When the topic of Technical Death Metal comes up in conversation, naturally, one would be so-inclined as to discuss Chuck Schuldiner and Death, but he'd be remiss to overlook Monstrosity and what's been a stellar contribution to the sub-genre on their part. "Millennium", "The Passage of Existence" and now "Screams from Beneath the Surface" - three career-defining records with the latter having just been released via Metal Blade Records. It stands as a beacon for genre trueness, as it simultaneously pushes the limits of said genre. Not to the max, but just enough to keep the music fresh. Just the way it was meant to be.

Percussionist, Lee Harrison - co-founding member of Monstrosity and drumming phenom has been a a scene-player for decades and has seen them come and go, all the while as Monstrosity has maintained their reputation as a prolific force; having navigated their way through their own perils and industry woes; resulting in one of the most favorably reviewed discographies in the business. During my latest interview for MetalBite, Lee discusses some of the band's defining features, his outlook on the current scene and a look into their latest LP, "Screams from Beneath the Surface", released this month via Metal Blade Records.

Jeger

Greetings, Lee, and welcome to MetalBite. It's been eight years since "Passage", which was a monumental album in my opinion. Now, the "Screams from Beneath the Surface" era has begun. How do you feel about the band in its current form with such a long-awaited new LP being released?

Lee: Things are moving right along! Won't be long until the tour starts and we can get back out to playing again!

A lot has changed in the Tech-Death world since the early '90's. Some of this stuff is hardly discernible as Death Metal anymore. I feel like Technical Death Metal should still be fundamentally grounded in traditional Death Metal mechanics. You guys nailed it with "Millennium". What's your outlook on the genre as it stands today when you compare today's Tech to, say, "Individual Thought Patterns" (Death) or "Millennium"?

Lee: Well, we always try to have a balance between technicality and brutality. Some bands can go too far, and you end up confusing the listener more than entertaining them. So, we've always tried to find that balance. I think with Millennium we got a little crazy with the odd time signatures, so with the release of "In Dark Purity" in 1999, we really wanted to find the perfect balance. And I think that's what we did. We've kind of been perfecting that formula ever since. For some of the younger bands playing technical music, there are some great musicians out there. But like anything, there's good and bad; it just depends on the perspective of the listener and the influences they bring into the experience.

Which era of Monstrosity do you feel has best testified to the band's overall vision for Technical Death Metal?

Lee: Well, if we're strictly talking about technical metal then Millennium is definitely the album that people are going to consider the best. That being said, I think all of our songs have a certain degree of technicality. We just want to retain the essence of strong songwriting and the art of arrangement. Technicality for its own sake can sometimes come across as showing off, and that's not really our thing. We do like to incorporate odd time signatures when it serves the song, though.

How would you say the last eight years has shaped Monstrosity? The world is a different place than it was when "Passage" was released.

Lee: I mean, we learn a little something from every album. There wasn't really anything in particular that happened in the last eight years that changed me. I was basically quarantining before quarantine was even a thing, so the pandemic didn't really affect me that much, to be honest. Obviously, life events do inspire us and influence us in certain ways, but I'll leave it up to the listener to decide whether it's for the better or for the worse.

What was your biggest challenge in recording "Screams from Beneath the Surface"?

Lee: Nothing too crazy, of course. It was mainly just the usual scheduling difficulties. We put in the time and work to make sure the material was as good as it could be. During the mixing session, we got a little critical about the guitar sound and ended up going back to change a few things. Of course, with every album there are things you'd change, and this one is no different. So really, everything's pretty much as expected. LOL

Exile, paralyzation and bewilderment appear to be some of the abstract concepts pertaining to the new material. Does "SFBTS" follow a concrete theme?

Lee: I don't know about those three words in particular, but we've always drawn on similar apocalyptic themes and end of the world scenarios as subject matter for our song lyrics. Death, destruction, war, all those kinds of things have been central to the inspiration behind our lyrics. This album is no different in that respect. I purposely try to retain a certain level of familiarity.

What does your touring schedule look like in support of the new album?

Lee: Well, at this point we're starting the tour on April 18th in Lucerne, Switzerland with Napalm Death. From there, we continue headlining for another three and a half weeks. Then we come back and play Maryland Deathfest again; this time with Napalm Death and Sinister. That should be a good one. After that, we're playing the Milwaukee Metal Fest. In August, we head to the Czech Republic for the Brutal Assault Festival. Following that, we're hoping to confirm a US tour for the fall, and possibly a South American tour after that. We'll see what happens. It's possible some of that may spill into 2027. But hopefully we can just keep the ball rolling and keep moving forward.

When you look back at Monstrosity, what about your career would you say has stood out most?

Lee: I'd just say we've stuck to our guns and persevered for as long as we have. We haven't given in to the usual business garbage that tends to bring bands down. We've been fortunate to keep it rolling this long, and hopefully it won't stop anytime soon. We'll see what happens. Thanks for the interview. Hope to see everyone out on the road. For merch and everything else, check: out www.conquestmusic.com and www.monstrosity.us.

Rising from years of persistence and creative evolution, God Against Humanity stands as the culmination of a long and determined journey. Founded by guitarist and vocalist David alongside drummer Simon, the band represents their second attempt at building something lasting after earlier lineup struggles. With the eventual addition of Benjamin on second guitar and Maxime on bass, the group solidified into a stable unit that has now been together for six years - long enough to refine their identity both on stage and in the studio.

Their debut album, "The Judgement", captures the essence of a setlist that has matured through four years of live performances. What began nearly eight years ago with a single song written before the band even formally existed has grown into a fully realized body of work shaped by collaboration, patience, and shared vision. Initially rooted more deeply in black metal, the band's sound gradually evolved into something heavier and more grounded in death metal, with lower tunings, weightier vocals, and a more refined sonic approach guided by a "less is more" philosophy.

Lyrically, the album navigates the harsh realities of the modern world through allegory and poetic imagery rather than overt political positioning. Drawing on themes of societal tension, personal isolation, and existential reflection, "The Judgement" - inspired by the tarot card of the same name - confronts humanity's tendency to look outward for blame rather than inward for accountability. Recorded entirely in a DIY fashion, often under challenging and unconventional conditions, the album preserves the raw, live energy that defines the band's character.

With this release, God Against Humanity closes one chapter while already moving toward the next. If "The Judgement" serves as a document of where they have been, it also signals a shift toward a more melodic yet still dark and intense future — one that promises growth, exploration, and perhaps new roads beyond their borders.

Tomek

How did the band come together, who plays in it, and when did the whole thing start?

The band was formed by me (David) and Simon (drums). We had been trying for some time to build a stable lineup, with more or less success. God Against Humanity is our second attempt. Once again, it took some time to find a solid and stable lineup. Eventually, Benjamin (2nd guitar) and Maxime (bass) proved to be the right people. The current lineup has existed for about six years.

How did you decide on the band name? Is there a story behind it?

The goal of a band name is to be unique (which isn't that easy when you consider how many active or inactive bands exist on the planet), and also to have a name that stands out with a strong meaning. There isn't a very precise idea behind it, except for a name that approaches most of our lyrical themes in a mystical way — namely, the harsh reality in which humanity lives.

When did you start writing the material, and how long did it take?

I wrote the first song about 7 or 8 years ago, before the band even existed. I composed it in around two hours; generally, I don't take much longer than that to write the basic structure of a song. After that, it's like wine — it needs time to age and improve.

All the songs are written following the same process: I write a first draft with the complete structure, then everyone adds their own spices and transforms it into the final result.

What does this first album represent for the band?

It mainly represents a setlist that has followed us for four years while the band has been playing live. It was time to seal it forever in an album. It is therefore the end of a chapter, and the second one is already well advanced in terms of writing.

Was there a clear vision for the sound from the beginning? How did it evolve?

At the beginning, we were much more black metal, even with the idea of having keyboards everywhere. But eventually, the sound became heavier, leaning more toward death metal. The guitar tuning went from E to B, and the vocals became less shrill and heavier. It all happened naturally.

Which song was the hardest to finish — and why?

Not really. There were never any technical challenges imposed. It's better to stay in your comfort zone to feel as comfortable as possible

Is there a track that best represents who you are right now?

Horizon, the last song written, announces a shift toward a more melodic death metal direction. At this point, there are already three rough drafts of new songs. They are more live-oriented and more energetic, with catchier riffs and less of a dreamy feel — while obviously keeping that dark and depressive side. We also tried to strip the sound down and make it more refined, following the artistic principle of "less is more," removing the superfluous to focus on what really matters.

Did anything unexpected happen during recording?

Nothing special, except that Benjamin had to sleep for two hours in his car because he was stuck 5 km from my place, where he was supposed to record, due to a bicycle race — the Tour de France.

Are there any risks or experimental elements on the album?

Not really, apart from a few arrangements. The songs had been played live so much that we improvised very little. Still, there are some small, previously unheard gimmicks here and there.

Are the lyrics personal, fictional, political, or a mix?

Most of the songs deal in an allegorical way with current societal issues. However, there is no taking sides, as there will never be any political stance from us. The lyrics are also somewhat personal — Castle of Dust, for example, talks about isolating yourself in a bubble to cope with the stress of the outside world. We believe that music should be something fantastical and imagistic, and that reality needs to be interpreted through poetry.

Is there a concept tying the songs together?

Yes, as mentioned above, the issues of our world. The album is called The Judgement, in reference to the tarot card. It depicts humanity facing God, facing itself — or rather the act of blaming God so as not to take responsibility.

What do you hope listeners take away after hearing it?

We don't have greater ambitions than hoping to offer the listener a pleasant moment that helps them disconnect a little from harsh reality.

Where did you record the album, and why did you choose that studio? Did you work with a producer?

The album was made entirely in a DIY way, with very limited resources. It was recorded at home in my humble home studio, and mixed and mastered by our friend Wicket at the Wicket Factory (Arras), who also brought his own touch to the album. He mainly works with post-rock, pop, and grunge, and gave the album a very "analog" feel — warm, slightly garage-like — which I absolutely love.

What was the biggest challenge in making this record?

Doing all of this ourselves, with very little means, was the biggest challenge. As an anecdote, the vocals were recorded between mattresses, by building a makeshift isolation booth to avoid any reverb, using a very cheap microphone, and in 32-degree heat. The vocals were recorded in a very live, no-cheating way, to stay as close as possible to the band's live energy. Sometimes you need special conditions to capture a specific emotion ;)

What are your expectations for this release?

The goal is first of all to seal the set we've been touring with and to turn the page toward new compositions. It might also allow us to tour a bit more outside our borders and go on a bit of an adventure. Once again, many thanks to MetalBite for taking the time to support our small band, and thanks to its readers as well. Hopefully, we'll be back soon with news about the next album.