“You shake your ass but you’re already dead.”

If you don’t know my reference, that’s okay and maybe this review isn’t for you. The truth is Daath hasn’t missed. They have a stellar discography and I’ve never been disappointed. So, their new one The Deceivers, their first in 14 years, was heavily anticipated. What matters is whether they still bring the tunes.

They do. You don’t have to look far for proof, either. The first track, “No Rest No End” has only a brief guitar intro, before jumping into a tremolo riff. I know the boss will be happy to hear some keyboards as well, which remain present in many places across the album. Where Daath succeeds the most as a modern metal band, has always been with their hooks, and there’s a big, sexy one here. The main verse riff is quite good, but I will admit that perhaps the drums are loud enough to overshadow the other instruments. It’s certainly not an issue, especially when they don’t drown the extended guitar solo section.

Moving further, “Ascension,” makes me take back my initial comment on the mix, as everything is heard very well. I’m not sure if it’s my ears or inconsistency. The fact I have Tinnitus is irrelevant. My ears weren’t ringing during this, though. What’s special about this track are the keys and the guitar leads. What Daath does with the keyboards reminds me of Phlebotomized. However, whereas they can let the keys take over, Daath doesn’t travel down that path.

The longest track on The Deceivers is “The Silent Foray.” Sean Z’s deep growls, which I’ve yet to mention, are potent and discernible. While this track may lean a little towards the metalcore side, it’s not without heft. Near the halfway mark, before the lead, I swear that’s a theremin. Punch me in the face if I’m wrong. Or do it if I’m right. I might like it. With less than 2 minutes left, the track goes into what I thought would be the “outro,” with a subdued electronic break, but that’s all it is. The song picks up again not long after.

Since I am running out of room (a self-imposed limit of a page since I’m not sure many read past that), of course, I must mention the last track, “Into Forgotten Dirt.” I’m predictable with my flow, what can I say? It’s around 5 minutes and is one of the longer tracks, but they all hover near the same runtime. What I’m saying is that it’s not an outlier, but still a badass track. It has a great hook, the keys are relegated to the background as an enhancement, and Krimh’s drum performance shines, as usual. Daath has always had great leads, but this time they’re performed admirably by Rafael Trujillo, whom you may know from his days with Obscura. Then, without warning, the track is over, as well as the album.

Phew. I was prepared for this new one from Daath to immensely disappoint me, despite my affinity for their discography. I said 14 years between albums is too long. However, they bring it. HARD. There’s no lull in the album, no tracks to skip, and no questionable songwriting decisions. The Deceivers gives me the feeling of a band on fire and ready to take over the world, not one that has been dormant. I believe they never got their due praise the first time but am hopeful they will now. They’ve earned it.

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