Review by Alex on December 6, 2020.

Rogga Johansson is involved with many metal bands within the underground and more times than not something is being released or in preparation; this time he has aimed his creative death metal cannons at Revolting. Having been formed since 2008, the band has grown to almost a thing of massive dominance and respect within the Swedish underground metal scene and worldwide. Having already racked up a total of 6 full length albums with another on the way, Revolting's gears continue to turn with no sign of slowing down or stopping. Their next entry and contribution to Swedish death metal comes in the form of The Shadow At the World's End, out on Transcending Obscurity Records on November 27th, 2020.

Let's get something out the way first. I'm by no means a great supporter of Swedish death metal for a few reasons I'd rather not get into at this time. However, something about this new Revolting album caught my attention and I'm really beginning to figure it has alot to do with the artwork it boasts. I mean damn that looks straight out of 1991/92. Something about that purple aesthetic and detail that just reminds me of Gorguts' "Considered Dead". Then comes the music itself that leeches onto your mind with repeated listens. Thus said, it's become relatively difficult for me to forget The Shadow At the World's End due to its high replayability.

These songs keep you coming back every-time, bringing me to the main reason as to why The Shadow At the World's End is such a fantastic album. Opening with 'Defleshed', the record lunges at you with a marvelous melody and guitar hook that drives the thrashing death metal. Also the vocals don't just appear anywhere, there's purpose behind each line and placement. They don't interrupt the great pieces of music, instead the vocals act as supporting pillars for the instrumentation. '1888' doesn't focus on melody, rather it utilizes lots of groove in transporting you to doomy sections and a black metal influenced latter portion. Not the strongest track but definitely not a weak installment on The Shadow At the World's End.

That break from melody aided the build-up for self-titled track 'The Shadow At the World's End' that once again has one of the best melodic pieces in the form of its main riff. Same is to be said for 'Sorrow As a Companion' that smears melancholia via its catchy rhythm. And with the songs being so short, you're left like a saddened lover begging for another chance to hear the music. And that's something Revolting does particularly well on this record; they give you just enough to keep you returning for more or wishing for another taste when it's not present. Some of the best songs on The Shadow At the World's End have very effective melodic guitar leads and mid sections that are just as strong.

'Daggers that Mimic Life's Pain' and 'Dragged back To the Cellar' do a wonderful job in closing out the first half of the album through more sturdy melodic incorporations, while 'To the Bitter Bleeding End' and 'Revolted by Life Itself' basically do a victory lap run. These songs just apply definition, detail and dynamism to the black, white and grey walls of death metal. Everyone played as though their role was vital to the final outcome of The Shadow At the World's End. The drumming, the riffing, bass, vocals, production and artwork really put on an exhibition to remember.

The Shadow At the World's End is one of the best Swedish death metal albums I've heard in a long time. Hits all the main points and doesn't overstay its welcome. Another mountainous piece in Revolting's discography and existence as a band.

Rating: 8 out of 10