There are always names that many fans ask ‘why in the blazes this band isn’t as great as it deserves?’, because there are acts whose contributions are far better than some that we can call as ‘active-in-retirement’ (those that lives off their past, and aren’t offering something worthy of attention for many years). In Death Metal, we can say that many pioneers that are still active are far than their initial albums, but still relying on their past (and of the fans fanatism). But one name you can be sure that’s still as relevant as they were in the past and deserves to sit as king on Death Metal throne: the Dutch quartet GOD DETHRONED. And the band’s 12th album, “The Judas Paradox”, shows as they’re still evolving even after 33 years of activity.

The only change on the band’s lineup was the arrival of the drummer Frank, and Henri (the mastermind of the quartet and the only founding member left), Dave and Jeroen are together for some years, what depicts on the songs the weight of their influences. But as well, the band’s musical work shows some different elements: it’s still that traditional Blackened Death Metal approach heard from their return on “World Ablaze” (2017), but anyone can hear some melodic improvements (as some Black Metal melodic riffing heard on “Rat Kingdom”), and even elements from Death/Black Metal in many parts, and some traces from their own past. It depicts as the band seems to evolve without leaving its own musical roots. Yes, it’s not a sin to say that “The Judas Paradox” is a sequence of “Illuminati” (2020), but with a different (and renewed) insight. Once more Henri took the responsibility of dealing with the recordings and mixing, and the mastering is a work of Tony Lindgren. The final result is a sonority that links the band to its past works in terms of instrumental tunes, but in an updated for. Everything is sounding defined and understandable, but as aggressive and nasty as always.

Once again: the quartet is again using lyrics linked to Satanism, anti-Christianity, blasphemy and more, and a fine example that the band can deal with such themes with an intelligent approach is saw on “The Judas Paradox”, using the figure point of view of Judas himself about his betrayal (maybe it’s an influence of books as Nikos Kazantzakis’ “The Last Temptation of Christ”). All the tracks are excellent, fine pieces of Blackened Death Metal. “The Judas Paradox” (used as one of the Singles of the album) is a climatic and dense song (unusual for an opening track), full of contrasts between darkened ambiences created by the melodic sense of the guitars. A bit faster and full of raw energy (but still melodic and depicting some Black Metal touches) comes “Rat Kingdom”, and what intense rhythmic work from bass guitar (strong and brutal blast beats and fast double bass can be heard). In a more traditional way into Death Metal comes “The Hanged Man”, with screams and snarls contrasting with some grunts.

“Black Heart” is a short intro used to create the right ambience for “Asmodeus”, another song based on morbid melodies and fast tempos, with the right level of instrumental technique. And “Kashmir Princess” brings some subjective traces from Hard Rock in many melodies, with a massive and excellent set of guitar leads and arrangements. A storm of fast tempos opens “Hubris Anorexia”, but soon the speed decreases to the traditional levels of Death Metal (besides some fast double bass parts can be heard), with bitter lead arrangements of the guitars creates a darkened ambience (with some clean moments based on clean instruments). “The Eye of Providence” is introduced by melodic dissonant guitar duets, and is a climatic song filled with haunting and darkened contrasts on the rhythms.

“Hailing Death” is another song that follows a traditional way into Death Metal, but never denying the adornments that the quartet gathered of its long experience (and what very good snarls and grunts). And “Broken Bloodlines” is a violent Death Metal attack built upon on some traditional frame for the genre, but with many details of Blackened Death Metal and Death/Black Metal (the melodic arrangements are amazing). Closing the album comes “War Machine”, a song that follows the same traditional Death Metal tendency of the previous one, with bass guitar and drums using such brutal tempos that increases the aggressiveness of the song (and what good sick lead guitars can be heard, including the unusual use of cry-baby effect).

“The Judas Paradox” is another masterpiece of the band, an album that is offering more than is asked or needed. Stop listening to old and retired acts and give a chance to GOD DETHRONED. Or maybe I must say to give a chance to yourselves? Are you afraid of finding what you were looking for?