The Spirit is back, and with Songs Against Humanity, they’ve brought out a raw, cosmic blast of melodic black/death metal that hits hard—at least for the first half. This duo from Saarbrücken, Germany, has made their name blending the icy precision of Scandinavian black metal with a more modern, forward-thinking death metal edge. Their fourth album continues that tradition, but with some interesting twists along the way.
From the get-go, “Against Humanity” sets the stage with an eight-minute epic that feels like a dark, galactic voyage. If you’ve been pining for that classic Dissection or Dawn sound, you’re in for a treat. The song is packed with galloping riffs that swirl through a cold, celestial atmosphere—exactly what you’d hope for from The Spirit. But it’s not just about replicating the past. There’s a subtle sophistication here, particularly in how the rhythm guitar and bass lock in together, giving the riffs a sense of depth that adds a fresh layer to their sound.
Next up is “Room 101,” which, despite the Orwellian title, isn’t as dystopian as you might expect—at least musically. This one leans more towards melodic death metal, with an anthemic structure that feels a bit more streamlined. There’s a hooky immediacy here that wouldn’t feel out of place on a mid-2000s In Flames record. The Spirit knows how to blend their influences without sounding like they’re just ticking off genre boxes.
One of the standout moments arrives with “Cosmic Rain and Human Dust.” The band plays with tempo shifts and time signatures in a way that feels both organic and calculated. You get these proggy hints, but unlike their previous record Of Clarity and Galactic Structures, which leaned heavily into progressive territory, Songs Against Humanity reins it in a bit. It’s a more focused, cohesive effort. The Spirit seems to have realized that they don’t need to throw in every technical trick in the book to make an impact, and the result is an album that feels both refined and raw.
“Spectres of Terror” is where things take a sharp turn. It’s fast, furious, and full of thrashy triplet gallops that harken back to early 2000s thrash metal. The main riff is undeniably catchy, and while the song structure here is more straightforward, it serves as a great palate cleanser after the more intricate earlier tracks. There’s almost a bit of arena metal sheen creeping in here, but The Spirit pulls back before things get too polished or predictable. It’s like they flirted with accessibility for a moment, then thought, “Nah, let’s not go there just yet.”
But here’s where the album starts to stumble. After the furious energy of the first half, Songs Against Humanity begins to slow down. “Death is My Salvation” is a solid track, but the vocal delivery, while effective in small doses, starts to feel a bit one-note. The raspy growls work well with the band’s more intense moments, but when the tempo drops, they can start to drag things down a bit. That said, the song’s atmospheric touches and the ever-reliable guitar work keep it from becoming filler, but you can’t help but feel the momentum starting to fade.
By the time we get to the final couple of tracks, the energy has taken a noticeable dip. “Nothingness Forever” and “Orbiting Sol IV” are decent enough, but they don’t carry the same weight as the first half of the album. The instrumental closer, in particular, feels like a bit of a letdown. It’s heavy, sure, but it doesn’t provide that sense of closure you’d want after such a high-octane start. It’s as if the album starts with a bang and ends with a shrug. You’re left wanting just a little more from a band that clearly has a lot to offer.
Still, despite some of the pacing issues, Songs Against Humanity is a solid addition to The Spirit’s discography. The production is pristine, the mix is warm and clear, and the overall vibe strikes a nice balance between modern polish and old-school black metal rawness. Eliran Kantor’s artwork is as stunning as ever, perfectly capturing the album’s cosmic nihilism.
If you’ve been following The Spirit since their debut, this album will feel like a natural evolution. They’ve fine-tuned their sound, dialling back some of the more experimental elements in favour of a tighter, more focused approach. The first half of the album is an absolute ride, and even though the second half doesn’t quite keep up, there’s still plenty to sink your teeth into.
In terms of progression, Songs Against Humanity shows a band that’s maturing. They’ve learned to balance their technical prowess with the emotional weight that comes with great songwriting. Sure, it’s not a perfect record—the back half feels like a bit of a drag—but when The Spirit is on form, they deliver the kind of cosmic, melodic black metal that’s hard to ignore.
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