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Review of the Album "The Sickness Within" by Danish Death and Thrash Metal Band Hatesphere

Ara is a journalism graduate from California State University, Northridge, who is always looking to explore his writing opportunities.


Introduction to "The Sickness Within"

Hatesphere, a really heavy death and thrash metal band from the great nation of Denmark that has a habit of changing lead vocalists still had Jacob Bredahl as their lead vocalist at the time of the release of what was their 4th studio album called The Sickness Within. There is the obvious angry feel in these vocals otherwise it wouldn’t really be a Hatesphere album would it?

Hatesphere Is Not a Band Whose Albums Are Easy to Listen To

There is something that must be said though and that is that due to the extremely aggressive nature and feel of these albums it is sometimes really hard to sit through an album like this.

How This Album Differs From Previous Hatesphere Albums

There is some more melody in this album compared to previous albums from this Danish band. One example is in the song “Heaven is Ready to Fall” as the middle section of the song has some orchestration in it that may sound classical in nature. There is a sort of melodic feel that may remind some of us of the band In Flames. There is more of an effort by Jacob Bredahl to diversify his vocal approach and this is actually a good thing because then we get to hear not just his usual rough vocals but also a lower octave voice that sounds like he is narrating a story to us.

Analysis of the Album's Title and the Songs

The title of this album might as well describe the various kinds or types of sickness in the human heart. One of these sicknesses is the addiction to violence and war, something we are now witnessing as a result of the Ukraine conflict. There’s also a very noticeable Swedish metal feel such as what you would hear by Arch Enemy and an example of this is in the song called “The Fallen Shall Rise in a River of Blood.” Stylistically it is also possible to hear influences ranging from The Haunted as well and this is present in the song called “The Coming of Chaos.” The title track lyrically can be interpreted as somebody literally suffering from some blood borne disease or in one of the lyrical passages there is reference to the fact that the world is on fire and that there is a sickness that is coming to greet the world. I don’t know if Hatesphere knew at the time that there would literally be a sickness that would engulf the whole world and drive people to get indoors and stay there for an extended period of time. It could be said with a bit of inference that this 2005 album was made with the intention of hypothesizing that a big pandemic was going to strike the planet eventually. The album is trying to point out in an indirect way that there are more types of disease rather than just your standard cold or flu.

Not the Best Album By Hatesphere But Still Good

The Sickness Within would have been a better album if Hatesphere had done more to incorporate more of the melodic death metal style parts such as in the song “The Coming of Chaos.” The whole album is an album full of angry riffs and lyrics that are about inflicting pain and chaos on others. It is also for this reason that this album is not quite an elite death metal release but still it is a good one to listen to if you are already familiar enough with this Danish band’s material. “Chamber Master” is lyrically about a person whose soul has become rotten with corruption and that he must be dealt with before he causes more harm. If you enjoy riffs that are anger filled and hit your senses like a sledgehammer then this album will be one of your favorites in the hybrid of death metal and thrash metal. If on the other hand, you crave an album with more melodic passages, then this one may disappoint you slightly.

This content reflects the personal opinions of the author. It is accurate and true to the best of the author’s knowledge and should not be substituted for impartial fact or advice in legal, political, or personal matters.

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© 2022 Ara Vahanian

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