DISBELIEF hailing from Gundershausen, Germany were formed in 1990. The band plays a few genres including Thrash, Death, and Sludge Metal. “Killing Karma” is their 11^th full-length album. It was produced, recorded, mixed, and mastered by Kai Stahlenberg (BENIGHTED; CREMATORY; POWERWOLF) and recorded at the German Kohlekeller Studio. The album has a length of about 57 minutes, and it was released via French Black, Death, and Thrash Metal specialists Listenable Records. The album starts with a short guitar intro transitioning into the grim and powerful “Reborn”. It is a slow track with thunderous guitar riffing at a measured tempo during the beginning of the verse parts, but it builds-up tension and becomes more and more crushing and noisy, with the blast-beats kicking in during the chorus vocal line. The vocals are growls and are around the medium end of the guttural range.

Vocalist Jagger is supported by Michael Huber (END OF GREEN), who is one of the guest vocalists for some of the songs. “Reborn” is a very strong opening track and sets the scene for the album. The title track starts with a short blast-beat hammering, leading into a mixture of mid-tempo parts driven by aggressive, direct riffing and the double-bass drumming, and parts at breakneck speed driven by the blast-beats. The melodic framework of the track is spine-chilling, and the vocals are perfectly suited to create an atmosphere coming straight out from the abyss. “Killing Karma” is the official lyric video, and the YouTube link is provided below. “The Scream That Slowly Disappeared” is a Death Metal hammering with aggressive riffing and vocals, supported by the blast-beats during most of the track, while the chorus parts provide darkness and gloom in the melodies with almost some melancholic features. “The Scream That Slowly Disappeared” is a monster of a track and an early album highlight. “With Deep Regret” continues with the mixture of aggressive pummeling and slow, doom-laden atmospheric parts, where here the focus is put more on the latter one.

 Many album tracks have some atmospheric components in the background and “A Leap In The Dark” is not different. It is a track at a measured tempo and a sluggish rhythm. The riffing is devastating and so are the relentless double-bass parts. The lead guitar contributions and the solo provide a chilling atmosphere and give the track an extra dimension. “Inhuman Whore” is a direct and aggressive track at mid-tempo, where the chorus parts are the faster parts with the double-bass and blast-beats driving the track. It is one of those tracks without a chilling atmosphere, the melodies are simple, and the focus is put on an aggressive Death Metal delivery. “Morbit Man” is another slow track at a measured tempo with a blood-freezing melodic framework and the guitars providing the dark atmospheric patterns. It is also a versatile track as there are subtle changes in tempo, and there are also some aggressive parts at blistering pace driven by the blast-beats. The drumming is the ultimate highlight as it drives the track and keeps it all together. “Condemnation” starts with tight guitar riffing accompanied by the double-bass drumming at a measured tempo. The melodies are grim but almost catchy. While the delivery of chilling melodies with a very powerful sound is the most prominent feature of the track, there are also some more direct and aggressive parts present. The mixture of both elements is excellent and that makes “Condemnation” to another album highlight.

“Flash Of Inspiration” starts with a dark guitar pre-lude transitioning into another blood-freezing affair at a measured tempo and a sluggish rhythm. The melodies are epic and melancholic at times. It is a trademark song of the album in a sense that during the track, tempo, melodies, and aggression level change, and all of the sudden, the melancholic and doom-laden atmosphere is replaced by an aggressive pummeling. The vocals have support by Joachim Baschin (UNDERTOW). “The End Of Gods” is a very powerful, slow track with thunderous riffing, a grim atmosphere, and melancholy in the melodies. It is one of the few songs that maintain their initial tempo and rhythm. “The Last Order” continues with the rhythm and the atmosphere of “The End Of Gods”. The guitars deliver a bone-chilling atmosphere, but also some punishing riffs. There are again changes in tempo and rhythm as there are some faster, mid-tempo parts driven the double-bass drumming. “The Last Order” is one of the few songs with a contributing lead guitar solo and it gives an additional layer to the track. “Millenium” is a KILLING JOKE cover and it is a very good one. The album finishes with “Fragile Aeon”, and it is a mid-tempo track with the chorus parts at a measured tempo. “Fragile Aeon” gives the typical album sound with aggression, darkness, and chilling atmosphere all put into one track. It is a good way to end the album.

DISBELIEF release a beast of an album! “Killing Karma” is a deadly delivery of all elements, modern Death Metal can offer. The album is a smart symbiosis of aggressive hammering, spine-chilling atmosphere, and a grim melodic framework with melancholic elements at times. Highlights of the album are the excellent drumming and the versatile vocals, which keep the sound perfectly together. The album is very well produced. “Killing Karma” is one of the best Death Metal albums, I have listened to during this year, and the album should be part of the collection of every Death Metal fan.