Besides the clear Gothenburg overtones, there has been a musical evolution in Nightrage's identity, the likes of which blossom throughout this record in several unusual and unique ways. Shredders Marios Iliopoulos and Constantine hurl a series of catchy melodic death riffs that exploit the nature of Nightrage's Gothenburg roots with clever solos and harmonies. Unlike Nightrage's first two full-length releases, A New Disease Is Born captures a vast assortment of multiple riff changes throughout the album's total duration. Experimental elements are brought into play when the heavy riffing subsides, and clean guitar bridges take over the melodic tendencies into something much softer and prominent. The only bothersome condition of this release is the repetitive formula each track is based upon. You can expect the shift between heavy material and feathery interludes during most of the tunes here; it seems great at first, but the interest will be chipped after so many predictable intervals.

The replacement of Tomas Lindberg in the vocal category was a grueling task Nightrage had to face, but their decision to settle on Jimmie Strimell was a wise move for both band and singer. Strimell is a multi-talented vocalist; he can growl, scream, narrate, and sing while maintaining a sense of balance in his performance. The benefits of having a member that can alter various vocal positions are a key part in Nightrage's progression during this album. The stable symmetry between the diversified vocal categories allows expansion of experimental qualities and different musical styles. Strimell's growls are low and powerful during heavier parts, yet the singer is able to covert his voice into a beautiful clean style during soft passages. Strimell can't touch Lindberg's masterful work on Sweet Vengeance or Decent into Chaos but he does do a great job filling in Nightrage's vocal gaps throughout A New Disease Is Born.