Review by Michael on January 17, 2023.

So after all these years of listening to Obituary they finally surprised me with their new and 11th full-length album Dying Of Everything. Kicking off with some keyboard sounds they have switched to some more gothic-like music with some female vocals…………

So, everybody who got shocked now – stay calm. I am just kidding! Dying Of Everything is of course a very solid Obituary album without any surprises and if I had to compare it to some of its predecessors, I would say that it has some similarities to The End Complete or the 94 follow-up World Demise what you can clearly notice in the opener 'Barely Alive' with the typical Obituary staccato- riffs and the usual groovy drums. Most of the songs groove as hell just like this one and this time Floridian guys have focused more on some mid-tempo tracks. Some of the tracks like 'Without A Conscience' or 'War' may be quite average for Obituary (which still is beyond the “normal” average) and with the closer 'Be Warned' you have a very lame and boring song which is fortunately at the end of the album so that you can turn it off six minutes earlier.

There are also some really amazing killer tracks on the album like 'The Wrong Time' or the title track with an interesting drum pace at the beginning. John Tardy's vocals sound as fresh as 30 years ago and his “ughs” and his sick grunts here and there are fantastic death metal entertainment (although he sometimes exaggerates with these grunts in some tracks). Another fine example of the typical groovy death metal Obituary plays is 'My Will To Live'. I would say that if you had to play a song to someone to characterize most of Obituary’s musical history this one may be a good one for that. But my personal favorite tracks on Dying Of Everything are 'Weaponize The Hate' with easy understandable lyrics, a faster pace and some really great guitar solos which reminds me a lot of 'World Demise' and 'Torn Apart'. This one has some more galloping and groovy elements and is goddamn catchy. These two songs might be the best ones that the guys have released within the last 20 years. The production is done very well although sometimes the drums sound a little bit hollow and John Tardy's vocals a little bit thin. But that is just moaning for complaints sake.

Dying Of Everything is a good album which naturally doesn’t top Cause Of Death but it also has not become their weakest one. If you like Obituary you'll probably enjoy the album very much but if you have never heard them before (there isn't anything wrong with that by the way) better check out Cause Of Death first.

Rating: 8.5 out of 10 dying points

Review by Norbert on January 15, 2026.

My first encounter with Species was a concert experience. A while back, I went to a party where they were supporting a foreign band. I went to see them completely clueless, without having done my homework, knowing only to expect "technical thrash metal from Warsaw." The mere entrance of the three musicians on stage (me being one of Rush Ultras) made my heart race like after a quadruple espresso (I usually drink triple). Before me stood a band that looked like it had been teleported straight from the late '70s, only with more Hawaiian shirts. Rush, in floral prints, rarely appeared; Species seemed to have decided that if you're going to play space prog thrash, you have to look like the crew of an intergalactic bar from 1980.

And then they played.

What's described on paper as "technical/progressive thrash metal with death and jazz influences" proved live to be something between a nervous system assault and a cosmic journey. It's metal, it's aggression, it's riff after riff, but underneath there's so much nuance that you don't know whether to headbang or stand still and analyse what just happened in that single bar. And here's where Species' greatest gift comes in: they're morbidly "complex," but never "overcomplicated."

The Warsaw trio launched in 2019 with the EP "The Monument Of Envy," and three years later, they delivered a stunning full-length album, "To Find Deliverance," released under the Chinese label Awakening Records. And honestly, when it comes to technical thrash with a Polish passport, few things are as mind-blowing. This is the kind of music that can easily be placed alongside the "weird" records from the late '80s and early '90s—somewhere between Coroner, Voivod, early Cynic, and the European techno-thrash from the outdated but beloved catalogues of Noise and other small labels. The bass isn't just there to double the guitar—it moves, bounces, meanders, and engages in dialogue with the riffs. There are moments when you think: "Hey, this could have been recorded by the guy from Cynic or Atheist", and then you get a classic thrash, as if someone had put on an old Kreator and thrown you right in front of the stage at a concert in Essen.

Guitars? It's a wild ride: sudden tempo changes, surprising bridges, licks that leave a mere mortal scratching their heads and wondering how many fingers they need to grasp it out. And just when you think these guys are "only" playing thrash, suddenly come almost jazzy motifs, acoustic interludes, some fusions that would normally be found on a prog-rock album, not on one where the song titles sound like descriptions of a catastrophe or the end of the world. And yet it works—and best of all, it doesn't kill the metal beat.

Piotr Drobina's vocals are a story in themselves. It's neither a death metal scream (much less a growl) nor a typical thrash screech. It's something between a pissed-off Mille from Kreator and the late Schuldiner, just infused with Polish sensitivity and a penchant for lightly shredding his pie-hole. At first, it might seem "strange," a bit rough, but after a few tracks, you suddenly realise that this kind of expression perfectly complements those twisted riffs. It's a similar case to Geddy Lee from Rush – not everyone tolerates him from the first listen, but once you get the hang of it, you're completely hooked. And it's the same here: when Drobina roars about catastrophes, machines, existential cosmos, and other pleasures, you truly believe him.

"To Find Deliverance" concludes with 'Ex Machina,' an eleven-minute-plus juggernaut that truly showcases Species' power. It's all there: lurking, atmospheric passages, pure thrash accelerations, sections where the bass practically dances with the guitar, and the drums can sound like a garage demo from '88 one moment, and the next as if a maniac had been pounding away at the kit for hours—practising until their hands were practically made of rubber. And while some listeners might fall into the trap of endless instrumental masturbation on such a long track, Species keep the narrative straight from start to finish.

Their debut was brilliant. But three years later, the Warsaw band released "Changelings." An album in which they decided that since the bar was high, they'd raise it even higher. There's less of the classic thrash thrashing, more progression, more intricate structures, more of an atmosphere reminiscent of "Focus," "Unquestionable Presence," or late Death. Even more cosmic, even more sci-fi, even more "adventure," as Chuck Schuldiner once said—because, indeed, listening to Species is an adventure, not just passively taking riffs in your face.

"Changelings" was released by the American label 20 Buck Spin – and it's the Polish band's first album released on their label. For anyone familiar with the label's profile, it's a sign that these Warsaw natives can truly make waves on the world stage.

The album's opener, 'Inspirit Creation,' immediately sets the tone: full-fledged progressive/technical thrash, unafraid to touch on jazz, '70s progressive rock, and even, at times, old sci-fi soundtracks. 'The Essence,' on the other hand, is a quick punch in the face – singular, solid, yet packed with so many ideas that another band would have made three different tracks out of them. 'Waves Of Time' flirts with something resembling a ballad, with clean vocals (a bold move for some, a total bummer for others – a matter of taste), and the whole thing still hits you with a solid, progressive vibe. And the instrumental 'Voyager' is pure "science fiction metal" - as if Rush, Cynic, and some space horror crew sat down in the studio and decided to record the soundtrack for a flight through a nebula.

For dessert, we have 'Biological Masterpiece' - another over ten-minute monster in which Species throws all their best tricks into the pot: thrash motorics, fancy licks, sudden slowdowns, fantastic melodies and a finale that makes you involuntarily start nodding your head and gives you the impression that the entire room is caught in a cosmic storm.

The coolest thing about it all is that, despite all the technicality, the number of notes per minute, and the fret bends, Species never sounds like some kind of "musical masterpiece" where someone ticks off complicated licks. There's heart here, there's a joy in playing, there's that old-school, slightly garage-rock feel missing from so many perfectly polished but completely soulless contemporary productions. The sound is clear, but not sterile; you can hear the wood, the strings, the sweat, not the smooth, artificial sounds straight from a computer.

Is this music for everyone? Absolutely not. If someone's looking for thrash to wave a pint at, they might be disappointed. But if you like metal with a lot going on but with a clear head, with twisted but memorable riffs, with the bass really playing and not just being there, then Species could easily become your little musical addiction.

After the concert mentioned at the beginning (as a side note, I saw them live three more times after that), I came home, put on "To Find Deliverance," and thought, "Okay, there's still something unique to be said for this genre." And since it's being performed by guys in Hawaiian shirts who sound like a cross between late Death, Cynic, Voivod, and Rush on acid, all the better. After all, metal should be an adventure. Species not only deliver that adventure, but they also surpass it.

Rating: 9 out of 10