In my book, there are only two kinds of Death Metal. Some may argue that melodic death metal exists, but melodic death metal is a contradiction in terms. Death metal—that is, “death metal”—divides into two branches in my view. The primary criterion is to be among the originals or to pay proper respect to the pioneers.
The first branch includes those who don’t exaggerate technicality but use it appropriately and measuredly, never sacrificing speed, and who pursue utterly immoral, gore-infested, and corpse-themed subjects. The second branch consists of bands that stretch like Maraş ice cream, screaming “to the darkness and beyond,” awakening from suffocating drums, spitting aggressive vocals that resemble merciless nightmares from which you try to wake but can’t. Now, I present to you a masterpiece from this very vein.
Formed in 1987 in Oldenzaal, Netherlands, Asphyx released three demos and a single before unleashing this sickness-of-all-sicknesses album The Rack in 1991. Attention here—some in our country tend to dismiss EPs, demos, and singles, but our elders have always valued these works. Let’s get our minds straight, please.
Martin Van Drunen, who left Pestilence in 1990 to join Asphyx, played a crucial role in making this album so impactful. He delivers the same incredible vocals known from Pestilence. As you might know, he also played bass and was part of the legendary British death metal warriors Bolt Thrower for a time. On guitar, Eric Daniels appears, and although Tony Brookhuis initially joined as a second guitarist, after his departure Daniels carried the band alone. He presented riffs that combined Florida death metal’s brutality with their own dark essence, producing a unique flavor. Interestingly, he chose not to play a single solo, instead seasoning the album with Venom-like satanic guitar textures. On drums, Bob Bagchus appears, applying tight and fitting cymbal work and brutal attacks that add the fiery red satanic eyes hidden in the darkness.
As for the tracklist, The Rack contains 9 songs recorded on April 13, 1991:
The Quest Of Absurdity
Vermin
Diabolical Existence
Evocation
Wasteland of Terror
The Sickening Dwell
Ode to a Nameless Grave
Pages in Blood
The Rack
Before diving into the interconnected and deeply dark songs, the album sets the stage with the intro The Quest Of Absurdity. With space organ sounds and interspersed dripping water and clinking noises, Vermin wastes no time and proceeds mercilessly. One of the fastest tempo tracks on this old-school death metal feast, Vermin also benefits from rapid double-kick passages that add extra flavor.
Looking at Diabolical Existence and Evocation, we see Asphyx’s trademark ebb and flow, representing their overall musical style. Alongside the satanic themes in the lyrics, the dark corners of the human soul are explored. I have two personal favorites on this album—though all tracks are superb, these two struck me hardest.
Wasteland of Terror is one of them. Fans of Mad Max or the Fallout series will recognize the desolate post-nuclear wastelands it depicts—lands devoid of clean water and saturated with radiation. This track features beautiful transitions, and its shift from fast tempo to a heavy, irregular rhythm seems to toy with one’s very health.
The Sickening Dwell could be called the gore-iest track of the album, preaching a sort of perverse philosophy—living in depravity. It’s also among the album’s fastest songs, boasting powerful and excellent vocals which shine here.
Pages in Blood brings a different flavor of those sticky “Maraş ice cream” riffs that run through the album. As the song grows harsher towards the end, this flavor turns into a spicy sauce on top.
The title track The Rack is a long, agonizing piece, drenched in black magic curses. Clocking in at nine minutes, it’s a pit of pure torment with not a shred of beauty. Like the intro, it also features keyboards. Asphyx stands as one of the most rooted and brutal European death metal bands. If you seek a true spiritual collapse, this album is an absolute must-listen.