Metal maniacs, rejoice! I am proud to present to you: AFTERBIRTH; signed via Unique Leader Records, hailing from the United States of America - performing Brutal Death Metal, on their sophomore album entitled: "Four Dimensional Flesh" (released March 30th, 2020).

Since formation in 1993 until 1995 with the only 2 Demo releases: "Rehersal Tape" (released in 1993), and "Psychopathic Embryotomy" (released in 1994); resurging themselves in the year 2013, compiling those two releases into a compilation entitled: "Foeticidal Embryo Harvestation" (released October 1st, 2013) adding a few new live tracks to the roster. A 2014 demo entitled: "Demo 2014" (released July 21st, 2014), and 2 full-length albums: "The Time Traveller's Dilemma" (released July 28th, 2017) & this here 2nd album entitled: "Four Dimensional Flesh". 11 tracks ranging at around 44:08; AFTERBIRTH arrange an intricately designed formula of heavy-hitting Brutal Death Metal developments. "Beheading The Buddha" begins the record; demonstrating an incredible amount of gnarly distortion, gritty feedback & boistrously bouncy adrenaline – hooks that frantically frolick into a blistering barraged frenzy of flamboyantly crunchy grooves in which execute an adroit aesthetic of amplified harmonies while embellishing on a hardened implementation of chugging instrumentation and galloping yet riveting rhythms that will make you break chairs over other chairs!

Consisting of Will Smith (is the Fresh Prince of Bel-air a Metalhead?!) on vocals; the frontman distributes an utterly savage substance of organically raspy throatiness, blood-curdling lungs manifest deep...guttural growls pipes fuelled with gurgling - pig squealling malice. Roaring with soaring tightness, over the progressively technical might that venomously showcases ritualistic ramifications. The single: "Spiritually Transmitted Disease" distinctively details distinguished craftsmanship; dominating consistently complex dexterity, dynamic diligence & monstrously meaty momentum of rawly rough yet primitive subjugation. Cody Drasser on guitars experiments with meticulous melodies that trailblaze with thunderously mandatory mayhem; forging a healthy dose of chaotic creativity, seamlessly sonic solidities & a hybrid dimension of sinister riffs which revolve around a captivating engagement of immensely intense virtuosity - quintessentially quaking with stampeding stability.

"Girl In Landscape" slows things down a little; contrasting practically placid ambiency and deadly atmosphere - defining the texture of the record with rocketing yet volatile snappiness, vibrantly portraying quirky maelstroms that lacerates with a grandiose grandure of killer mobility. persevering with persistently moody vibes, rapidly swift nimbleness and an outrè panache of rampently razor-sharp tempos. David's bass audibility injects infectiously-driven piledriving pulses that thumps with a borderline foundation of strumming punchiness, hasty firepower & concrete finesse. "Everything In Its Path" harnesses hostile yet none so vile versatility; vehemently specializing uniquely salubrious varieties that transistion profusely robust systematics, with fretworks buzzing like an aggressively hyper bulldozer thrashing with relentlessly rampaging retribution.

"Never Ending Teeth" seeths with more stylish patterns that flow into a beefy fabrication of wildly rushing synergies that mesmerizes with majestically triumphant jumpiness. Powerhouse pummeller Keith Harris (also on those synthesized keyboard elements) rambunctiously pounds his mettle with steely precision; hammering drum cymbals into a battering bombardment, surging neckbreaking remedies which wonders with prodegiously prestigious imagination and ideas. "Minimum Safe Distance" (yes, a new motive we all have to abide to due to this Covid-19 outbreak, what a revelation we all now live in, huh? Unreal.) establishes other-worldly songwriting musicianship, with a count-off introduction and interlude lasting at 1:13 – slamming & scattering towering shreds of upbeat extremity.

"Rooms To Nowhere" materializes rising soundscapes that smashes with subtle pursuits of screeching steam; until merging swerving slabs of hooks in which revel with tremendous madness that's just a grinding delight for all ears, and souls to melt with. "Swallowing Spiders" binds brimming energy with the twist-turning maliciousness unbounded within, unleashing blast-beating kicks & sulphurously-snare pounding pandemonium - ruthlessly striking with impactful havoc. "Dreaming Astral Body" is another acoustic-esque down-timer; it is a short yet fluidly polished 1:33 break as it swarms into the "Black Hole Kaleidoscope", a somewhat trippy mass of fuzzy headbanging gratification – almost a bludgeoning amalgamation of constructively industrious foreboding and a chunky vortex of whirlwinding malignance. Old-school meets new-school juxtapostions, with pulverizing results.

Overall concluding "Four Dimensional Flesh" with the titular track outro itself; AFTERBIRTH certainly outdone themselves with this one, it's as diverse as it is euphonically intense. I discovered an enjoyably entertaining deliverence of mellifluous yet professionally produced slice of evil empowered rites that massacre eardrums into a catchy groove-bomb, and explosively enriching experience that will transform and evolve one into a hungry beast on a mammoth scale. Check it out!