Humanity is Cancer's message is simple: collectively, as humankind, we blew it. There's a strong argument for that, I'd say, and certainly the theory's strength is proved through the group's upcoming self-titled expression of disgust. Featuring current and former members of Nunslaughter, Abigail Williams, The Faceless, and more, the Humanity is Cancer EP is an upper-echelon slab of gnashing death metal and sawtoothed grooves that argues its point through overwhelming density. We're premiering the track "Beyond Salvation" -- take a listen now.

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Humanity is Cancer's colossal death metal is easy enough to follow, but it's no slouch on technical aspects. The meta-rhythm created by the intricate arrangements flows effortlessly, with the proper head-banging cadence immediately suggesting itself. But like gazing into the hidden details of a masterclass painting, deeper listening reveals a seething, intricate machinery inside: micro-fragments of insanity, near-instant note flurries, and subtle technical flourishes. However, you can always sit back and let yourself be pummeled without getting your brain involved.

"Beyond Salvation" is perhaps the most deliberate song on the record, taking the cynical brutality of the band and slowing it down. The bone-snapping mid-tempo grooves make good company for the atonal dissonance and atmospherics on display, giving them breathing space to sweep out and spread their miasma. Plus, as the song builds to its crescendo, the pacing allows room for increasingly ridiculous double-bass and crushing re-iteration of the key message: that being, of course, that we're all fucked.

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Humanity is Cancer EP releases November 13th via Redefining Darkness.
Regarding "Beyond Salvation," project founder Thomas Haywood comments:

'Beyond Salvation' is the slowest, grooviest, and dare I say, bleakest track on the EP. I felt there needed to be some type of variation from the break-neck speed of the rest of the album. I am always trying to come up with different / unique ways of emoting darkness and creating a vibe when writing. I experimented with some wacky "Gorguts-like" chords, I like to call them, to try and exhibit a certain ugliness.. I really wanted to leave a lasting statement with the last song on the album.


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