The North American Death Metal School is based on an evolution that mixed MOTÖRHEAD and VENOM influences being combined with Thrash Metal traces (especially if one think about SLAYER after the release of “Haunting the Chapel” and “Hell Awaits”) and Hardcore adrenaline. It can seem simple at first sight, but’s what in the roots of the genre is such set of influences, and the improvements came especially during the beginning of the Second Wave of the 90s. And as a heir of North American Death Metal old, here is TERMINAL NATION with their second album, “Echoes of the Devil’s Den”. Ryan Bram (producer, sound engineering, mixing) and Brad Boatright (mastering) are the ones to blame about such massive Death Metal onslaught on the sonority with overloaded instrumental tunes, with weight and putrid aggressiveness flowing alike, but always on a way that can be understood by the listeners without problem.

The artwork is signed by Adam Burke, depicting very good colors contrasts and traces. And there are many guests on the additional vocals: on “Written by the Victor” is Todd Jones of NAILS; on “Merchants of Bloodshed” is Jesse Leach of KILLSWITCH ENGAGE, on “Cemetery of Imposters” is K. Kennedy of SEX PRISONER on “Spikes Under the Bridge” is Zak Vargas of ELYSIA, and on “Release the Serpents” is Dwid Hellion of INTEGRITY. And on additional drums on “Written by the Victor” and “Dying Alive” is Juan Cebreros. The band focus its efforts on creating a form of Death Metal based on mid-paced riffing and brutal breakdowns, what improves the brutal aspect of their music. Although it’s based on Old School Death Metal models, such elements bring their musical work into a personal and different domain. It’s brutal and full of energy, with grunts and snarls contrasting and the instrumental sheath unleashing a storm of chaotic energy. It’s really a very good experience to deal with such form of music.

“Echoes of the Devil’s Den” is a slow-paced brutal procession filled with insane guitar riff and arrangements, with “Written by the Victor” brings something a little faster, with heavy rhythmic artillery from bass guitar and drums; and “The Spikes Under the Bridge”, “No Reform (New Age Slave Patrol)” and “Empire in Decay” spitting brutality to every side, without caring for the others’ ears, always with priority being given to slower tempos. “Embers of Humanity” is just a disturbing and oppressive moment filled with dissonant melodies, being flowed by the oppressive weighty appeal of “Merchants of Bloodshed”, where again the band uses a bit faster set of tempos, with excellent grunts again. The short and climatic “Bullet for a Stone” is followed by the rush of aggressive energy of “Dying Alive” and “Cemetery of Imposters”, both with fine bass guitar and drums parts. And “Immolation (of Mother Earth)” and “Release the Serpents” end the album, unleashing the will to hear it all again and again due their excellent hooks.

TERMINAL NATION is really a massive puke of pure anti-fascist Death Metal on the ears of many, and “Echoes of the Devil’s Den” is here to flaten your bones and necks!