Aussie deathsters Abramelin are back, and with Sins of the Father, they’ve unleashed a relentless, blood-soaked assault on the senses that proves they’re still at the top of Australia’s death metal ladder. Opening with the jaw-dropping Conflagration of the Dreamers, the album immediately showcases its savage intent. The lithe, serpentine riffs twist in tandem with David Haley’s inhuman drumming, creating an atmosphere of sheer terror, punctuated by Simon Dower’s compelling vocal performance. It’s an astoundingly good opener that sets the tone for the carnage to follow.

The title track, Sins of the Father, is perhaps more straightforward by Abramelin’s standards, but don’t mistake that for predictability. Haley’s drumming borders on the hypnotic here, driving the song forward with a pounding intensity, while Dower continues to cement his status as one of the genre’s most riveting vocalists. It’s a masterclass in how to deliver relentless brutality while keeping the listener hooked.

Man’s Best Friend is next, and it carries on the onslaught without a moment’s respite. This is heads-down, ripping death metal, the band locked into a punishing groove, intent on bludgeoning their audience into submission. There’s no variation here, but it’s a tribute to the band’s ferocity that it doesn’t feel repetitive — just unrelenting.

Then comes Last Rite, an absolute highlight of the album. Opening with a soaring, anthemic riff straight out of the Judas Priest playbook, it quickly erupts into a groove-laden death metal anthem that should be remembered as one of Aussie metal’s standout moments of the year. The solo from Matt Wilcock is perfection, a moment of pure genius that elevates the track even further. This one’s going to be hard to top.

Following that is Shell of a Man, and while it might seem that Last Rite was a tough act to follow, the band refuses to let up. Twisting and turning through various black as pitch moods, this track proves that Abramelin can deliver brutality and creativity in equal measure. The balance between crushing heaviness and intricate riffage is deftly handled here, showing a band revelling in it’s own brilliance.

Deceased Estate offers more thrash-tinged brilliance, with yet another superb solo from Wilcock. The injection of classic thrash and traditional metal elements into Sins of the Father provides a welcome dose of variety, and the descent into madness halfway through the track is an exhilarating highlight.

Next track Meet the Meat is another savage entry, starting slowly but building to an absolutely monstrous conclusion. It’s suffused with the kind of suffocating intensity that’d keep even Carcass up at night, with Haley’s drums once again proving to be an MVP performance.

Street Art is pure old-school death metal mayhem. Haley’s drums are ferocious, maintaining the momentum as Dower’s vocals and Wilcock’s shredding combine to deliver a crushing wall of sound that’s impossible to ignore.

Finally, the album closes with You Bleed, I Feed—and what a closer it is. This track feels like a declaration of war. Unrestricted death metal carnage, it’s unforgiving in its intensity, with Wilcock delivering yet another scalpel-sharp solo to remind us of his insane abilities throughout the album. It’s one of the most intense, unforgiving album closers in recent memory, the perfect way to cap off this brutal journey.

In Sins of the Father, Abramelin has crafted an album that not only pushes the boundaries of death metal but also cements their legacy as one of Australia’s most important extreme metal bands. With incredible musicianship, savage vocals, and a knack for injecting just the right amount of old-school influence, this is an album that will stand the test of time. Get ready for the carnage!

Sins of the Father releases on October 4th.