Seeing that the legendary Chris Barnes—who, in my eyes, made Cannibal Corpse into what it truly was—was also behind this madness is a dream come true. What more could one hope for? We used to joke about what sort of deranged stuff he was cooking up while smoking weed in his dimly lit room... and lo and behold, he was busy redefining the identity of Death Metal once again. Death Rituals is SFU’s 10th full-length album, and to call it just “Death Metal” would be too narrow. It’s better described as pure “Six Feet Under.” And I haven’t even accounted for the Death’n’Roll adrenaline it packs.
Standing beside Mr. Barnes is longtime right-hand man Terry Butler, an old-school Death Metal bass machine, and Steve Swanson, a guitarist who keeps growing into a monstrous force with each passing year. The variety across the album caught me off guard in the best way: bone-crushing blast beats, riffs that channel the very soul of Rock’n’Roll, and Barnes’ trademark deep, guttural growls—each a deadly dose of this 50-minute poison cocktail. The album features 13 tracks, including a Mötley Crüe cover, which has become a bit of an SFU tradition. Remember when Barnes paid tribute to AC/DC in the past? That same madness is back. As for his lyricism—Barnes’ imagination is like a never-ending maze or an ever-expanding universe. The guy lives in an infinite loop of horror. Visually, the cover sticks to the familiar SFU aesthetic.
Tracklist:
01. Death By Machete
02. Involuntary Movement of Dead Flesh
03. None Will Escape
04. Eulogy for the Undead
05. Seed of Filth
06. Bastard (Mötley Crüe cover)
07. Into the Crematorium
08. Shot in the Head
09. Killed in Your Sleep
10. Crossroads to Armageddon
11. Ten Deadly Plagues
12. Crossing the River Styx
13. Murder Addiction
The opener, Death by Machete, is pure SFU domination. Even its mystical guitar intro warns you of the carnage ahead. Then the buzz-saw riffs kick in and Barnes kicks the meat grinder into high gear. The next track, Involuntary Movement of Dead Flesh, begins with his monstrous grunts and rides a steady rhythm—until a sudden drum attack sends you spiraling. If that wasn’t enough, None Will Escape lands next. Caught between agony and fury, its main riff is something else entirely. Swanson makes his guitar weep, while blast beats emerge in just the right moments. If I ever hear this live, I can’t be held responsible for what I might do.
Eulogy for the Undead brings that classic old-school Death Metal darkness. It opens with a doom-soaked dragging riff, then accelerates into signature SFU brutality. The double-kick drums turn deadly, and Swanson delivers a melodic solo that makes the whole song shine. Barnes, as always, matches the atmosphere with pitch-perfect vocal slaughter. Seed of Filth rides a steady tempo, showcasing Swanson’s solo work again. The best part? The gang-shouted, street-gang-style chorus: “If we show up, we’ll drop you dead”—absolutely filthy and glorious.
And then comes the tribute: Bastard—a Mötley Crüe cover done SFU-style. Barnes once saluted AC/DC; now he does the same with Mötley Crüe. And this isn’t just a cover—it’s a whole new beast. I couldn’t stop looping it. Sure, Mötley Crüe is a fun band, but SFU doubles that fun and injects it with darkness. The guitars, the drumming, the choruses—they merge fun and evil into the ultimate Death’n’Roll cocktail.
Into the Crematorium is another dose of SFU rampage. High-speed Death Metal riffage layered with sharp solos pushes adrenaline levels into the red. A savage and corrosive piece—perfect for showcasing Barnes in full grinding glory. Shot in the Head begins with a creepy, threatening voicemail-style intro that makes you wonder what the hell Barnes was imagining again. The song itself mixes Thrash and Groovy Death Metal riffs with some seriously inventive solos. It’s an ideal DM blend, complete with a few guttural screams sprinkled in.
Killed in Your Sleep opens with slow, dark heaviness, evoking early Autopsy vibes. One of the album’s wildest tracks, it flips between straight-up attacks and double-bass assaults that don’t let up. Then comes the experimental curveball—Crossroads to Armageddon. A two-minute ambient piece with whispering vocals layered over eerie music, it’ll make you feel like you’ve wandered into an abandoned tunnel while sipping on whiskey.
Ten Deadly Plagues made me ask myself: how can an album stay this fresh even toward the end? I haven’t checked the lyrics yet, but I bet Barnes is narrating some epic biblical horrors with his own twisted touch. Crossing the River Styx, a 1:16 instrumental, acts like a moody prelude to the final onslaught: Murder Addiction. This last track lands hard—especially the creepy, warbly solo in the middle, which almost claws at your insides. A sick, fitting closer.
SFU has carved its path with zero compromise—10 brutal albums across 13 blood-soaked years. Every move, every decision, every soldier beside Barnes is right on point. Our job is just to listen—and if the day comes, witness the carnage live. Ever wonder how Death Metal can grind and butcher you while still letting you Rock’n’Roll? Give this a spin and find out—the experiment’s free.