Inhuman Condition was
formed in 2020 by Taylor Nordberg and Jeramie Kling after their departure from Massacre, taking their name from the 1992 EP "Inhuman
Condition". With the addition of veteran bassist Terry
Butler, the trio established a sound rooted in classic death metal with
thrash elements, developed through two full-length releases. Over the past five
years, they've refined their identity, focusing on tight compositions and
self-sufficient production. "Mind Trap" marks their third full-length
release, continuing the group’s do-it-yourself approach with recording, mixing,
and mastering handled at their own Smoke &
Mirrors Productions studio.
"Mind
Trap" is a concentrated and cohesive slab of death/thrash metal that
benefits from its controlled approach and streamlined vision. The album
delivers compact tracks with sharp transitions and measured aggression, often
leaning into rhythmic drive rather than overwhelming speed. The production is
direct and punchy, neither raw nor overly compressed, offering a consistent mix
that suits the pacing of the material.
Vocals from
Jeramie Kling are pitched somewhere between
classic Florida death metal and early ‘90s thrash bark, functional and clear in
their delivery. The presence of guest appearances from Paul
Mazurkiewicz, Jamie Stewart, and Jonas Kjellgren adds texture without distracting
from the band’s identity. Taylor Nordberg’s
guitar work favors riff-centric songwriting rather than technical flourishes,
rooted in mid-tempo punishment with occasional bursts of velocity and
dissonance.
The lyrical
themes cover dystopian paranoia, human cruelty, and visceral horror without
leaning into abstraction. There’s a bleak but grounded tone that matches the
music's intent, pairing subject matter with appropriately muscular
arrangements. Songs like “Mind | Tool | Weapon” and “Science Of Discontent”
show the band’s interest in repetition and phrasing over traditional choruses,
contributing to the overall tension.
Despite the
genre's limited scope, "Mind Trap" doesn’t feel redundant or
overlong. The concise runtime and varied dynamics across tracks help maintain
energy throughout. Nothing here is ornate or overly ambitious; the band instead
favors structure and repetition to create force and immediacy.
The artwork
by Dan Goldsworthy and layout work are in
tune with the album’s tone—sinister and visually assertive without drifting
into parody. The production by Kling and Nordberg retains a tight grip on all sonic
elements, giving the record a self-contained characte2
Score: 8.2
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