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Hailing from Costa Rica – a destination which obviously exports a hell of a lot more than top quality coffee beans – we have Inhuman. Conquerors Of The New World, their second album, references traditional Death Metal elements while snapping at the heels of modern technical exponents of the genre. That’s a delicate balancing act and in the hands of bands like The Faceless, Technical Death, while very clever, can become rather unmusical. On the other hand, if you cling to your roots too much, you risk sounding like just another disgruntled caveman…so to speak!

Conquerors Of The New World doesn’t muck about with niceties. It doesn’t try and convince you what great musicians this four-piece are; you’ll find that out the hard way. There’s no build-up, no acoustic intro, no moody soundscape to kick things off; Inhuman just fucking floor-it with the knock out combo of the titular “Conquerors of the New World” then “Souless Dead Eyes”. They assault like a swarm of pissed-off bees, jazzed-up chromatic riffs ascending and descending over merciless blasts, the vocal delivery a sharp, unrelenting growl. The opening track, like much of what follows, is lengthy and after seven minutes with no let-up whatsoever, Inhuman are still punching our now inert body as it lies on the floor. It’s not until third track “Hold Your Crucifix”, that mercy is shown in the form of flashy swept licks and slower sections. It is here, when they draw breath, that you start to enjoy the ride.

Inhuman frequently reference Progressive Death forefathers, Atheist, Pestilence and, in some of their rhythmic patterns, Morbid Angel, but it is their love of Death and the late, great Chuck Schuldiner that shouts the loudest. The saw and twang of fretless bass throughout could have come directly from the fingers of Steve DiGeorgio and the sense of Deja vu peaks on “Extermination by Depopulation” which sounds like a lost cut from Human, Death’s Prog Metal blueprint.

In the field of Technical Death you expect to be no more than a thrown pick from a great guitar player and, happily, Inhuman have one in their ranks. There is some ludicrously quick soloing on here which just about clings to its sense of musicality even when contending with the most abstract riffs and time signatures. The dryness of the production, while providing little cover from the pummelling, does allow the interplay of bass and guitar to read really well. There is a real feeling of control, despite the chaos.

Inhuman are technically amazing and have some great song ideas, but while there are thrills aplenty on Conquerors Of The New World, there is also a feeling that some of these songs could be paired down by a minute or two. Progressive and Technical Death at its highest level thrives on dynamics and there perhaps aren’t enough here to elevate the band to world class standard. Too often they just hit you with a good riff and then repeat it until you black out. It’s a pity because it is at their most nuanced, such as the climb and tumble of “America Rises”, that they sound best. The lyrical content too might be a little puerile for some, particularly in light of some of the high-brow musicality that accompanies it. On the closing track the frontman roars, “I don’t want to shoot you, I just want to stab you…”


As an exercise in technicality and brutality, Conquerors Of The New World succeeds and these boys gave us a Costa Rican kicking that we will not soon forget. But, if they were to distill their ideas and temper the firestorm with varying textures, they would become an even more exciting proposition.




Nacidos en Costa Rica, Inhuman toca un death metal vicioso y brutal, además de muy técnico. Se hace sentir desde el primer corte, la canción que le da título al disco, las influencias de bandas como Death. Sobre todo después de ver a DTA en el Leyendas del Rock 2015, sentimos que hay ese concepto del trabajo de la guitarra de Jonathan Sánchez tramando complejas estructuras sobre la sección rítmica.

La banda se formó en el 2011, siempre con la idea de seguir las huellas del death metal de los primeros años noventa. El baterista Eduardo "Tato" Chaves mantiene una velocidad estable, con un magnífico trabajo de caja, sin dejar en segundo plano los bombos, y con continuos redobles que aceleran los tiempos, como ocurre en “Soulless Dead Eyes” y “The Chalice”.

La entrada de “Hold Your Crucifix”, nos recordará a aquellos primeros Pestilence que asombraban a todos los seguidores del metal más extremo. Me falta mencionar al bajista Carlos Venegas, quien aquí demuestra ser muy técnico. Sumamente compleja composición, al igual que “Extermination By Depopulation” que si no fuera por la oscuridad, pudiera ser una de las piezas del jazz más abstracto.

El vocalista Sergio Muñoz sigue las huellas de la historia del Death Metal con mayúsculas. En “Feed On Human Flesh” y “America Rises” intento seguir la letra para darme cuenta que su estilo es parecido al de John Tardy de Obituary, no tanto en el timbre sino en cuanto a la dicción.

El final, con “Stabbed To Death”, también nos hace recordar a Atheist, otra de las bandas que hicieron del death metal en los años noventa un estilo respetable y respetado por músicos y publico.




Merging brutal death metal with technical prog-rock & jazz-fusion isn't really a new thing, as classic acts such as Death, Atheist, Pestilence, and Cynic were spearheading that movement roughly 25 years ago, but there have been numerous bands that have popped up over the years who have successfully carried on that tradition to keep challenging, complex extreme metal alive. Add Costa Rica's Inhuman to that list, who are releasing their sophomore album Conquerors Of The New World on Satanath Records/Sevared Records. Made up of vocalist Sergio Munoz, bassist Carlos Venegas, guitarist Jonathan Sanchez, and drummer Eduardo 'Tato' Chaves, Inhuman bludgeon your senses throughout this latest platter of violent mayhem, delivering technical precision ("Extermination By Depopulation"), majestic death metal/prog/jazz ("Conquerors Of The New World"), and full throttle ferocity ("Feed on Human Flesh" and "Stabbed to Death"). The instrumental talents of the band cannot be denied, as drummer Chaves flails away underneath an endless barrage of shifting guitar riffs and tasty, jazz flavored bass lines courtesy of Venegas, who really is the MVP of this recording with his muscular, acrobatic style that is always easily heard in the mix. Though Munoz might be the least impressive of the four, his traditional styled death metal growls and bellows fit the music just fine, helping to make Conquerors of the New World a tech-death album worth checking out.



Von allen bekannten Bands auf diesem Planeten, die sich den Namen Inhuman gaben, sind dies hier die Death Metaller, welche 2013 mit "Curse Of Human Destruction" debütierten. Ihr Death wird technisch und brutal geliefert, der in seiner Progressivität nicht allerorts gleich gut reinfließt. So ein schräges Solo wie im eröffnenden Titelstück ist ein sicherer Hinhörer, wie die Gitarre gackern kann wie ein Huhn. Das macht schon mehr positiven Eindruck, als meine Metapher dazu. Abwechslung bieten die Vocals, welche in erster Linie Growls sind, aber dabei in der Stimmfärbung variieren. Dazu könnte es auch mal cleaner werden. Ein cooler Hinhörer wurde auch das Riff in "Hold Your Crucifix", da beißt die Maus keinen Faden ab. Von der transparenten Produktion bekam der knarzende Bass genügend Aufmerksamkeit geschenkt, dass er permanent hervorsticht. Keine Ahnung, welcher Prog-Professor mit Bestimmtheit sagen kann, ob die Gitarre und der Bass zusammen 14 Saiten haben, aber Inhuman besitzen schon das Vermögen, den Inbegriff der Vertracktheit für Mittelamerika neu zu definieren. An dieser Stelle mag der Plattentitel auf das Quartett zutreffen. Leider versperrt der sprudelnde Ideenreichtum der Band aus Costa Rica auf der zweiten Hälfte vermehrt den Hörgenuss, weil Quantität nicht Qualität ersetzt. 




Früher bestachen die Bands aus Südamerika eher durch Atmosphäre als durch technisches Können. INHUMAN beweisen, dass sich das geändert hat.
Das Quartett aus dem beschaulichen Costa Rica zockt Death Metal der sehr technischen Art auf hohem Niveau. Ich bin ja kein großer Anhänger dieses Genre, muss aber sagen, dass INHUMAN ihre Sache wirklich gut machen. Sicher hätten mir einige Breaks weniger auch gereicht und ich finde, dass Parts auch ruhig mal länger als 20 Sekunden sein dürfen. Das aber ist ein grundsätzliches Problem, das ich mit diesem Genre habe und ich muss zugeben, dass INHUMAN mir da besser als viele andere gefallen. Das liegt vielleicht auch an den eher kehligen Vocals, die den Songs neben aller Finessen eine gewisse Aggression mitgeben. Aber auch musikalisch gibt es immer wieder gelungene Breaks und Tempowechsel, insbesondere beim Rausschmeißer ´Stabbed To Death´ zeigen INHUMAN, was sie auf der Pfanne haben.
Die gelungene Produktion ist differenziert und druckvoll. Die Drums klingen natürlich, lediglich der immer gut hörbare Bass hätte für meinen Geschmack etwas mehr Wums vertragen können.

Für Leute, die auf späte DEATH Alben und die aktuellen üblichen Verdächtigen stehen, sind INHUMAN ein Geheimtipp, den sie auf jeden Fall antesten sollten. Subjektiv gäbe es acht Punkte, wenn ich so objektiv wie möglich rangehe, ist es deutlich im zweistelligen Bereich. Also sind die 11 Punkte meine Konzessionsentscheidung.



The Encyclopaedia Metallum leert ons dat er minstens 10 bandjes zijn, of zijn geweest, met de naam Inhuman. Er worden Inhuman’s gevonden in Canada, Duitsland, de Filipijnen, Portugal, Rusland, twee in Polen, twee in de Verenigde Staten van Amerika en tenslotte nog één in Costa Rica. Commercieel gezien is het dus niet echt een naam waarmee je gelijk een onderscheid kunt maken. Opmerkelijk genoeg zitten al deze bands ook nog eens overwegend in het deathmetal-vaarwater. De Costa Ricaanse afvaardiging gaat het nu bij ons proberen met haar nieuwste album Conquerors Of The New World. Het is het tweede volledige album nadat in 2013 Course of Human Destruction uitkwam.
Naast een beperkt originele bandnaam is ook de muziek niet overdreven origineel. Technische deathmetal, punt. Geen randjes met andere stromingen, geen gewaagde fusionexperimenten. Ook klinken er nergens Costa Ricaanse cultuurelementen door. Gewoon, op moordend tempo uitgevoerde technische deathmetal, met een ferme nadruk op technisch. Geen enkele noodzaak om hier nader vergelijkingsmateriaal op te gaan noemen.
Voegt deze release iets toe aan het aanbod? Waarschijnlijk helemaal niets. Maar wat geeft het? Het is wel gewoon een heerlijke bak grafherrie geworden en dat is soms genoeg. Dat deze heren dan ook nog even laten horen dat ze totale beheersing over hun instrumenten blijken te hebben, is dan alleen maar een buitengewoon prettige bijkomstigheid. Inhuman met Conquerors Of The New World, uit Costa Rica dus.




Start making funeral arrangements for your face. This is Tech Death Thursday.

First, the news:
Nonsense Premonition have released their sophomore album, Metatrilithon, over at Bandcamp. The music is solid, but in this humble wizard/polearm’s opinion, it’s extremely overproduced. If you don’t mind spacebarcore though,
Genre-benders/generally weird dudes Dysmetria put out a new music video for “Dominus Collapse” from their new EP A Capable Earth. Their also running a contest for a free giveaway for said EP, so if you like what you hear, go check them out on Facebook.
Rings of Saturn have re-recorded “Seized and Devoured” for some reason. Somehow, it sounds worse than before.
Cortexiphan have a new album coming up, and it’s sounding mighty tasty. Peep “Son of Sam” and the appropriately-timed “Liquid,” which can both be downloaded for free at their Bandcamp.

I have the good Jack Bauer to thank for sending me these guys a couple weeks ago, or I might have missed them entirely. That would have been a damned shame, as Inhuman (not to be confused with Unhuman) have put forth one of the more unique tech death records of the year. Conquerors of the New World sounds like it wasn’t produced with the intention of impressing anyone with extreme virtuosity and instrumental acrobatics. It’s technical by virtue of the fact that it was written by skilled musicians and not by forcing it to be so. The result is gritty and elemental, and I imagine most everyone will find something to like here.

There are a few elements present on Conquerers that immediately set them apart from the fact, the most obvious being in the bassist’s driving role. The bass is as dominant as Beyond Creation’s, but with a much more vicious attack. Whereas Dominic Lapointe (Beyond Creation) used his presence to craft thoughtful and intricate melodies, Carlos Venegas (Inhuman) sounds like he’s trying to play his instrument to death. Dives and pinch harmonics abound, and he keeps perfect pace with the winding guitar parts while occasionally offering impressive counterpoint riffs, particularly on “Stabbed to Death” and “Feed on Human Flesh.”

The guitar solos, while infrequent, diverge drastically from tech death tropes. There are no sweeps to be had here; instead, we get chaotic flurries drenched in wah that wouldn’t sound out of place on an Anal Vomit song. Though some tech purists would balk at the idea of any sort of grime sullying their pristine sacred cow, it works perfectly here. Nothing on Conquerors feels self-indulgent; the unrestrained solos lend themselves well to the chunky, dissonant riffs that they play over. The production rounds out the package, keeping it sounding dirty without being muddy.

Conquerors of the New World is out now via Satanath Records. Even if tech death isn’t your thing, I urge you to give this one a shot.



Fusing the no holds barred mentality of USDM with the rhythmic overhaul typified in the percussion-heavy Polish scene, Costa Rican quartet Inhuman have returned to the fray with Conquerors of the New World, a second helping of furious, often numbing tech death madness.
Inhuman’s delivery is very linear in its approach, and while a certain amount of whimsicality would benefit the overall effect, the band’s relentless energy and mechanical vibrations are especially hard-driven for those with an innate hankering for surgical deftness and unremitting brutality. Post-apocalyptic with a sinister sci-fi sheen.



After a short break between first album Course of Human Destruction, Costa Rican death metal band INHUMAN come full force with their second album Conquerors of the New World. Having only formed in 2012, INHUMAN push to create a name for themselves with yet more exciting sounds.

Impressively, the title track Conquerors of the New World is absolutely what you’d want an opener to be; it has just the right amount of melody and aggression in level with the vocals. There is some great shredding and riffing in this first track, and the results are chaotic, driven and urgent. Soulless Dead Eyes carries on in much the same fashion. Once again, the playing is solid, and the energy is almost tangible. Live, any of these tracks are going to be amazing.

Hold Your Crucifix, is the first single from the album and it’s clear why. Complex and destructive, there is a weight to this song that sparks fire in the pit of your stomach. With a new drummer, Eduardo Chaves (DEEP UNDERGROUND, REBORN IN CHAOS) replacing Freddy “Coco” Sanchez, there can be no doubt that this offering is just as solid as the first album. Death metal can be incredibly hard to do well, let alone in a technical style, and it’s refreshing to have these newcomers have such a grasp so early on to what that really means.

Extermination by Depopulation is a really interesting track. It’s hugely complex and very melodic, without losing any of its rhythm or tone. It must be said, all members of this bands clearly know what they’re doing. In terms of playability, this would have to be one to return to for many replays, both to enjoy the high energy and to pick apart the intricacies. The riffs are superb and the consistently huge vitality to the drums and the bass truly are fantastic.

Feed on human flesh is quite as gruesome in its tenor as the songs name suggests. Savagely fast, this is death metal in its full force in this slightly shorter track. This can also be said for America Rises, which is truly a cruel, hostile and vastly potent song. There are some very well played fills, and the riffs are mammoth. Equally, this is potentially the best lyrically, with Sergio Munoz’ voice covering a range of growls and screams that are sublime. Occasionally a more condensed tune can actually add to the potential of the song, requiring the music to push harder and further. This could not be more apparent on this track, which perhaps demonstrates the band at its best. For fans of bands such as DECATIPTATED, CANIBLE CORPSE or EXTOL, this album is something to look out for, as at the end of the album both The Chalice and Stabbed to Death hit full force and hold back nothing.

The album overall is a great success, with the latter half being perhaps the stronger, there’s no doubt there is great talent to INHUMAN, each musician having great skill in his own right. There is also variety that can occasionally be lacking in death metal, and the injection of the melody without ever giving up on the intensity of the record as a collective is impressive. For a second offering, this band not only has a huge potential to grow, but shows massive progression from the first album. The pace is harder, the riffs faster, the overall chaos more palpable right from the off. INHUMAN show huge promise in becoming a great name in the death metal scene, and are a pushing to become just that.




“They never expected what was coming!”

This lyric from (Soulless Dead Eyes) perfectly encapsulates my
experience when listening to the new release from Tech/deathers Inhuman, Conquerers of the New World. This super-group from Costa Rica has so much energy, so much rage and so much talent, it is difficult to know where to begin. Though you will likely end with your face (stabbed To Death) while it is melted and plastered to the floor.

Speed and technicality are the pervasive forces here, though it is not to be confused with any sort of thrash metal. The band has plenty of hooks that move the music forward and when coupled with an obvious penchant for arpeggiated brutality and extremophile intensity, it’s a virtual certainty this second album will receive the adoration it is awaiting upon its release.

Everyone here deserves credit for giving it their all. Check out the pounding percussion in (Feed on Human Flesh!) But of particular note, in my opinion, is bassist Carlos Venegas who, like Beyond Creation or Obscura, has no fear of treading his own path through the shredding and chugging electrics. In tracks like the eponymous (Conquering the New World), (The Chalice) or a personal favorite (Extermination by Depopulation) he is able to bend, slide and mutate his way from unexpected harmonies to descending and ascending scales across the fret board that will eave the ears ringing and the mind spinning.

If you like your metal equal parts technical and progressive, are a fan of Acheode, Fractalline or the aforementioned Beyond Creation and Obscura, then this album is absolutely for you. Get it!



Dette er litt teknisk, men først og fremst brutal death metal. Med litt teknisk mener jeg at det er visse tekniske finesser her. De er ikke like teknisk som for eksempel band som Origin, men det er da noe slik at det forsvarer at man kan kalle det teknisk brutal death metal.

God vokal, masser av gode riff, skrekkelig mye god tromming og bra låter. Ikke noen nyoppfinning av kruttet riktignok, men skiva er hørbar og variert og vel verdt en lytt.



Het Costa Ricaanse Inhuman bestaat een jaar of vier en is met 'Conquerors Of The New World' aan hun tweede langspeler toe, na debuut 'Course Of Human Destruction' uit 2013. Wie op basis van de hoes misschien hoopt op een moderne opvolger van Nocturnus, komt enigszins bedrogen uit. Geen reden voor teleurstelling echter... Het viertal speelt een energiek, in-your-face en er direct op klappend type technische, brute death en raast op 'Conquerors...' werkelijk alle kanten op. Extreme Progdeath is wellicht een betere term... De riffs bijten zich vast in je kop, niet per se omdat ze zo catchy zijn - dat zijn ze namelijk, zeker op eerste gehoor, niet - maar omdat de gitaarpartijen zo nu en dan als een zoemende horde bijen zowel luisteraar als band op lijken te jagen. De wisselwerking tussen de zoemende en scheurende riffs, soms nerveus brommende en vaak vlotjes en eigenzinnig plonkende bas en de rappe leads leidt tot een enorm vol geluid, een ware muur van snaren. De drums timmeren hier 'onderdoor' en nemen absoluut niet de voorgrond, net zoals de (overigens prima) vocalen in feite ondergeschikt zijn aan het geheel der snaren. De gehele band deinst er daarbij niet voor terug om bij een (verwachte) break elkaars tempo over te nemen, of daar volledig tegenin te gaan. De bassist maakt voor mij de plaat, door zijn volstrekt eigenwijze manier van - bij gebrek aan een betere omschrijving - om de riff en het ritme heen spelen. Zenuwachtig en overvol? Ja. Maar oh zo lekker. Of je wordt helemaal knettergek van deze schijf, of je vindt 'm geweldig en kunt 43 minuten lang niet stoppen met het doen van de "Frank Mullen": druk de maat en overgangen gesticulerend naast je hoofd. Plonk, plonk, plonk, pokpokpok!



Time for a brutal wake-up call, courtesy of Costa Rican quartet Inhuman. Founded in 2011, these guys have been destroying stages allover Central-America. No doubt that those gigs resulted in massive moshpits with lots of bruises and fractures. I can image this indeed being a fierce orgy of noise, grunts and blast-beats, simply irrisistable for the extreme metal fan. Because yes, that's where we have to search for Inhuman, in the region of chaotic and brutal death metal.

There are seven songs on this album, each one trying to be sicker, faster and heavier than the previous one. The result is one massive slap in your face, or better, a whole bunch of slap, kicks and punches in your face, stomach and nutsack. Inhuman refuse to take a step back and continuously smash their grinding riffs and sheer speed through my speakers with an impressive ferocity. For the untrained ear, this is way too much to bear but the death metal fan will absolutely love this stuff.

The albums opens with title track 'Conquerors Of The New World' and never loses its grip. If I have to compare this to other bands, I guess Krisiun, Suffocation and Deicide would come close. With grinding guitars, deep grunts and constant hammering of drums, these guys have indeed created something quite inhuman, here and there with a technical approach but mostly just blasting away like there's no tomorrow. Although the songs don't differ that much from each other, I must say that 'The Chalice' is my favorite track, but don't ask me why.

There's little else to say about the album so I'm going to go ahead and recommend every death metal freak to check this out. This is an excellent example of decent extreme metal coming from a still underaprreciated part of the world. Perhaps it's time that a bunch of Central-American bands orgnise a European tour together. It would be a massive assault, there's for damn sure...



What the hell, tech death metal from Costa Rica? Yes, Inhuman is from the beautiful Central American country of Costa Rica, and they play death metal that put to shame many known death metal bands.

“Conquerors Of The New World” is a mélange of technically fueled riffs, thick, heavy as fuck rhythms, bomb-like drumming, and growl vocals that would make Satan shit in his infernal pants. “Hold Your Crucifix” is a stunning and paralyzing display of chest pummeling bass hooks, groove generated guitar rhythms and drumming that blows up in your face, leaving you bleeding to death. Their style of death metal is infused with plenty of technical elements, odd time signatures, and growl vocals coming at the listener in a very punishing way. This bitch just smacks you in the face cold, leaving you wondering what just happened to you.

“Extermination By Depopulation” has this killer effect of a choppy bass and guitar rhythm, with some slight hesitation that just prolongs the torture you’re subjected to. Imagine you banging your head to this song, and you’ll surely feel the after effects of a severe whiplash. This song also has a very futuristic feel to it, and this is all achieved without the use of synths and any sort of soundbytes.

Some of the best riff workouts have to be on the rampant and chaotic-sounding “Feed On Human Flesh”, with the riffs sounding like they’re fighting some unknown force, as they come across like some sinister war cry – very twisted and insanely perverse to the max, musically speaking.

The production and mix on this album is really clean, whereby everyone is heard to the point of making your ears cringe with fear.

Inhuman, may play technical death metal but they definitely do it convincingly, turning potential listeners into crazed followers.



The greatest mistake mankind has done is to believe that we can conquer the World. The World controls us. We are just mere components in the game that is life. But many have tried and just as many have failed. But that doesn’t mean that we in the meantime can’t enjoy some really cool extreme metal. This is technical death metal, I get a Hellwitch/Atheist gone a tad more extreme when I listen to this. I have a hard time with death metal when it gets too tricky and technical but this Costa Rican lot manages to find a balance. Thankfully that saves this from being an exercise in mutual admiration.



‘But I am prepared, for this means war. Strike back for revenge, they will fall first.’ —’Feed on Human Flesh’
Inhuman is one of the rare few relevant metal projects to hail from Costa Rica, sitting alongside fellow countrymen and labelmates Alastor Sanguinary Embryo and Ancient Spheres. With Conquerors of the New World, Inhuman have tried to show the world their tech-metal skills and strengths against the odds that their location stacks against them.

Inhuman certainly know their stuff; from the first seconds of the title track to the last moments of ‘Stabbed to Death’—which clocks in at about eight-and-a-half minutes—the men from Costa Rica do not waste one moment before proving that they are able to combine brutality with intelligent songwriting. Hear, for example, the track ‘Extermination by Depopulation’: A complex opening slowly evolves into brutal blast-beats, deep growls, and extremely sharp riffs. Just when this pure aggression begins to become too repetitive and boring, Inhuman throw in an interesting break, change the pace of the song, and then erupt into a guitar solo in order to bring the song home. Perfectly played and staged!

More examples of this intelligent songwriting easily come with ‘America Rises’, which begins with a grooving rhythm that gets buried underneath the brutality of classic death metal. Another solid example is ‘The Chalice’, which starts typically with a standard riff and rhythm, but features impressive leads during the middle passage that give the track a perfect edge. No doubt, these are only the peaks of an excellent album. Conquerors of the New World is not only good when special or unexpected elements appear, but also when it pays homage to the classic death metal traditions and virtues. Not a single one of these songs is boring or uninspired—only killers and no fillers!

‘They say we don’t belong. They say we are not. They took our name for their own greed, stole our identity, and we bowed and obeyed.’ —’America Rises’
Apart from the typical death metal tropes that define virtually every album that comes out of the genre, there is another side to Inhuman that can be found on Conquerors of the New World. They take on an all-too-rare honest, political focus on the cruelties of colonisation and genocide as well as the struggle for liberation that indigenous Central Americans have faced. This seems to be a broad topic that has returned with vigor to the metal world in the last few years. Black metal fans will know that Volahn and part of the Black Twilight Circle also write lyrics about the struggle for freedom and the recapturing of traditional and cultural values which have been lost during colonisation and because of the modern world’s increasing focus on consumerism.
‘Get the engines running now. Let the smoke reach the sky. Dispose until all is drained and consumed. Uproot the trees, slay the fauna, domesticate.’ —’Conquerors of the New World’

As seen through the above quote, Inhuman offer a fascinating mixture of environmentalism, the struggle for freedom, and the same violence-infused themes that dominate the death metal genre. All of this has been fused together into an aggressive and brutal, yet never dull nor boring album. One could say that listening to Inhuman is like listening to the final era of Death with a clear social and cultural message. If Inhuman were from Europe, they would have already attained a respectable level of success among their contemporaries. Conquerors of the New World is an excellent sophomore effort which will no doubt inspire any fan of the genre that manages to stumble across this obscure gem.



Opening title track “Conquerors of the New World” quickly sets the tone and any expectations of what you’re in for when listening to the second album by this Costa Rican quartet. The technical skill shown by Carlos Venegas is clearly audible as his fingers are running all over his bass keeping time with Eduardo “Tato” Chaves’s manic drum fills and hyper blast beats. Jonathan Sanchéz’s guitars are downtuned and heavy as hell, but he still manages have every riff clearly heard regardless of its blistering pace, while vocalist Sergio Muñoz roars with plenty of conviction and even more power.

The vocals on “Soulless Dead Eyes” go from a deep throaty roar to a little more raspy shout before coming back to roaring over the intense cacophony played by the rest of the band.

There’s no denying the technical proficiency and song writing ability these guys have, add to that the sheer ferocity of their delivery and moments of breakdowns or leads feel almost ballad-like on songs like “Hold Your Crucifix” and “Extermination by Depopulation”.

And if I thought there was a lot going on musically on the previous tracks, then “Feed on Human Flesh” is insane. The number of tempo and riff changes on this the shortest song on the album is phenomenal.

“America Rises” is about their gripe that it would appear that most forget that there is a Central America and only concentrate on the northern and southern hemisphere components.

In some ways there always appears to be a lead playing during “The Chalice” whether it be bass or guitar, with plenty of drums and extra riffage as accompaniment.

The final track “Stabbed to Death” is the longest on the album at nearly 9 minutes and is about as vicious as you could expect with its title, but it also happens to have some of the slowest grooves and breakdowns where the guitars allow the drums to kick up a storm without the need to drown them out.

I must say that I am suitably impressed with this album and the all-out unrelenting attack that it delivers but after listening to it about 20 times in a row it can become a bit of a blur of anger and fury owing to the same reasons that make it good. They have a couple tracks up for you to sample, give it a listen and decide for yourself.



Once again I have the honour to write a review for a band from Costa Rica, and once again it’s via Satanath Records (hey Aleksey, do you have connections out there?) that the audience can meet an act from that Middle-American country.

This young quartet, which includes bassist Carlos Venegas (I recently wrote a review on the newest albums by CorpseGarden and Alastor Sanguinary Embryo, both of them being bands this guy is involved with too, and both of them also active on Satanath Records – and hey, there’s the link in between this country at the one hand, and the Russian label at the other; check out the updates on December 22nd 2015 and June 23rd 2015 respectively), had this second (in early spring 2013 they self-released Course Of Human Destruction) album produced, mixed and mastered by Jonathan Sanchez (the band’s guitar player) and Marcos Monnerat at the home studio of the latter.

The eight pieces on Conquerors Of The New World bring a mechanical-alike form of rhythmic, highly technical and energetic Blast / Death / Tech / Prog Metal. For forty three minutes, this albums hammers and smashes, slashes and crashes, permanently speeding forward, brutalizing man’s ear drums and man’s brain.

The first time I listened to this album, I thought it was little too exaggerated, and too forced. But after some more listens, I started to see the whole concept, including the different layers that lie beneath. And you know, actually this whole experience is quite diverse and thoroughgoing; you just need to dare to go deeper than the superficiality of brutality and violence alone. Not a cacophony of loudness, it turns out to be, yet a creatively worked out composition…

Take some of the better elements from, let’s say, Nile, Cephalic Carnage, Pestilence, Decapitated, Gorguts and Hour Of Penance, mix it with some additional techprognoisestuff and hints of MechanoMachineryMusic (sorry, I do not follow anymore either…), and here you have the sonic result being called Inhuman. Pretty inhuman it is indeed…



Il death metal è di per se un genere difficilissimo da suonare, magari agli ascoltatori superficiali le note estreme di cui è composto possono sembrare un’accozzaglia di suoni, ma il feeling e la bravura strumentale devono obbligatoriamente camminare a fianco di attitudine ed impatto, per far sì che una band abbia quel qualcosa in più.

Se poi si scende nell’ala tecnica del genere, la linea che passa tra un’opera straordinaria ed un clamoroso flop è sottilissima.
Gli Inhuman provengono dal Costa Rica, si sono formati quattro anni fa e sono al secondo lavoro, successore del debutto Course of Human Destruction, uscito nel 2013.
Il loro sound si può sicuramente considerare un esempio di technical death metal, a suo modo devastante e strabordante di cambi di tempo, forse troppi.
Molto bravi i musicisti, su questo non ci piove, ma purtroppo in molti di questi brani, manca la forma canzone, elemento importantissimo anche per un genere estremo come il death.
Possiamo sicuramente dire che il troppo stroppia, anche se non tutto è da buttare, le idee ci sono, ma sono esposte in modo confusionario, almeno in gran parte delle tracce che compongono Conquerors of the New World.
Buono e d’impatto il growl del vocalist Sergio Munoz e tecnicamente sufficiente il lavoro della sezione ritmica (Carlos Venegas al basso e Eduardo “Tato” Chavez alle pelli), mentre la chitarra inciampa in una produzione che non le dà il giusto spazio, relegandola a poco più di un soffio nella tempesta di suoni creato dal gruppo.
Si salvano gli ultimi due brani, The Chalice, e la lunghissima Stabbed to Death, che in virtù di un songwriting più ragionato, alzano la media della musica proposta dal gruppo costaricano.
Un album difficile, forse apprezzabile solo da chi stravede senza riserve per il death metal più tecnico.


Video review: https://www.youtube.com/watch?v=V-4Pm0xEmh0

Inhuman  are  a  band  from  Costa  Rica  that  plays  a  very  brutal  form of  technical  death  metal  and  this  is  a  review  of  their  2015  album "Conquerors  Of  the  New  World"  which  was  released  as  a  joint  effort  between  Satanath  Records  and  Sevared  Records.

A  very  fast,  brutal  and  technical  death  metal  sound  starts  off  the  album  along  with  a  great  amount  of  blast  beats  and  the  music  also  has  a progressive  feeling  at  times  and  you  can  also  hear  all  of  the  musical  instruments  that  are  present  on  the  recording  and  the  vocals  are  mostly deep  growls  and  some  of t he  riffs  bring  in  melodies.

A  couple  of  the  tracks  are  very  long  and  epic  in  length  and  the  solos  and  leads  also  remain true  to  a  technical  style  of  death  metal  and throughout  the  recording  you  can  hear  a  great  mixture  of  slow,  mid  paced  and  fast  parts  and  some  of  the  faster  sections  and  screams  gives the  music  a  touch  of  grindcore  and  the  whole  album remains  true  to  a  very  brutal  and  technical  sound  from  beginning  to  ending  of  the recording.

Inhuman  plays  a  style  of  death  metal  that  is  very  technical  and  brutal  while  also  demonstrating  a  great  amount  of  talent  and  skills  as musicians, the  production  sounds  very  professional  while  the  lyrics  cover  anti  religion,  murder,  war,  and  revenge  themes.

In  my  opinion  Inhuman  are  a  very  great  sounding  technical  and  brutal  death  metal  band  and  if  you  are a  fan  of  this  musical  genre,  you should  check  out  this  album.  RECOMMENDED  TRACKS  INCLUDE  "Conquerors  Of  the  New  World"  "Extermination  By  Depopulation"  and  "America Rises".


"Conquerors Of The New World" è la seconda uscita per i costaricani Inhuman e a dir la verità non mi ha particolarmente colpito né convinto. Il quartetto composto dal bassista Carlos Venegas (Alastor Sanguinary Embryo e Corpse Garden), dal chitarrista Jonathan Sanchéz, dal cantante Sergio Muñoz e dal batterista Eduardo "Tato" Chaves suona un death metal tecnico e progressivo, nell'occasione troppo impegnato a mettere carne sul fuoco piuttosto che concentrarsi nella creazione di pezzi capaci di prendere e far scervellare di gusto l'ascoltatore.

L'impressione che si ha dopo aver incrociato i quasi tre quarti d'ora di musica è di una band in possesso di buonissimi mezzi tecnici e che sa essere efferata e brutale, come dimostra ampiamente in discreti episodi quali "Hold Your Crucifix", "Feed On Human Flesh" e "Stabbed To Death". Al tempo stesso però si perde in un bicchiere d'acqua nel momento in cui decide di addentrarsi in territori più complessi e ricercati. Le colpe di ciò risiedono nella composizione nebulosa, spesso priva di spunti intriganti, e nel lavoro di missaggio che ammazza le chitarre; udibili in maniera più evidente nei frangenti solistici, ahimé tutt'altro che irresistibili. L'asse ritmico, il blastato alle volte eccessivo di Chaves e le scorribande di fretless — non sempre funzionali — di Venegas hanno invece pieno ed esagerato risalto, facendo letteralmente il buono e il cattivo tempo all'interno dei brani. Paradossalmente è il cantato di Muñoz, un growl ordinario e dall'impostazione metrica in parte anche scontata, a far registrare uno dei pochi segnali positivi.

"Conquerors Of The New World" sa di occasione sprecata. Gli Inhuman hanno un'idea di cosa sia il death metal tecnico, ne conoscono sicuramente le basi e i dischi che ne hanno segnato la storia, tuttavia sembrano essere troppo impegnati nel dimostrare ciò che sanno per dedicarsi all'obbiettivo reale da raggiungere: creare belle canzoni. Questa volta temo che possiate proprio evitare l'ascolto.


Conquerors of the New World, Jazz Bass Lick, Complex Drums, and Guitar Solo from 03:52 until 04:58. Soulless Dead Eyes, Guitar Riff similar previous track, Jazz Bass Lick, and simple. This’s Simple Progressive Death Metal song. Hold Your Crucifix, started with Jazz Guitar Lick and Jazz Bass Lick until 00:20. Guitar Solo from 02:45 until 03:21. Abstract compotition and Solid structure. Extermination By Depopulation, Jazz Metal Guitar Riff, Jazz Bass Lick and this song more Progressive and Complex than previous tracks. Guitar Solo from 03:33 until 04:07.

Feed On Human Flesh, short Progressive Death Metal song and I just wanna say this’s good Progressive Death Metal song. Classic Rock Guitar Solo. America Rises, Progressive Death Metal song without Guitar Solo but, this’s Good Song. The Chalice, Abstract Compotition and Abstract Structure. This’s a Groovy song on this Album. Stabbed To Death, the longest track on this album. Drums more solid than previous tracks, good Guitar Lick, and Abstract compotition.

This’s Great Progressive Death Metal Album. Abstract Compotition, Complex Compotition, Solid Structure, Jazz Bass Lick, Powerful Drums, Complex Guitar Lick, Jazz and Classic Rock Guitar Solo, and Great Vocals.

Score: 95%, Great Album.


Costa Rica brutal death metal band realised the album. This album is very strange and unusual for death metal genre.

On this album it can be heard this progressive metal sound and some kind of alien music , it has a influence of progressive metal music and aliencore but a little bit, not much, it’s bassicly classical brutal death metal album.

This album will smash you face and brain with brutallity,painful reality,death,gore, chaos and apocylpse.

Inhuman is anonymos band that desirves a lot of attention of public and listeners. This band is a powerful brutal death metal band, with awesome death metal music.


Latinoamérica dice presente de la mano del nuevo disco de los costarricenses Inhuman, y me arriesgo a decir que es la primera vez que me toca reseñar una banda oriunda de dicho país.

Este es el segundo larga duración de estos ticos, y podríamos decir que lo de ellos es un death metal bien técnico y agresivo, con la composición típica del estilo, blast beats por doquier, riffs intrincadísimos y estructuras muy bien ensambladas, pero que lamentablemente se vuelve un tanto monótono, extrañándose un poco de variedad entre tema y tema, y fundamentalmente, groove. Si me apuran, diría que lo de Inhuman es una mezcla de los franceses Gorod y los brasileños Krisiun, pero sin la magia de aquellos.

Resumiendo, estamos en presencia de un muy buen trabajo pero que no sale de la media standard de lo esperado. No obstante, consigan el disco y saquen sus conclusiones.


Metal musicians from the countries of the "third world" seriously storm the world metal scene - especially bands from the Southeast Asia and Latin America.

But today we are not talking about another ruthless Indonesian grind-core band, but about the Costa Rican technical death-metal band called Inhuman. Yes,  it's not a typo - the band really plays technical death-metal -  with blast beats, complex measures and fretless bass. Pretentious bid for victory? Well, a sort of. The influence of such old-school bands like Sadus and Death alongside with many others is obvious and explains the old-fashioned approach  and style of playing. The result could have been called "greetings from the 90's" late for 20 years, but the drummer most likely had managed to listen to a lot of interesting stuff and developed a kind of death-core manner of playing, thus inspiring the other musicians and probably saving the situation. As a result «Conquerors of the New World» is quite an interesting and brutal combination, sometimes reminiscent of old works of Gorod and Sceptic, and also having reference to Sepultura, Krisiun and those of their ilk. What concerns technical part and speed of playing - everything is fine, the same about bass guitar player - but ideologically Inhuman has many shortcomings. To be more precise in their quantity but not quality - the album is full of repetitions, however despite some really cool tracks it starts bothering. Riffs don't replace one another in an extreme musical rain, as it usually happens in the music of dudes like Beyond Creation, but are repeated several times before giving way to something    else. In my opinion it's not a good approach because it creates an impression that Inhuman just skid. Or as if they lacked ideas and the songs have been artificially stretched by reprises. By the way there is some predictability - at some point you begin to understand the compositional logic and listening to the album stops being interesting. If you are not confused, everything is fine, since the band rocks hard. The CD «Conquerors of the New World» is very interesting as a foreign wonder, but too specific to  those who like large-scale and comprehensively advanced works. But fans of the common hard metal with a heavy sound, stringy meat riffs, blast beats and oppressive hell atmosphere must like the album.



Drugie podejście do progresywnego death metalu w tym zestawieniu. To, choć niczym nie zaskakuje, wypada trochę lepiej. Dzieje się tutaj strasznie dużo, jak dla mnie to nawet za dużo. Osiem kawałków i nieco ponad czterdzieści minut muzyki to teoretycznie rozsądny czas, jednak przy intensywności i natłoku różnego rodzaju połamańców jakie serwuje nam Inhuman, wierzcie, że potrafi zmęczyć. Na plus zaliczyłbym bardzo wyraźnie partie basowe, czyli coś co w przy tego typu graniu robi mi bardzo dobrze. Brzmienie tego materiału również mi podeszło, ma ten oldschoolowy charakter, który w tym przypadku dodaje nieco uroku. Na zapętlenie "Conquerors Of The New World" raczej nie ma u mnie co liczyć, trochę to jednak nie moja bajka




This double co-release distributed by Amputated Vein recs concerns a limited edition CD representing the comeback on the long distance of Costa Rica's four-piece (not to be confused with the countless bands with the same monicker from around the globe).

The 8 songs were recorded in San Jose's Marcos Monnerat's studio and later mastered at Formation Audio and the artwork brought to my memory Obliveon's "From This Day Forward".

The lyrics deal with an invasion of alien parasites, psychotic fury turning a person into a bloodletting demon, Jesus on the cross before believers holding their crucifixes, mankind's depopulation and sterilization, hungry ghosts, Americans against intruders, a beggars' chalice, stabbing to death for revenge; just for the record, the ones from the closing track are absolutely the best lyrics you will find here, guaranteed!


The bludgeoning starts with the title track displaying hateful vocals, fast, tight and clinical drumming where blastbeats are alternated with never boring patterns and the guitar follows without being as crushing as in other Death Metal colleagues' albums; there is time for a scorching solo before a vicious break, which is technical but original, so distant from James Murphy's and the likes, while the finalè, similarly to the beginning is a fugue where the bass duets with the guitar: it never remains alone, it is mixed higher here, therefore it's not a bass solo per se, but this instrument is used to embellish and emphasize a few passages and the playing style defintely attracts your attention. I'm not sure if Carlos is actually slapping, yet from the way and speed he's mistreating the strings, I'm almost sure he's using his fingers and not a plectrum.

If you need comparisons, Inhuman sound like a less primitive and more skillful version of Krisiun, Rebaelliun and the likes drumwise, yet a few demonic vocals in "Soulless Dead Eyes" can remind of Deicide, and a few riffs are more Thrash than the rest; there are also some clean vocals, and that confirms that in the end there is a lot of inventiveness distancing them from the average in this song where the drummer is the protagonist. The song is accompanied by an official video available here: https://www.youtube.com/watch?v=3crJQAbvmnQ

The unmerciful "Hold Your Crucifix" blends classy riffing and brutal hammering drumming, adding a few Dying Fetus-like structures, Steve DiGiorgioesque bass patterns before the guitar solo, some breathtaking drum passages before the Dying Fetus-influenced structures are repeated; the groovy "Extermination by Depopulation" is a twisted song rich in variations more intense than the ones given by the most extreme rollercoasters available in the world's amusement parks; decidedly one of the platter's highlights; great performance by the drummer and the bass player and precise riffing to chisel the different tunes of the track. Un-fucking-believable is the axe solo, I'm so glad I got my hands on this CD, because it keeps delivering so many pleasant surprises.

Another example of why this Central-American is so unique (and so far underrated) comes from the brief "Feed on Human Flesh", where controlled breaks are inserted before a Slayer-styled machinegun guitar solo; from the groovier "America Rises", where Progressive patterns are followed by arrangements in the vein of Meshuggah, and where Dying Fetus meet Six Feet Under and bassist Carlos keeps on making wonders withi his winding style, to "The Chalice" where two guitar solos, bass acrobacies and Sergio's soul-vomiting vocals leave no space to rest, showing traits in common with Revenge's or Angelcorpse's; here ultra-fast dynamite drumming comes before a series of axe solos, less violent than the others, yet penetrating and fit for the context.

With the conclusive "Stabbed to Death" we meet music parts of Suffocation ascendency, an insane axe solo paving the way to another one-person show with guitar player Jonathan tapping and recurring to other techniques.


Every song has its own individuality, a rarity in Death Metal, and every song contains peculiarities that make it memorable; not all of the tracks are destined to become classics, but all of them are destined to sound fresh in the long run, even if they're not so short; this is because they come from dedicated musicians that have zero pressure from the label and are at the apex of their inspiration and confidence.

I don't know if Inhuman will find another drummer as clever and smart as Eduardo, he really knew what to do all of the times and he knew what was the most suitable thing to play in every passage. It's a pity he passed away so young; I often think the best leave us too early...

Despite this loss, Eduardo and the other three bandmates leave us a portfolio of compositions that does what we fanatics of bestial technical Death Metal want it to, that is pummeling drum work, biting gritty guitar riffing and solos, earth shaking bass lines and vocals that will make Deathcore bands scurry away like frightened vermin.





Ведь сразу видно по шикарной обложке, что это текникал дэт.  А разве не так, что ли? Костариканский INHUMAN (с таким названием — около 20 команд) к этим тегам еще, говорят, заслужил и тэг брутал. И выглядит это все в итоге — текникал брутал дэт метал (по инфе с пресс-релиза). Что-то интересное, надо все проверить это. Правда ли?

Проверять я начал, как водится, с архивов. Оказывается, ребята играют с 11 года, в 13-ом выпустили сингл и полноформат, а вот в 15-ом как раз сабжевый компакт-диск. Причем Satanath Records в данном случае помогала контора Sevared Records (USA). И мне кажется, спрос будет на обеих полушариях (головного мозга) этой планеты.

Начав с быстрого и гнетущего перебора на струнных, группа будто бы с первого трака решила ниспровергать свои теги. Но вокалист очень даже вписался в тему, брутально и бестиально прописав свои партии. Да и ритм-секция проголосовала за брутал, впечатляюще сминая своим танковым движем все преграды, подбородки и прочие части тела, что попадались на пути. Жестоким дэтом искупали свои претензии костариканцы, да таким, какой понравится любителям указанной стилистики.

Две вещи — первая под семь минут и крайняя восемь с половиной длиной, как бы ограничивают пространство, в которое будет трамбоваться высокая энергетика. Общим таймингом в 43 с нелишним минуты. Обозначая себя как брутал-дэт-игроков на адском поле чудес, наша оголтелая четверка и далее никак не снижает темпа и угара, сбрасывая свои наиболее козырные карты по мере необходимости.

Так мы, например, видим, что гитарист реально озабочен инфернальным звуком и общим наполнением этой доменной печи. Но будем справедливы — среди огня и полымя жесточайшего полива вдруг начинает пекельно сверкать и искрить. Это гитареро вспоминает вдруг о тэге «текникал», который был приварен когда-то к арматурине каркаса формации. И тогда начинаются чудеса — инструмент начинает истово отливать жестокие и мелодичные, богатые на искус структуры, которые нацелены на то, чтобы завоевать пару мощных баллов в общем конкурсе в хеллканцелярии по номинации «демонический гитарный эксцесс».

Да и ритм-секция тоже опомнилась, начала сооружать такую структуру, что стало издалека видно: ребята думают о сложном, великом и все-таки забойном. В намерении не упустить своего шанса позаботиться о слушателе и повоевать за его внимание. Туда же и гитары вплескиваются неудержимым потоком. И тогда вдруг становится все на свои места и Technical Brutal Death Metal становится самой настоящей реальностью, а не просто тегами в интернете.

Хотя я упомянул уже о вокалисте, все-таки необходимы дополнительные пара слов о его упражнениях, ибо они в очень большой степени диктуют этому компакт диску по-настоящему терминаторский настрой. Дело в том, что Серхио вкладывает в свое исполнение дох..ща злобной и настолько бесноватой энергетики, что это поле ненависти буквально прет с компакт-диска.

INHUMAN сочиняет (творит и вытворяет) беспощадный музыку, люциферианскую по гордыне и апокалиптическую по нагнетанию страстей и в особенности тяжести — эмоциональной и звуковой. Когда хорошая громкость с реального диска гарантирует вам исключительный (и меломанский) результат.




Awesome! Now, my neck is broken because I tried to headbang with this hyper-complex death metal from Costa Rica. All tracks are extremely crooked, with tons of guitar riffs, fast scales, and atypical musical arrangements.



Of course, these guys have a lot of references to technical death metal bands, like Atheist, Cynic, Death, etc. but they formed a particular sense of pathological death metal, with high musical skills. As sophomore opus, this is one of those albums that denote mature ideas and excellent taste in brutal death metal music. This piece of morbidity features many sections, and tons of brilliant stuff, forged in technical guitar riffs and inhuman bass lines literally speaking. Actually, I really love the work in fretless bass guitar, which becomes a big element of the personality. For those who are looking for great bands of technical and complex death metal, you can’t miss this Latin-American gem. Great!





Il y a deux façons de jouer du Brutal Death Technique : avec ses bras, ou avec sa tête.

INHUMAN a choisi la seconde manière, pour notre plaisir. Point de démonstration inutile ici : INHUMAN aime certes le côté technique, mais aime également jouer du Death Metal, et non jouer au plus bourrin.


Le Brutal Death n'a pas de frontières, même si les frontières du style sont rarement repoussées...

Originaire du Costa Rica, INHUMAN s'attelle à appliquer son manuel du "Brutal Death technique pour les nuls", avec beaucoup d'efficacité et d'aplomb.

J'avoue ne pas connaître des masses ce pays d'Amérique Centrale (mises à part les photos bucoliques de la future résidence principale d'un désormais ex-collègue).

Et si les riffs chiadés et autres cris gutturaux ne sont pas, de prime abord, les attributs musicaux qu'on imagine le mieux pour zouker sur la plage, la pertinence et l'efficacité des morceaux m'ont suffisamment accroché l'oreille pour sérieusement envisager d'aller visiter San Jose et Tamarindo.


A la façon de certains groupes américains, INHUMAN privilégie donc les changements de rythmes fréquents, et les riffs dits techniques. Les mélodies sont assez efficaces, plutôt torturées et alambiquées, mais avec un côté Heavy fort appréciable.

Côté growl, du classique mais du bon : les cris sont rauques, gutturaux, mais ni trop aigus (shriek) ni trop gras, le tout sans bouillie inintelligible.

Point de bouillie non plus du côté des blastbeats, les bourrins de base trouveront "Conquerors of the New World" trop varié, tandis que les fans de Death Prog seront calmés par cette violence rythmique.

C'est d'ailleurs l'un des points fort de cet album : Résolument agressif et brutal, l'album n'en demeure pas moins franchement varié dans ses changements de rythmes.


Sans coups d'éclats particuliers, le groupe joue cependant sa partition avec ferveur, et cela s'en ressent : on est loin des opus soporifiques sans âme ni ambiance, où la démonstration ruine toute tentative de prendre du plaisir.

Nos costaricains dégagent une certaine envie, une fougue palpable qui booste franchement leur Death Metal. Un côté presque sauvage se manifeste, à la façon de Krisiun, mais dans une approche musicale bien plus Amérique du nord.


Le groupe n'hésite pas à varier considérablement ses rythmes au sein des morceaux, sans crise d'épilepsie cependant, car les changements ne sont pas trop saccadés. La violence reste légion, et INHUMAN ne verse pas dans le progressif : avec "Conquerors of the New World", vous aurez votre dose d'agressivité frontale, pas de risques.


La présence assumée et volontaire de la basse dans le mix sonore est hautement appréciable, et se doit d'être soulignée. Certes, n'est pas Obscura qui veut ; mais cette basse virevoltante et indépendante apporte une forme de groove terrible.


Objectivement, "Conquerors of the New World" est un bon album, à la fois brutal et musical, ni trop technique ni trop linéaire.

Subjectivement, mis à part le mérite d'émerger d'un pays pas franchement réputé pour sa scène Metal, INHUMAN, tout sympathique et intéressants qu'ils sont, n'apportent strictement rien au schmilblick... Est-ce discriminatoire pour autant? A vous de voir...


INHUMAN propose un album violemment sympathique et à la maîtrise instrumentale redoutable. Tout en restant enclavé dans les poncifs du genre, malheureusement. N'espérez donc pas découvrir le nouveau Visceral Bleeding. Mais "Conquerors of the New World" est cependant être un très bon cru, ce qui, étant donné la conjoncture musicale, reste une très bonne chose...