

To put it plainly, this is the most energized and inspired the band have sounded in years. The core ingredients of their sound are still as present as ever, but – and I know it sounds a bit trivial – the riffs are just better this time around. Take “Stab the Brain” for instance: the synthesis of brutality and groove here is just undeniable, as the opening salvo of speedy riffage gives way to an infectious doomy swing. And much like any great Autopsy record, there’s just a certain filth and rot to the music that’s palpable through the speakers. The slow, murky intro to “Final Frost” immediately conjures images of decaying zombies rising from the crypt at night, only reinforced by the sickening growls of Reifert and guitarist Eric Cutler. Of course, this doesn’t last too long, as eventually the track transforms into a furious affair with rapid-fire drumwork and nimble fretwork. And this leads me to one of the best aspects of Morbidity Triumphant: how well each disparate section connects with each other.

The band’s “death/doom” tag can be taken quite literally, as some parts are pure old-school death metal and some sections are pure doom metal. However, the connective tissue between these distinct tempo changes is generally butter-smooth. “Born in Blood” is a perfect example of this, as the atmosphere and feel of the song never changes, no matter what pace the band are playing at. You’ve got your funereal opening crawl, a thrashy midsection, and a return to the doom metal at the end; still, the same agonized vocals, grimy guitar tone, and overall adaptability of the musicians prevent each transition from sounding forced or awkward. And while we’re on the subject of the talent on display here, each band member gets plenty of time to shine. Obviously Reifert is still the star of the show, but the dynamic guitar duo of Cutler and Danny Coralles remains highly potent here. Whether it’s the groovy Sabbath-esque riffage of “The Voracious One”, the creepy melodic harmonies on “Flesh Strewn Temple”, or the fierce thrash-laden carnage of “Knife Slice, Axe Chop”, they know how to rise to any occasion or mood the music calls for. Combine that with the solid chemistry in the rhythm section of Reifert and bass newcomer Greg Wilkinson, and these songs are in some damn fine hands.

With all of that said, it’s not like Morbidity Triumphant innovates in any major way. If you didn’t like previous Autopsy records – or old school death metal in general – this will absolutely not change your mind. But with that kind of album cover, were you really expecting there to be any major stylistic changes here from their previous stuff? This is just a brutal, grimy, fun death metal record – simple as that. And while a bit more variety would certainly be welcome on the next album, Autopsy’s familiar formula hasn’t been executed this well in quite some time.

REWINDING ALL THE FUCKING GORE HORROR FLICKS STREWN ON THE FLOOR; KNIFE SLICE, AXE CHOP STREAMS OF BLOOD THAT NEVER STOP!!!