In 2004, the legendary SUFFOCATION released their fourth studio album "Souls to Deny," at which point nine years had passed since the previous full-length. The masters of the New York death metal school were back. When speaking of SUFFOCATION, one can confidently discuss a genuine school, for others studied their work, copied them, and borrowed from them -- not only in New York and not only in the USA. Two more years passed, a live album was released, and in September 2006 the band's fifth studio release saw the light of day. It came out on Relapse Records, and its title follows the recent trend of numerous bands that had never previously had a self-titled album correcting that situation -- accordingly, the album was named "Suffocation." Naturally, the band's constant vocalist Frank Mullen is at the microphone, Terrance Hobbs still furiously works the strings, and following the resumption of musical activity in 2003, the band added guitarist Guy Marchais and drummer Mike Smith, who had already played in the band during 1991-1993. During the 2004 sessions the band had no bassist and the bass parts were recorded by Terrance and Mike, but this time Derek Boyer is in the ranks and everyone handles their own instrument.
So what do we have before us? A 44-minute disc consisting of 11 tracks. The booklet is designed with unprecedented simplicity yet good taste. For the first time, a SUFFOCATION LP features an intro -- a very dark 40-second piece consisting of noise and guitar. But then the first riffs hit, and we are listening to what the fathers of technical death metal have prepared for us this time. On the whole, the trajectory begun on the previous release continues, which cannot help but please. However, the sound is somewhat different. First, it seems less heavy; additionally, each instrument is heard more distinctly. Guitar solos play a far more prominent role on this album -- brilliant solos were always present in SUFFOCATION's work, but this time they were clearly given more attention during mastering. Surprisingly, Frank's growl has changed slightly too -- it has become less brutal, somewhat drier compared to the previous album. Overall, the result is a remarkably harmonious sound: heavy and very precise riffs, virtuosic solos and drum parts, and vocals that sit perfectly atop the avalanche of technique. The song lyrics display deep psychological depth and are devoted to humanity's awareness of its place in this world. To sum up: this is without question one of the best death metal works in recent times. A true gift for those who appreciate a successful combination of the highest technical skill, aggression, and heavy extreme sound.