When a band's line up breaks apart, many doubts about its existence arises, especially a name that earned attention and respect into the scene, or in other words, the relation 'the more famous they are, the worries are greater when things happen'. And as many known, LAC (as known as LACERATED AND CARBONIZED, so they simply shortened their name) formation was disrupted, with the responsibility of putting the band again in the trail to the vocalist Jonathan. And "Limbo" is a fine answer for all speculations that entangled the band's name since the changes of members.

Caio, Paulo and Victor left (besides this last one played the drums parts on the album), and on the band are Leandro (of TELLUS TERROR and UNNATURE) on the guitars, and Arthur Chebec (of UNNATURE, and former member of IMPACTO PROFANO and TELLUS TERROR). These changes of members did a subjective impact on the band's Death Metal model: the brutality and impacting approach and the presence of Latin groove shown on their past decreases a bit, but the technical approach increases a lot (especially on the bass guitar parts), as heard on songs as "Hateocracy". These facts are reflected on an uncompromised and spontaneous approach on the album, and even some unexpected influences can be detected (especially the Blackened Death Metal touches heard during the guitar riffs and arrangements, as heard on "The Scum of Society"). Such words can be interpreted as: "Limbo" brings LAC back on the trails, with a renewed outfit, but keeping both feet on the same Death Metal approach that is known from their previous albums.

The album recorded, mixed and mastered by Marcelo "Celo" Oliveira at Kolera Studio (at Rio de Janeiro), and the final result is something brutal, nasty and full of energy, distorted and with an impact that can cause aches on the ears of the non-used fans. But it's dry and defined, allowing the band's ideas to be expressed and understood as they deserve. And the disturbing artwork of the cover is a creation of Edu Nascimento (a known tattoo artist of Rio de Janeiro), and the album brings as an especial guest Felipe Eregion (the vocalist/guitarist of NĀDHA) on the vocals on "Rancor Incarnate". The album's songs depicts the feelings of urban depression, anxiety and lockdown (due both the urban violence of Rio de Janeiro and the COVID-19 pandemic), so be prepared when dealing with them. But pay attention and check this refreshed and new outfit the band bears.

"The Scum of Society" opens the album with a brutal and aggressive outfit that's classical of the band, but with many rhythmic shifts and an amazing work on bass guitar and drums (and what hooking chorus); being followed by "Hateocracy", where some elements of the past and the present are mixed (as some groove elements shown on their past two albums, and some Blackened Death Metal somber parts, especially near the chorus), and the guitar riffs and solos are full of brutal hooks. Even with the new vision of the band, "Dead and Forgotten" is full of the classical elements of the band's music, creating a link between the past and the present (again with excellent bass guitar and drums technical parts). The same happens on "Hellfire" (the song chosen for the first lyric video of the album), but the instrumental wall is perfect (pay attention to the guitars' arrangements) for the usual guttural grunts of the vocals (that are more defined and expressive than before).

Showing some experimental elements to the Death Metal cauldron of the band, "Endless Void" is oppressive, disturbing and full of Blackened Death Metal hooks and traces (again, pay attention to the guitars). This renewed feeling permeates "Rancor Incarnate", with massive brutal groove and hooks based on a rich instrumental sheath and excellent vocals. "The Stench of Defeat" is another song that is filled with elements of the band's past (something resemblances inherited of "Homicidal Rapture" can be heard clearly on the rhythmic construction of the song), but with some refinement's arrangements. These similarities with the band's initial approach can be heard again on "Unsparing Onslaught", althoguh some hooks of the brought by the new approach can be heard clearly.

"Limbo" is fast and furious (but filled with rhythmic shifts), with contrasting Groove Thrash Metal touches with Death Metal brutal hooks, and some blackened disturbing elements arising in many moments (and what great guitar solos and arrangements). And "Burn to Dust" is another massive blow of energy to the ear, but with a more evident set of rhythms. With a more technical and refined approach used on the band's musical personality, some disturbing melodic touches can be "The Faceless", a song that hooks the hearers easily (pay attention on the guitars melodic details). And to end the album, a version of the band to "Helena", of the horror Punk masters of THE MISFITS, here respecting the song's classic musical structure, but allowing the band to use its own personality and elements to create something different.

It's not correct to say if LAC of the past or the present is better. The correct thing is to say that "Limbo" brings the band back refreshed and renewed, ready to conquer more space in the scene than before. Give the album a try:

https://open.spotify.com/album/27YoR4lNBl4YGGj6t1fxIq?si=CmM0I9a6SPqlRPOCmwQcQA