For nearly four decades, Deceased has been a cornerstone of the American death metal scene, a band that has weathered every storm the genre could throw at them. With their latest offering, Children of the Morgue, the band cements their status as one of the most reliable, consistent, and downright essential bands in the underground metal world. Released via redoubtable label Hells Headbangers, this eighth full-length album is nothing short of a tour de force, seamlessly blending classic metal influences with the abrasive edge of death metal—a signature sound that Deceased has honed to perfection over the years.

The album kicks off with Destination: Morgue, a doomy, scene-setting instrumental that immediately evokes the old-school vibes Deceased fans have come to expect. It’s a brief yet powerful introduction, setting the stage for the mayhem to follow. The title track, Children of the Morgue, is where the band truly begins to flex it’s muscles. Clocking in at over seven minutes, this track is a masterclass in blending the classic and the extreme. The thrashing drums, relentless riffing, and King Fowley’s unmistakable raw-throated roar create an atmosphere that is both nostalgic and fresh. The mid-section guitar solo is a standout moment, showcasing Mike Smith and Shane Fuegel‘s impeccable lead work.

Turn to Wither serves as a short instrumental bridge that morphs into Terrornaut, a track that immediately grabs attention with its dissonant riff—reminiscent, to these ears at least, of indie darlings The Smiths, but drenched in an eerie, Voivod-inspired atmosphere. Fowley’s horror-laden vocal delivery adds to the track’s haunting nature, while a psychedelic guitar solo injects a surprising twist before the band brings it all home in a classic headbanging finale.

The Reaper Is Nesting starts as a mid-paced cruiser but soon builds in intensity, with the band ratcheting up the power behind another off-the-scale vocal performance from Fowley. This track serves as a perfect entry point for newcomers, encapsulating everything that makes Deceased such a beloved and longstanding force in the U.S. metal scene.

Next up, The Uninvited Dirge offers another quick atmospheric interlude before The Grave Digger takes over. This eight-minute doom-laden epic weaves elements of NWoBHM, Black Sabbath, and Celtic Frost into a colossal track that showcases Deceased’s prowess as songwriters. Beyond the horror themes and macabre imagery, Deceased proves here that they are a band that understands what makes great heavy metal, instinctively hitting every mark.

The thrashy heavy metal of Eerie Wavelengths is perhaps the most straightforward track here, but in this case, as you’d expect, straightforward doesn’t mean that it’s not up to snuff in comparison to the other tracks on the album – merely that it’s a riff fuelled, high-velocity headbanger with no frills or pretensions. And all the better for that!

Fed to Mother Earth stands out as another sprawling epic, built around the band’s ability to maintain a high cruising speed while exploring a variety of musical avenues at the same time. The inclusion of languorous female vocals hints again at a Celtic Frost influence, but the track is pure, undiluted Deceased, showcasing their ability to be progressive without becoming overly technical or pretentious.

Skull With the Vacant Stare offers another brief interjection before Brooding Lament delivers another unrelenting headbanger with big progressive flourishes. In 2024, few bands achieve metal as perfectly and knowingly constructed as Deceased; they’ve found their niche, and they explore every inch of it, resulting in tracks that simply never disappoint.

The album closes with Farewell (Taken to Forever), another epic that ends the record on a high note with swirling rhythms, superior riffage, energy-soaked vocals, and yet another killer solo. It’s the perfect ending to what is, in every sense, a perfect heavy metal album.

Children of the Morgue is a great-sounding record, and the synergy between Mike Smith and Shane Fuegel’s guitars, new addition Amos Rifkin‘s dynamic drumming, and Les Snyder‘s bass work creates a rock-solid foundation for King Fowley’s commanding vocal presence. Deceased may have achieved legendary status in the underground, but this album proves they are much more than a cult attraction. This is “proper” heavy metal, deserving of every accolade it receives.

Children of the Morgue is out Now.