The Netherlands has always been a fertile ground for top-tier Death Metal bands. Legendary acts like Gorefest, Pestilence, Sinister, and Asphyx are gifts from this country to the global death metal scene. While both Gorefest and Pestilence shifted toward a more melodic death metal direction in their later years—especially Gorefest, who received considerable criticism for it—Asphyx remained one of the most consistent bands in the Dutch DM tradition. They are one of the crown jewels of doom/death metal, perhaps even its most essential act.
After their legendary debut The Rack, Asphyx, in my opinion, never released a better album—until now. Death... The Brutal Way comes at a time when today’s death metal scene isn’t exactly flourishing, and just like the other anticipated returns of classic bands, it was awaited with curiosity. Obituary's Darkest Day, for example, met my expectations—and now comrade Asphyx returns with a record that also delivers the goods.
Tracklist:
Scorbutics
The Herald
Bloodswamp
Death The Brutal Way
Asphyx II (They Died As They Marched)
Eisenbahnmörser
Black Hole Storm
Riflegun Redeemer
Cape Horn
The Saw, The Torture, The Pain
Let’s be clear from the outset—this album isn’t a nonstop sonic assault from start to finish. But here’s the thing: I hadn’t heard a death metal album this fast and aggressive in a long while. At times it even gave me the impression I was listening to Repulsion or Terrorizer. The first half of the album breaks away musically from doom influences, while the second half returns to doom-laden territory. The lyrics, as always, remain deadly and dark, but musically, the album’s first half is pure Filthy, Devastating, Neck-Breaking Death Metal.
Scorbutics, The Herald, Bloodswamp, and Death the Brutal Way make up the aggressive side of the album. Death the Brutal Way, in particular, is an absolute monster. It starts off like a throwback to old-school grindcore and then seamlessly transitions into dark doom-death sections. It’s a relentless onslaught from all directions. Asphyx II is classic Asphyx doom-death—familiar territory, maybe even a bit dull. Eisenbahnmörser begins with a short nod to thrash metal’s chaotic, unstructured solos and then resumes the carnage. Paul Baayens deserves praise here—his guitar work on this track is top-notch. And of course, kudos to Bob Bagchus, who drums like a commando throughout the album.
Black Hole Storm is one of the album’s rare doom tracks, and it's the haunting vocal delivery of Van Drunen that brings the dark atmosphere to life. The structure of the song is genuinely complex and powerful. Riflegun Redeemer, Cape Horn, and The Saw, The Torture, The Pain mark the album’s descent from pure sonic destruction to a gloomier sound. Riflegun Redeemer is still fairly aggressive, but Cape Horn is classic doom-death—massive riffs, dense guitar tones, devastating drums, and absolutely punishing vocals. It's a legendary track and should strike a chord with doomheads into Anathema, Tiamat, and Katatonia. The closing track The Saw, The Torture, The Pain is a 3-minute instrumental and another masterclass in doom metal composition. Hey you softcore gothic doom kids—go listen to this. Really. Listen.
In terms of production and musicianship, this album is incredibly satisfying. While the song order may not please everyone, I found it appropriate. Some might prefer a more consistent tempo, but here the album starts at the top of the intensity graph and gradually descends. That may seem unusual for a death metal record, but coming from Asphyx, it works—it’s still pure class, even when it's at its darkest.