I’ve never quite understood why Monstrosity remained overshadowed by some of Florida’s prominent death metal acts. Considering the consistently high quality of the band’s discography and the notable musicians who have passed through their ranks (George Fischer, Kelly Conlon, Mark English), one could argue that the band deserved far greater recognition. Still, answering questions like these has never been my strong suit. Hence, let’s focus on what’s actually in front of us.
Monstrosity had been absent from new stuff for eight years following “The Passage of Existence”. Now, the band’s seventh album, “Screams from Beneath the Surface”, has finally emerged from the depths of Florida’s swamp. As is often the case with Monstrosity, each new release brings lineup changes, with drummer Lee Harrison once again standing as the only musician to appear on every album. This time, Mark van Erp, another founding member, returns to bass duties after a lengthy absence, while Ed Webb makes his debut as the band’s vocalist. Alongside guitarists Matt Barnes and Justin Walker, they form a formidable lineup, bringing Monstrosity’s name back to the forefront.
The band has worked hard to resurface their core and uphold the regional tradition. The result is an album that thrives on technical proficiency and precise execution. Monstrosity’s signature muddy essence unfolds naturally through excellent songwriting that remains accessible to the “trained” ear without compromising the technical sophistication for which the band is renowned. Indeed, the album showcases raw aggression, intricate guitar work, bleak melodies, and Webb’s appropriately deep growls, which further sicken the overall atmosphere. Together, these elements form a lethal package that proves Florida’s flame still burns in Monstrosity’s heart.
Don’t look for fillers here – all ten compositions maintain high quality standards, contributing to a cohesive and well-crafted whole. Every track possesses its own strengths and distinct character, forbidding you from pressing the “skip” button. The riffing may not be particularly innovative, but it draws strength from the band’s long history, combining a broad range of themes and moods. That’s the album’s strength: rather than relying on a single approach, it confidently explores different facets of death metal, provoking the listener to stay engaged.
On this rather adventurous album, the impressive mid-tempo opener “Banished to the Skies” immediately establishes Monstrosity’s status. Its atmospheric introduction and mesmerizing sequence of themes shape a composition that I would confidently rank among the standout tracks of the year. Likewise, “Atrophied” exemplifies perfectionism in every sense — a distinctive piece thriving with sick patterns and serving as a masterclass in technical riffing and drumming.
Monstrosity venture into doom/death territory with the asphyxiating “The Dark Aura”, where desperation and darkness prevail, while the keys in the background intensify an already suffocating atmosphere. Undoubtedly, this stands out as a highlight for fans of the genre’s slower, more oppressive side. The band retain their fierce, unrestrained energy in thrash-driven cuts like “The Colossal Rage”, where roughness doesn’t omit technical precision. As for the splendid “Blood Works”, Vigna’s shadow is apparent in the main riff (you’ll detect Immolation’s echoes within this tightly constructed idea).
Metal Blade has respected Monstrosity’s long-standing legacy, making the sound deep and heavy while bringing every instrument and detail into sharp focus, without compromising the band’s brutality. The rhythm section is presented exactly as it should be: an admirably robust machine, with van Erp’s consistently audible, thunderous basslines adding immense weight to the compositions, and Harrison’s peculiar drumming guiding every pattern with the assurance of an expert.
Monstrosity returned emphatically, unleashing brutality and decay through skilled execution rather than showing off. Their songwriting and performance serve as a vehicle for something deeper — a truth elaborately expressed in the exemplary “Veil of Disillusion”: at their core, the band remain committed to quality in every aspect of their work, while continuing to honor the tradition of their regional scene.
The preceding albums, regardless of their virtues, gave the impression that Monstrosity wrote them out of obligation. In contrast, “Screams from Beneath the Surface” feels like something more substantial: a genuinely inspired work, composed with dedication and sincerity. I would argue that it stands as the band’s strongest output since their early peak, proving that Florida’s death metal hasn’t degenerated into a museum artifact. Without question, it’s a “must-hear” release of the year and comes highly recommended to fans of the genre.
♦ 8,5/10
Alex Nikolaidis
