Metal Underground.com

“Graveyard of Eden” doesn’t represent a sophomore slump for Belgium death metal outfit Dehuman. This album shows a vast improvement for the band compared to "Black Throne of All Creation.” While there are parts that resemble the first album, especially the Death/Morgoth style vocals of Andrea Vissol, Dehuman has changed its focus drastically. Much of “Black Throne of All Creation” hinged on slam riffs and rhythms from the Death/Obituary camp. This recording has more flow and more in common with Morbid Angel and Nile. Not that the first album didn’t contain aspects of those two bands, it’s just that the group further explored these sounds on “Graveyard of Eden.” The same can be said about the guitar play: the first record contained its share of melodies and complex rhythms, but here the band takes it even further.

Harmonies, solos and complex string play are some of the things that characterize “Graveyard of Eden.” Sainte Marthe Studio’s production shows these aspects really standing out. This is a major improvement over the first record that, in addition to being murky, focused on the low end and the bass. The guitars are much louder and the drums really pop. The band has also sped up the compositions. While possibly borrowing from Morbid Angel, Dehuman’s solos are melodic and spacey at the same time. Every track seems to contain ripping guitar solos, but some of them really made an impression. The first solo that comes to mind comes on the heels of some furious drum rolls on “Crypts of Blood.” “Temple of Lust and Fire” contains another great solo, this one in the vain of Morbid Angel. The whammy-bar-started solo on “Ov Madness” is another solo worth checking out.

The Morbid Angel comparisons start as early as the first song “Sepulcher of Malevolence” at the 1:50 mark when the band slows down. This song and the album in general shows smooth transitions. From the opening quick bursts of drums to the evil chords that follow, each rhythm has an interconnectedness that is truly memorable. Some of the harmonies are infectious, too. “Cerebro Veneficium” works through its harmony laid on top of a chugging riff. The dual harmonies of “Goddess of Sins” is also of note. Nile fans will love the fast ascending scales on “Obedience to Pestilence” and “Goddess of Sin.”

Nile and Morbid Angel serve as reference points on “Graveyard of Eden” and Dehuman shows these influences and others (Suffocation, Death) on its sleeve. While the band has found more of an identity from the last record, the group does still borrow a bit much. This would be a problem if the skill level wasn’t there. “Graveyard of Eden” is not groundbreaking by any means, but it is a solid record that any fan of classic death metal should find engaging.