Inhuman Condition – Fearsick
Release Date: 15th July 2022
Label: Listenable Insanity Records
Bandcamp
Genre: Death Metal
FFO: Massacre, Obituary, Death, Autopsy, Six Feet Under.
Review By: Rick Farley
New York, Sweden, and the U.K., have all been influential over the years with the birth of numerous scenes in the sub-genre movements of death metal. All of which could partially lay claim to the overall popularity of the genre itself, each containing important bands and landmark albums. But the origins of death metal, depending on whom you talk to, can be traced to California with Possessed; who’s regraded as having a major developmental influence on death metal, or you’re in the camp of saying that it was Florida’s Nasty Savage who inspired it all. Either way, it still ends up landing in the sunshine state. Thus emerged the Florida death metal scene, which by the early nineties had exploded with such legendary bands as Death, Morbid Angel, and Obituary. So, it comes as no real shock to anyone, that modern bands are still trying to recreate those early days.
One in particular that’s carrying the old school death metal torch much higher than most is Tampa, Florida’s death dealers, Inhuman Condition. Comprised of three veterans who need no introduction, but I will anyway. Taylor Nordberg (Deicide, The Absence) on guitar, Jeramie Kling (Venom Inc, The Absence) on vocals/drums and Terry Butler (Obituary, Death, Massacre) on bass. Honestly, I could have named another seven bands they’ve been part of, but who’s counting. Plus, they’re all from Florida, that’s got to help, right? So, the question becomes, after releasing the highly regraded Rat God in 2021, does the bands newest release, Fearsick, up the ante?
Fucking right it does. Self-released, DIY, no holds barred old school death metal. This is not a homage or a clone, but the real deal, just thirty-some years later. Fearsick is nine songs, thirty-six minutes of neck breaking, ass stomping death metal in its purest form. Savage dry throat growls, punishing bass, sick drum fills, crunchy as fuck riffs and tasty whammy-centric solos. A furious thrashing death metal air boat ploughing through the Florida swamps, bringing up the carcasses and corpses of the dead residing there, destroying everything living in its path with its huge gore filled bloodied propeller.
I’m now the Monster takes me back to the patched denim jacket days in the best way. It’s a thrashy stomping track in the vein of early Obituary, a beatdown of jerky grooves and mosh friendly teeth kicking tempos. The sinister sounding Wound Collector has some slithery Morbid Angel vibes that careen between fast tremolo picked crawling, violent thrashing, and swampy guitar trills. King Con has an ominous acoustic intro, kicking into a speedy thrash inspired beat that builds to an almost doomy sludgy groove. Fencewalker’s darker middle section adds some Death influenced melodies to the otherwise speedy beatdown and some bitching whammy squeals at the end. The rhythm section’s brutal simplicity is what makes these songs so effective. Each one builds upon the evolutionary albums that legitimized death metal in the late eighties in such a way that these cellar dwellers would easily fit in.
The overall production has a classic vibe, but still sounds modern. The drums sound good, but could be a little sharper with less thud. To a casual listener the songs could sound a little same-ish, but truthfully it goes with the territory, and the band does an excellent job of mixing it up. Fearsick, doesn’t break any moulds, doesn’t overindulge, and more importantly doesn’t burn any bridges. This is about as authentic to early death metal as a band can get without actually being there at that time. The fact that this album ignites those glory days with acidic rasps, throaty roars, hooky jagged crunch, warm bass tones, ripping, piercing solos, and chaos filled drums with such ease is a testament to the musicians involved. This is ear worming, catchy as fuck, headbanging death metal fun that’s highly addictive. Easy recommend. 
(4 / 5)
