From the near brink of implosion to a glorious comeback that could be the story of the last few years for Aussie natives Thy Art Is Murder (TAIM). The much publicised departure and return of vocalist CJ McMahon has been well documented. Put simply if this new album ‘Dear Desolation’ (Nuclear Blast) is the result of all this perceived turmoil then it was worth going through for everyone involved both band and fans alike..

But I’ll wager that the band don’t give a fuck about this or any background narrative to the new record instead they have picked up right where they left off on Holy War (Nuclear Blast) and in most cases they have raised the bar yet again.

This new album is a brutal mission statement for TAIM and builds upon the band’s innate technical prowess and expands to create a light and shade approach to the song writing. However, unlike other bands such as Whitechapel or Suicide Silence they have not compromised there core principles. That is that everything still should be bloody bastard heavy.

Opening track ‘Slaves beyond Death’ rips out of the gate with a combination of rhythms and riffing not unlike death metal stalwarts Behemoth and Morbid Angel. Indeed throughout the entire album there a plenty of nods to a more straight up death metal approach with a smattering of deathcore grooves and breakdowns.

Lee Stanton continues to be one of the best drummer in metal with a powerhouse of performance and indeed some of the work on songs like the aforementioned ‘Slaves Beyond Death’ and ‘The Skin of The Serpent’ he appears to be pushing his own abilities to new heights.

The instant deathcore classic that is ‘Puppet Master’ is quite simply one of the best songs so far this year. The guitars of Sean Delander and Andy Marsh constantly raging against the ferocity of CJ’s vocals and when CJ tells you to “Think for your fucking self” just as the band launch into another brutal breakdown, you feel like grabbing the nearest mammoth and asking it for a fight.

Juxtapose to this are songs like ‘Death Dealer’ which shows where the band have taken a more subtle approach to their writing. A moodier, slower affair with an exquisite doomy lead guitar riff. The song then launches into a barrage of noise but still maintains a sense of dread and foreboding.

TAIM have once again proved themselves to be the kings of deathcore and have been able to maintain the crown whilst pushing themselves in the process. After all the problems post  Holy War they have come back rejuvenated and firing on all cylinders. Welcome back lads!!!

8.5/10

KIERAN MITCHELL