Risen from the ashes of Bolt Thrower in the wake of Martin “Kiddie” Kearns’ tragic death, Memoriam have proven surprisingly prolific, Requiem for mankind being the band’s third album since 2017’s well-received debut, for the fallen. Adhering to the sturdy death metal formula that has served them so well, requiem for mankind offers up ten, blistering new tracks produced by the ever-excellent Russ Russell and clad in typically moody artwork from long-time collaborator Dan Seagrave.
Opening with shellshock, it’s clear that this most belligerent of institutions has picked up a few new tricks along the way, the band demonstrating a sense of the epic to match the heavy themes of the track. Emerging from a haze of feedback and noise, shellshock captures a sense of horror before exploding into life, the relentless thunder of the drums underpinning a searing death metal riff, over which Karl Willets spits his vocals with unnerving venom. As album openers go, it’s pretty much ideal and it sets the pace for what is to follow. Up next, the dirty groove of Undefeated recalls the savagery of Obituary, the gruelling riffs proving to be surprisingly catchy in spite of the band’s uncompromising approach. Things take a more gruelling turn on the menacing never the victim, although Scott Fairfax’s lead work adds a stately feel to proceedings. However, the band’s ire reaches a peak on the ferocious austerity kills, a devastating take-down of the unforgivably immoral state of the UK Welfare system. In contrast, the Bolt Thrower-esque churn of in the midst of desolation gains even greater weight from its slower pace, fixing the listener in its fierce gaze and holding them, paralysed, as the music slowly rolls over them.
Opening the album’s second half, the mid-paced Refuse to be led sees the album benefit, once again, from Scott’s exceptional lead work, the harmonised guitars adding a sense of grandeur to the track before the storm clouds gather once more and the band close ranks around a grinding riff that is guaranteed to get the mosh pit moving. The dark groove of the veteran has an early Sepultura vibe, Karl grinding out the lyrics from between clenched teeth. The track’s slow, methodical tempo paves the way nicely for the monstrous title track, a near-six-minute exercise in crushing old school death metal that cuts to the very heart of Memoriam’s appeal. Even heavier is the maelstrom of hate that is fixed bayonets, a thunderous representation of the fear that so simple a command can engender. The album ends on a reflective note, the four-minute instrumental of internment providing a coda to the album that sees it out on a high. Almost filmic in its orchestral grandeur, internment brings the curtain down on an immensely satisfying album leaving the listener somewhat in awe of Memoriam’s single-minded dedication to the death metal cause.
Entirely uninterested in fickle fads, Memoriam are dedicated to their craft and this album sees the band reach a new peak of utilitarian savagery. With ten tracks dispatched in just under fifty minutes, there’s very little in the way of fat and Russ Russell has provided the band with a suitably huge sound that is both densely heavy and yet well separated enough that every element shines through. A must for all fans of old school death metal, requiem for mankind is the most comprehensive statement Memoriam have made yet. 9
