SLAUGHTER TO PREVAIL is pushing heavy music to new extremes, delivering unapologetically hard modern metal while smashing expectations, and becoming one of the most talked about bands in heavy music in the process. With over one million monthly Spotify listeners, STP are arguably the highest streaming band in extreme music. All of this momentum leads to “Grizzly,” their most anticipated release yet. This is STP’s moment. “Grizzly” is the culmination of everything they have built, a defining record that cements their place at the top of modern heavy music.”

From the first few notes of “Banditos,” you can tell this is going to be a punishing drive of energy. The vocals are incensed, and the guitars thick, and the band keeps a constant presence of sound shoved violently into the foreground. “Imdead” has a groove to it, complete with machine-gun drumming, gutturals, and enough pig squeals to wake the dead. Alex also has an impressive vocal range, dipping low and rising high. “Babayka” is a song where the band reaches deep into long pockets and draws out the heaviest, nastiest sound they can think of. The background is augmented with atmosphere, to help round out the song well. “Viking” is the kind of song that is rich with tradition of the Nordic fighting men. The band uses varying rises and falls to accent each passage.

“Song 3” features some of the members of BABYMETAL, and I have to admit not knowing much about them. The contrast in sounds is interesting, to say the least. The music is heavy, rhythmic, and pounding, but their clean vocals are jovial. I’m not entirely sold on the sound, but I applaud them for the change. “Behelit” is really the first song that allows you to take a breath from the calculated madness, and as if the album isn’t grand enough, they also add keyboards in the leads. “Rodina” begins with softer, clean tones, and vocals, but harsh tones follow, still with melody in hand. The band usually favors brutality over melody, but there are moments. There are also some lead breaks here. “Kid of Darkness” is another full-on assault, and that is what the band is infamous for.

“1984” closes the album, but I’m not sure what the reference is to the date. It’s another slamming song that drives you through walls and finishes you by burying you in concrete. This intelligent slab of brutality was presented with sleek production, which I am always a fan of, because it helps the listener with all of the nuances. Being unfamiliar with the band prior to this review, I can see why they have so many fans and how well the music would translate to live performances.