Immolation are the uncommon band that sits both on top of their chosen genre and outside of it simultaneously. As one of the titans of early days death metal, the natural inclination is to lump them in with all the other old school death acts from the late 80s and early 90s. While that wouldn’t be entirely wrong based on their Dawn of Possession debut, over time Immolation have evolved into something else – Still classic death metal, but much more too. And while their style can seem too opaque at times to tickle the casual OSDM lizard brain, there’s something truly primordial to their sound that exemplifies death metal like no other. They’ve also been the most consistent brand in death over the decades, releasing 11 albums of high-quality material with no duds. 2022s Acts of God saw the band move in a slightly different direction, stripping down some of their more extravagantly creative impulses and hardening around a muscular core of dissonance and punishing ugliness. Now comes Descent. What do founding members Robert Vigna and Ross Dolan have in store for us this time? You know it will be something enormous and crushing, but what else awaits your feeble ears?
In a nutshell, Descent is a continuation of what Immolation did on Acts of God, but the soundscape is now subject to a carefully curated tension between their usual penchant for brutality and dissonance and an on-and-off experimentation with a more grandiose and vaguely symphonic vibe. These diverse elements grate upon each other like opposing grindstones, and the result is often quite dramatic. Opener “These Vengeful Winds” is heavy as an anvil pyramid, crushing you beneath waves of corckscrewing, twisting riffs that feel too weighty to move, yet move they do like Cthulu’s hideous face tendrils. This is Immolation at their most basic and threatening, and it’s a grotesque joy to experience. “God’s Last Breath” delivers a crushing midtempo assault peppered with hateful guitar flourishes before lapsing into a massive stomping groove that feels dangerous and unhinged. Soon, everything goes utterly insane, and blastbeats and mind-flaying riffs try to unbalance your sanity. It’s special. It isn’t until “Bend Toward the Dark” arrives that Immolation show you all their cards. The song is pummeling and ridiculously heavy, and hidden in the swirling maelstrom is a vague SepticFlesh vibe that almost feels symphonic, but not quite. It’s strange, but it fits, and Ross Dolan extends his vocal range ever so slightly to sound more Deity-like.
Later cut, “Host” stands apart from the rest of Descent due to its unconventional and experimental approach. It feels like a fever dream in the way it leaps from idea to idea, and it can feel a bit disjointed, but it’s massive and rocks a relentlessly evil vibe that chills the bone marrow. It took several spins to “get it,” but once I got used to the strange ebb and flow, it worked more often than it didn’t. “False Ascent” is a direct, savage assault with little effort to be clever, and because of that, it hits extra hard. The closing title track is like the best moments of Immolation condensed into an almost 6-minute brain injection. It will destroy your body, but you need it nonetheless. Is everything this killer? Well, “Attriton” has many good pieces, but it doesn’t quite gel for me as a cohesive entity. Could I do without the instrumental “Banished”? Yes, as it does more to disrupt the album’s flow than add anything truly meaningful. At 42 minutes, Descent feels shorter and less overstuffed with ideas than Acts of God, and it’s easier to process. The production by Zack “Sometimes Friend o’ the Blog” Ohren is quite loud and confrontational, but less smashed than the DR 5 might suggest. The guitar tone is menacing as fuck, and the drums have a titanic force behind them. Most importantly, there’s enough cavern murk and scuzz to round out the existential dread Immolation trafficks in.
I know it’s a waste of time to discuss how talented Immolation is at this point, but I’m going to anyway. Robert Vigna deserves his own wing in the Death Metal Guitarist Hall of Fame, and his strange style continues to bear rotting fruit at every turn of the thumbscrews. His playing is unlike anyone else, and his offbeat perspective on death metal riffing is why Immolation stand out as they do. He and Alex Bouks put on a clinic on how to decorate a death metal song with riff gold, and they build dark, threatening worlds as easily as you or I build a pile of dirty dishes in the sink. Ross Dolan is a tremendous death vocalist and always delivers the goods, and Steve Shalaty’s drumming is next-level insane and technical.
I agonized over how to score Descent. Ultimately, I prefer it over Acts of God, but, as with most Immolation albums, the qualitative differences are minor and come down to small personal preferences. It’s a metal truism that you can buy any Immolation release without fear of disappointment, and Descent will certainly please the filthy death masses. Immolation remain a rare, altered beast among other repellent horrors, painting their uniquely disturbing soundscapes across history and time.
Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Nuclear Blast
Websites: immolation.info | immolation.bandcamp.com | facebook.com/immolation | instagram.com/immolation_band
Releases Worldwide: April 10th, 2026
Kenstrosity
It’s been said before, but it bears repeating: Immolation need no introduction. Far and away the most consistently great act in death metal, the New York troupe forge a deadly blade with each new release, familiar in design and function but meticulously crafted to rise with distinction. A discography unmarred by blemishes or misfires ensures that no matter where your point of entry, listeners new to Immolation’s fatally sharp weaponry will find themselves summarily eviscerated in short order. Twelve albums and thirty-eight years in, Immolation nests Descent inside an already legendary catalog with astonishing ease.
Drawing from the rich pool of their own history, Immolation have little need to reference their peers for ideas or inspiration on Descent. Pulling the infernal energy of Close to a World Below (“These Vengeful Winds,” “Attrition”), merging it with the violent groove of Majesty and Decay (“The Ephemeral Curse,” “Descent”), and embedding purposeful structure into the resulting mesh by way of Atonement’s sweeping, multi-phase phrasing and intentionally scorched layers (“God’s Last Breath,” “Host”), Descent honors its ancestry in monstrous fashion. Rare is the death metal act that exudes class and elegance, but Immolation embodies those traits in Descent’s grander songwriting—particularly evocative of Communion-era SepticFlesh—which makes the whole all that much more imposing. That’s to say nothing of the riffs, which have the same verve and vitality as ever without sacrificing an iota of Immolation’s core identity—an astounding feat that needs to be heard to be believed.
As water-cooler discussions in AMG HQ’s back alleys and seedy underbellies confirm, Descent creates an environment solely populated with muscular apex predators, leaving the staff gnashing teeth and sharpening claws to defend their favorite track as the best item on hand. Mine are “Adversary,” “Bend Towards the Dark,” and “False Ascent,” primarily because they invoke a horde of particularly fiery trem-picked leads, flourishes, and shimmers that provide a bright contrast to Immolation’s trademark deep roars, stomping motifs, and precisely punctuated percussion. Equally compelling, high-impact cuts like “The Ephemeral Curse,” “Attrition,” and gargantuan closer “Descent” boast the same or similar features, applied in other ways or in alternate locations to create varied textures and high-detail points of interest. No song proper drops the ball at any point, and at a remarkably tight 42 minutes, the album as a whole boasts ridiculous levels of immediacy and engagement.
Immediate though Descent is, time and attention are its best friends. Revisits unfurl and intensify Immolation’s latest salvo such that it effortlessly deflects distraction. Harmonized layers, multifaceted riffs, and tumbling transitions across the record expand in scope and grandeur in direct correlation to the number of times I hear it. Strict structuring and highly compartmentalized compositions loosen, relax, and bleed into rich sonic hombre, betraying an intricacy and sophistication that such blunt force instrumentation shouldn’t be capable of achieving. Even my initial misgivings towards penultimate interlude “Banished,” which feels fluffy and insubstantial at first, gained some justification as the days and weeks spent with Descent progress. What once felt like a rude interruption now feels more like a palate cleanser for the final course. Still, I could cut it from the runtime. Even though the ride to the end might feel a tad rougher for it, I am not convinced I would wholly miss the padding. My only other critique of import concerns production. While incredibly well-mixed all things considered, Descent is loud, crushed to within an inch of its life—a life that barely breathes only by the grace of meaty guitar tones and a snappy snare.
As I grow closer to this world below, I feel nothing but reverence for an act whose unflappable dedication to the death metal craft knows no equal. I am awestruck by the longevity of Immolation’s back catalog and the remarkable quality of their modern entries. Descent is no exception. It is, instead, exceptional. Taste amongst my peers polarizes to some extent as to which Immolation era earns the most flowers, but recognition of their collective elite status is universal. This twelfth album, soon upon us, perpetuates that standard and may even prove, with time, to have elevated it once again. At the very least, it ranks among my personal favorites by these New Yorkers. It is my intention, consequently, to spend every free moment basking in its consuming flame.
Rating: Great!
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