In any credible death metal debate, Vomitory belong near the top of the bill. Since forming in 1989, the Swedish wrecking crew delivered eight full-length assaults between 1996 and 2011, helping define the genre’s modern extremity before bowing out in 2013. The silence didn’t last. A 30th anniversary return in 2019 reignited the fire, and 2023’s comeback crusher All Heads Are Gonna Roll proved the band hadn’t dulled their blades.
Now, just three years later, they’re back with their latest barrage: In Death Throes, due April 10 via Metal Blade Records.
If the previous record marked a triumphant resurrection, In Death Throes is the sound of a band tightening the screws. Drummer Tobias Gustafsson says the new material wastes no time picking up where its predecessor left off – only meaner.
“In Death Throes picks up where All Heads Are Gonna Roll left off, but we’ve turned the intensity up a notch,” Gustafsson explains. “[New guitarist] Christian [Fredriksson] quickly found his place and even contributed music to four killer tracks. These additions bring a bit of diversity to our sound without straying too far from the formula.”
Drums and vocals were captured at Leon Music Studios in Karlstad with producer Rikard Lofgren, a longtime collaborator whose résumé includes several of the band’s earlier high-water marks. Guitars and bass were tracked at Goff Studios, also in Karlstad, with Fredriksson stepping in behind the board.
For mixing and mastering, Vomitory once again tapped Lawrence Mackrory at Rorysound Studios in Uppsala. Known for his work with Paradise Lost, Bloodbath and Lik, Mackrory delivered a production that hits with concrete heft but leaves enough air for the riffs to breathe.
Visually, the band stayed consistent. As with its predecessor, the artwork for In Death Throes comes courtesy of Giannis Nakos of Remedy Art Design, whose past clients include Evergrey, Suffocation and The Crown. Layout duties were handled by Seiya Ogino of Ogino Design.
Ahead of the album’s release, Vomitory have unleashed the opening salvo: “For Gore And Country.” The track is pure forward momentum, weaponizing grind, D-beat chaos and groove-laden breakdowns into a single, unrelenting charge.
“‘For Gore And Country’ charges forward relentlessly just like the rotting hordes in the lyrics do,” Gustafsson says. “Starting off with a classic Vomitory grind, then diving headfirst into a total headbanging party, to then take off again into grind and D-beat turmoil. Oh wait! Another headbanging party towards the end of the song! For gore and country, we endure!”
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