Metal Underground.com

Twenty-five years after the release of “Scream Bloody Gore,” bands are still following the bloody footprints left by Death and its wretched spawn produced in the humid swamps of Florida. This movement has resounded all over the globe. Dehuman was surely touched by the spirit of Chuck Schuldiner on their debut recording, “Black Throne of All Creation.” The Belgium quartet tempers blunt brutality with surgical precision, and grating groove with pummeling speed.

Andrea Vissol’s voice draws the most obvious comparison to old-school death metal. He has a style akin to John Tardy of Obituary or Death’s early years—a gravelly growl somewhere in the middle of the vocal spectrum between inaudible groans and ear-piercing snarls. Musically, Dehuman follows the tried and true (tried too often) patterns of Suffocation, Morbid Angel and Nile. The epic harmonies on “Apocalypse and Perdition” and “Harvest the Sun” have more in common with European stalwarts Hypocrisy and Amon Amarth than American acts. Flowing breakdowns enhance the heaviness of each song, and bridges the gap between the breakdown-happy bands of today, with the intestine-churning rhythms of classic death metal.

“Spiral of Loss” contains rolling riffs, muffled breakdowns and a siren wail that makes this track stand out above the rest. "Black Mamba" features a number of sweeping solos and slow harmonies that require exceptional time-keeping from the drummer. Laye Louhenapessy studiously fills in these gaps. This is Dehuman at its best; unfortunately, not every song has its own identity.

“Black Throne of All Creation” works on many levels, but midway through the album, each song tends to bleed into the next. Part of the problem is many of the sounds they present seem too familiar. “Black Throne of All Creation” is a good start for Dehuman; however, future endeavors need to reveal more unique qualities for the band to make an impact on a scene that’s over-saturated with clones.