HistoryInhuman from Costa Rica – no not the PUSC and PRN right-wing parties, but a death metal band – was founded in 2011. Sergio Munoz became the singer in 2012. He would die in 2019. A demo called Course Of Human Destruction was issued two years later. Eduardo Chaves was the new drummer as of 2014. He died in an accident in 2016. Satanath picked the band up and released its Conquerors Of The New World album in the summer of 2015. EP_01 was one of those cover version affairs. A 2021 demo was called Naked. A live demo was called Live At Cantina CSSA 2019 and issued in 2021. Juriel Barquero was the drummer since 2019.
INHUMAN – UNSEEN DEAD – GRIMMDISTRIBUTION/SATANATH
Inhuman hails from Costa Rica and to put the matter to rest from the onset is as accomplished in its art as any band from any other corner of the world. The statement has wider implications, or not, given that the year is 2022 and hopefully we are all beyond the need for an explanation such as the one with which this paragraph began. Also, and to get it out of the way as well, there is a Belgium-based Inhuman doing the rounds currently as well, but screw those guys. The Brussels bunch is K&F (Keyboards & Female vocals) wimpy and the Unseen Dead gang real bona fide metal. Costa Rica wins. Belgium poses.
Unseen Dead begins with Lords Of Beasts and here is what we know immediately. The band is techno-death brutal, tight, has garnered a very good sound and owes its allegiance to several bands, like Death and Grave, without being anybody’s clone. This is the way to start an album. No introduction, no voice-over, no movie dubs as it has all been done before. It was fine for Kreator in 1986. It is redundant and cliché now. The lord goes for the jugular as a statement of intent immediately. This is a more technical version of brutal death metal of the Grave and Paganizer variety and an instrumental. The crushing track has the support of the bass drums, but be forewarned that the drums on the album are not truly impactful. It is a fine start with that jagged guitar rhythm sound. The rhythm section owes a thing to Revocation on the album.
The Day You Die reveals that the band’s vocals are not that different from what Grave would provide either. Inhuman is more technical for sure, but the comparison is a good approximation. The sound pouring out of the speakers into the halls of Metallian Towers is heavy, brutal, fast and occasionally dripping of the Death-like technicality the members clearly adore. Listeners are off to a heavenly (hellish) death metal start and that ripping solo is most welcome. The Poisoned’s tearing solo makes this writer think of the old Incubus debut album gem.
The Last Prophet’s short burst of a solo tells us that the band may want to avoid longer leads, and not have many included on the album, but is capable of playing and delivering on this front when they choose - which they unfortunately do not often enough. A Death Through The Mirror has an instrumental passage reminiscent of Cynic’s debut in its middle so that band could also be added to the Costa Ricans’ list of potential influences. This track has the rapid-fire solo, blasting drums and sudden tempo change that we like and throws in that patented Swedeath sound at the drop of a hat too. A dense sound and adequate speed are only interrupted for a short burst of bass soloing. Devil’s Deeds is the album’s closer and the staccato riffing showcases the nice balance the band has found for the mix of its instruments. The backing screams almost take a lead here, but oddly the band has inserted an effect that sounds like a beeping horn.
What could have been better here? The bass drum sound, like so many other acts nowadays, rattles without impact or power. Blame modern digital production and sampling perhaps, but surely bands should know better by now. That said, this is techno-death metal with enough personality to more than justify its existence.
TLDR? Look at the cover art. Those are mallcore Korn, Jinjer and Disturbed fans' corpses on the wagon. – Ali “The Metallian”