New York death metal legion Immolation is back stronger than ever with Atonement, the band’s first release since 2013’s Kingdom of Conspiracy and their tenth full-length studio album.
To start this review I have to say holy shit to the cover art by artistic mastermind Pär Olofsson who has worked with the band previously for Majesty and Decay. Something interesting to note is that Atonement is the band’s first album since 1996’s Here in After to feature their original logo.
Sadly, in this new era of MP3s, we have lost sight of great album covers. The old days of vinyl are sorely missed by this guy because of the giant artwork and all of the bonus fillers you would get on the album sleeves. Cassettes started to shrink things far too much. CDs were a little better because they size was larger, but now, we barely notice an album’s artwork any longer, which is a shame.
“When the Jackals Come” is an intense piece with never-ending death metal riffs and a tone of darkness and despair dark enough to shake the unshakable. The track with inspired by John Perkins’ book Confessions of an Economic Hit Man. “Fostering the Divide” is a politically edged track that one cannot help but think points to the recent presidential election in the United States. “Above All” is the track that stands out to me the most though. It is anthemic in its approach and simply kicks ass front the moment the instruments sounds.
The band knows how to create a tone of darkness throughout an entire album and Atonement is one of the darkest albums that I have heard in a long time. Immolation is simply sinister and their songwriting continues to mature and evolve with Atonement ending up as one of the best albums that the band has recorded to date, and that is saying a lot about a band with a track record like Immolation.