The sound production is heavy and raw with a blistering guitar tone and the striking grooves of Obituary. The main riff on the opening track ‘The Mold Testament’ is massively addictive. The drums dominate with a galloping pace. There seems to be a focus on heavy, thrashing riffs. Inhuman Condition retains great expertise with a lot of variety in terms of riffing and this is what gives the album that Floridian old-school flavor. ‘Recycled Hate’ feels like it crept out of the vault of 90s death metal. The riffing is entirely characteristic to the raw quality of bands like Death and Massacre. However, the album is loaded with tons of energetic grooves. As a matter of fact, the album’s cover art has this gruesome and old-school look. Fast locomotive tempos coalesce with the harsh growls of Jeramie Kling and the stylistic shifts of the guitars dropping stomping riffs and the drums pulverizing with bone-crushing force.
Both of the Inhuman Condition albums were supposedly planned for the groundbreaking release of Massacre’s comeback album, though at this point the original members will make a cameo appearance on a number of tracks. The role of Terry Butler, Jeramie Kling, and Taylor Nordberg have retained an old-school fidelity. The shrewd proficiency of the classic Floridian style of death metal is presented with raw simplicity. ‘Caustic Vomit Reveries’ seems to originate from Massacre’s classic album ‘From Beyond’. Despite the exclusion of blast beats ‘Fearsick’ sounds like an ultimate example of how old-school death metal should be.
‘I’m Now the Monster’ and ‘King Con’ features legendary Rick Rozz on lead guitars. The track is socked in a simple riff structure with grooves and catchy guitar solos infused into the mix. Throughout the album, the guitars combine a combustible mixture of death and thrash metal, while the other track starts with a catchy intro before the drums steamroll in and the rhythm section gives a heavy sound. The track is heavily laden with explosive riffs. ‘Fearsick’ has that gritty classic sound. It’s not surprising that the trio has succeeded in establishing a set of songs deeply ingrained in classic and raw death metal. The double bass drums on ‘Hellucid’ breaks the cycle of simplicity. The trio transforms a whole range of solid aggression with deep growls, power chords and fast-paced drumming and solos.
Inhuman Condition takes its craft to a newer level on ‘Fearsick’. The trio offers plenty of songs to mosh to, The instrumentation proficiency on ‘Fencewalker’ is another highlight where the lead guitars wander into atmospheric domains of doom metal. If you had enjoyed Massacre’s 2021 comeback album “Resurgence” and the debut album ‘Rat King’, the second album is an achievement that once again outshines the trio’s musical chemistry. Without a doubt, these three albums fall under the Floridian brand of nineties death metal as they immediately call to mind influential works such as Death’s ‘Leprosy’ and ‘Spiritual Healing’.
Inhuman Condition with its un-modernized quality brings an effectual and remarkable specimen of authentic yet simplistic technique for instrumental and songwriting prowess. The final track ‘Where Pain Is Infinity’ expands the aggressive character of the chugging riffs that include some fast and slower tempos, but it also nails the excellent guitar work of Taylor Nordberg who has a knack for delivering fast razor-edged solos.
- Music / Songwriting 9/10
- Vocals / Lyrics 9/10
- Mix / Production 9/10
- Artwork & Packaging 9/10
- Originality 9/10
‘Fearsick’ sees Inhuman Condition at the very top of their game. This is a bold and gritty album from a band that has plenty more to offer. This comes as highly recommended for fans of Death, Obituary and Massacre.