Fit For An Autopsy have spent the better part of 15 years at the cutting edge of deathcore. And with each release, they’ve pushed boundaries, turned heads, and unapologetically stayed true to their ever-evolving sound. Their latest effort, The Nothing That Is, delivers on their usual mix of brutality and melody but takes things up a notch in complexity, emotion, and—dare I say—maturity. Though deathcore fans might come for the breakdowns and guttural roars, there’s a lot more going on here. And for better or worse, it’ll make you feel something—whether it’s awe, catharsis, or just the urge to punch something in slow motion.
The album opens with Hostage, a lead single that somehow manages to walk the fine line between sheer sonic violence and haunting beauty. Right off the bat, it’s clear that Fit For An Autopsy aren’t interested in rehashing their previous work. Yes, the downtuned riffs hit like a wrecking ball, but the clean-sung chorus lifts the track into more reflective territory. It’s not an easy balance to strike, but they manage to merge the two worlds with surgical precision.
The lyrical themes kick in with equal intensity. “Heavy is the sound of sorrow,” vocalist Joe Badolato howls, and it feels like the emotional weight of the last few years has been weaponized. There’s grief, trauma, and, of course, rage—a lot of it. But it’s rage with a focus, aimed squarely at the personal and political.
Now, if you’re in it for the chugs, fear not—The Nothing That Is has plenty to offer in that department. Tracks like Spoils of the Horde and Lower Purpose are brimming with the sort of palm-muted, breakdown-heavy goodness that would make even the most seasoned deathcore fan grin like a lunatic. But what makes this album stand out is the way it manages to layer melody and atmosphere on top of all that crushing heaviness.
Take Red Horizon for example—a track that not only offers some of the album’s most eerie guitar work but also delivers one of its most gut-punching lyrical moments: “The bodies burned so bright that God closed his eyes.” It’s a line that sticks with you, not just for its visual power but because of the way it intertwines with the themes of human suffering and political violence. Fit For An Autopsy have always had a bit of a social conscience, and here, it’s front and centre.
One critique that might emerge—and it’s more a quibble than a deal-breaker—is that The Nothing That Is can feel almost too consistent in its first half. The band hit the ground running with such intensity that by the time you reach the midpoint, there’s a real risk of sensory overload. Tracks like Weaker Wolves and Lurch are technically flawless, but they don’t offer much in the way of dynamic shift. You might find yourself yearning for just a bit more space to breathe amidst the onslaught.
But just when you think things might get a little too samey, they pull out The Silver Sun, the six-minute epic that closes the album. It’s the kind of track that lingers, taking its time to build before erupting into a tidal wave of riffs, growls, and haunting melodies. Here, you get a sense that Fit For An Autopsy are playing the long game. It’s not about hitting you over the head with brutality for the sake of it; it’s about crafting an experience that’s both visceral and contemplative.
Here’s where things get a bit tricky. Produced by guitarist Will Putney, The Nothing That Is sounds massive, but it’s not without its flaws. The mix, while undeniably thick and heavy, can sometimes feel a little murky. The guitars, at their best, slice through with surgical precision, but at their worst, they’re tangled up in the mix, losing some of that sharpness that made previous releases so sonically satisfying. The drums, too, while thunderous, occasionally feel a little flat, especially in the lower-end frequencies.
It’s not a deal-breaker, but for a band that prides itself on pushing boundaries, the production here doesn’t always feel like it’s living up to the ambition of the songwriting. That said, Badolato’s vocals are a standout, cutting through the instrumental chaos with an intensity that demands your attention, whether he’s delivering a guttural growl or a more melodic wail.
At its core, The Nothing That Is is heavy as hell, but it’s also emotionally resonant, politically charged, and musically adventurous. It’s a record that asks a lot of its listeners, both in terms of emotional investment and sheer endurance (seriously, this thing is a workout). But for those willing to go the distance, the reward is an album that’s as thought-provoking as it is brutal.
Release Date: October 25, 2024
Nuclear Blast Records
For fans of: Thy Art Is Murder, Lamb of God, Architects
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