ALBUM REVIEW
MASTER - Among The Seeds Of Death
MASTER sustains old-school Death Metal.
The living legend of Death/Thrash Metal and a vital force in Old School Death Metal, MASTER return with their sixteenth studio album, "Among The Seeds Of Death", reaffirming the musical approach Paul Speckmann has upheld since the early 1980s. Having emerged in Chicago before relocating to the Czech Republic, the band has undergone no significant changes in musical direction over the years. Their trademark blend of punk attitude, the razor-sharp rhythmic drive of Thrash Metal and the sheer heaviness of Death Metal makes no attempt to accommodate contemporary trends on the new record. This traditional formula, which serves as a musical fingerprint for MASTER, remains just as ferocious and aggressive in these new songs as it was in the band's early days. That consistency is precisely what makes them instantly recognisable.
Opening track 'Twas Always A Plan immediately establishes the album's character with its driving tremolo-picked guitars and relentless Thrash rhythms. Most of the riffs rely on repetition and subtle variations designed for immediate impact rather than intricate arrangements. MASTER nevertheless introduce different rhythmic accents and unexpected guitar movements to prevent this straightforward approach from becoming monotonous. The unconventional guitar motif in 'Among The Seeds Of Death' is a particularly good example, demonstrating that the band can still come up with memorable ideas within its traditional songwriting framework. 'A Cell With A Door And No Slave', meanwhile, is one of the album's most direct offerings, combining hard-hitting riffs, martial rhythms and a rebellious attitude rooted in punk.
Paul Speckmann's vocal approach is another essential part of the band's identity. His move away from the traditional, deep Death Metal growl towards a rougher, Thrash-influenced delivery in a higher register changes the way the vocals interact with the guitars. Rather than diminishing the music's aggression, this approach gives the lyrics greater presence and clarity. The politically and socially critical lyrics, particularly on tracks such as 'Injustice And Lack Of Remorse' and 'A Cell With A Door And No Slave', reflect the band's punk heritage. 'Let's Revoke' carries that same attitude through to the album's conclusion. That said, the vocals remain within a relatively narrow expressive range throughout, occasionally limiting the distinction between individual songs.
Although most of the album maintains a high tempo, MASTER do not rely on playing at a single speed throughout. 'Injustice And Lack Of Remorse' combines fast, aggressive passages with heavier sections built around more forceful rhythmic accents, while 'Dust's Arrival' opts for a more measured opening before gradually returning to the band's familiar Thrash-driven momentum. 'Watch As Children Burn' delivers one of the album's most effective moments, driven by energetic drumming and the sharp, forward-moving guitar work. The spoken-word passages in 'Unsettled Loss' and 'Let's Revoke' also introduce a different dimension to the arrangements. On the closing track in particular, this choice becomes more than a simple vocal variation, reinforcing the political stance running through the music.
The production brings MASTER's old-school Death/Thrash Metal approach in line with contemporary recording standards. The sharpness of the guitars, the clearly defined drum hits and the audible presence of the bass create a balanced mix in which the instruments never obscure one another. Despite its clarity and power, the recording retains the rough edges the music needs. Crucially, the natural movement of the riffs remains intact, without the production becoming unnecessarily sterile. The brief bass solo at the beginning of 'Injustice And Lack Of Remorse' is another welcome detail, demonstrating that the instrument has a role beyond simply reinforcing the rhythmic foundation.
Of course, "Among The Seeds Of Death" does not stray from the musical formula MASTER have spent decades refining. There are no radical changes in songwriting, stylistic detours or experimental ventures designed to overturn listener expectations. This may prove limiting for those looking for more distinctive riffs and greater compositional variety. The tendency of some tracks to revolve around similar tempos and riffing approaches also creates a sense of familiarity in the album's second half. On the other hand, the more measured opening of 'Dust's Arrival' and the distinctive guitar idea in 'Among The Seeds Of Death' demonstrate that this formula can still produce small but effective variations.
When assessing MASTER's place in today's extreme metal scene, the question is less about the need for innovation and more about how effectively the band preserves the fundamental dynamics of the genre. MASTER are not presenting the Death/Thrash Metal of the 1980s as a nostalgic exercise in reproduction. As one of the acts that helped shape this music's direct, uncompromising and punk-infused character, the band continues to maintain an active presence in the contemporary extreme metal scene. While "Among The Seeds Of Death" may not represent a major turning point in their discography, it is a satisfying record that demonstrates just how intact their musical identity remains. Those expecting an unexpected change of direction from MASTER may come away disappointed, but anyone who values Death Metal's roots in Thrash and Punk will find a solid album that serves as a reminder of why that combination remains so effective.
