Fit For An Autopsy has been one of my favourite deathcore bands since the release of 2017’s The Great Collapse. We all know I love deathcore in general, but even I have to admit that there can be a need for more memorability and dynamics in the genre. Fit For An Autopsy has consistently overcome such qualms with masterful and memorable riffs, atmospheric arrangements, political lyrics, and incredible performances woven together by guitarist/composer/producer Will Putney. The band has been active since 2008, and their output since has documented an exceptionally heavy band evolving towards an ever more melodic and atmospheric sound without compromising their core metallic roots. Then, their 2022 output, Oh, What the Future Holds landed the band on the Top 25 of the Billboard Top 200. So, does The Nothing That Is continue on that trajectory toward commercial success or move in another direction?
In their announcement of The Nothing That Is, Fit For An Autopsy stated:
‘This is our most powerful record to date….‘
What makes something powerful? The first single, “Hostage,” comes out of the gate with some downtuned half-time grooves that are, if anything, intentionally streamlined and deftly heavy. Honestly, at first, it almost seemed too simple to me. So maybe powerful means heavy? But then we also get some of the most significant use of clean vocals in a Fit For An Autopsy song to date for a powerful, emotional chorus. While the use of simplified grooves and hooky vocals might raise the alarm for some fans of the band, rest assured that both are seamlessly integrated into the band’s sound. These pronounced elements feel like a natural evolution of the band’s sound. Plus, the group’s signature complex riffage from Putney, Patrick Sheridan, and Tim Howley remains very present in the opener and record to follow, so never fear!
“Spoils of The Horde” ups the tempo, leaning more heavily into the punky hardcore of the group’s origins alongside staccato, darting leads that dance between syncopated chugs. The second single, “Savior of None – Ashes of All,” moves even quicker while remaining atmospheric and epic. The riffage here feels like a call back to the record that first drew me into the band – The Great Collapse. Clean singing sparsely but effectively provides a hook and anchor amidst the track’s pounding toms, mind-bending riffs, and guitar heroics. I have to shout out drummer Josean Orta for such a signature and dynamic performance on this song, and throughout the record.
With ten tracks and 44 minutes, Fit For An Autopsy keeps its records tight and concise (having the same amount of tracks and similar lengths for the past three records). At the album’s midway, we have “Red Horizon”, which starts with chiming clean guitars before packing in some neck-wrecking riffs, devastating political commentary, and hooky riffs with an exceptionally hard-hitting breakdown that reaffirms that Joe Badolato has some of the best pre-breakdown callouts in the game: ‘The bodies burned so bright that God closed his eyes.‘
I’ve listened to The Nothing That Is on repeat for a week or so. It hits hard, every time. Fit For An Autopsy has some of the best songwriting chops in the extreme metal game. Every song is heavy, atmospheric, hooky, and riffy. The increased incorporation of clean singing sets the album apart most from its predecessors. However, this vocal style still takes an intentional backseat to Joe Badolato’s textured shrieks and bellows – I would disagree with anyone calling this direction a ‘sellout.’ The one critique we could extend to the first two-thirds of the record is that it is so consistently good but in too similar a way. It’s not until the seventh track on the record, “Lurch,” that things slow down enough to feel like a reprieve from the intensity to that point. “Lower Purpose” is similarly moody in its opening, conjuring dark ambient textures before moving to a crushing conclusion.
The Nothing That Is is a crushing record from start to finish, honing even its quieter or more melodic moments to a sharp edge in the service of solid songwriting and social commentary. While some more variation in arrangement and dynamics during the earlier part of the record would have been welcome, it’s hardly a misstep when each track is so strong on its own merits. The Nothing That Is continues Fit For An Autopsy‘s winning streak, and I hope to see it propel a group this talented to greater heights.
