Grave has always had a weird position in the Swedish death metal echelon despite the faction's unblemished loyalty among death metal legions worldwide. Ola Lindgren was never able to get the attention that groups like At The Gates, Entombed, or Dismember obtained, yet the Grave leader has carried on and made his creation one of the most respectable bands from Sweden. "Burial Ground" continues a trend often found throughout the band's discography; it does nothing to avoid the massive levels of guitar distortion and buzz-sawing chunkiness which have been signature traits of Grave's evolution since the monster's unearthing. I suppose it's significant to mention some might find the boiling, rotten slaughter a bit tedious or expected, yet "Burial Ground" still has a degree of appeal that hurdles itself past the dire side of abusing a blueprint into the ground."Burial Ground" is a proper response to the band's "Dominion VIII" release, which showcased ripping buzz-saw riffs, plummeting heaviness, slow-roasted doom sections, and other trademarks found throughout Grave's discography; "Burial Ground" is really no different. Grave, of course, represents the epitome of Swedish death metal, as the band has become a vital representation of its incarnation from the constant portrayal of the scene's mannerisms: fiery riffs, chopping distortion, abusive percussion, shattering doom sections, and red-meat production. In Grave's case, this is the world of "Burial Ground" from point A to point B. Ola Lindgren's acidic vocals are still lower than the Westboro Baptist Church's credibility; the band remains proud of doom numbers like the seven-minute title track; and you can expect riotous solos that reek of Slayer worship ...check, check, and check.
That isn't to go without saying Grave's equation has a devilish charm attached to it that subsides vehemently within "Burial Ground," however. "Semblance in Black" and "Dismembered Mind" remind the listener what mauling death is supposed to be: sliced picking drenched in Swedish blood and butchering heaviness smashed into an evil juxtaposition of gore. Something like "Bloodtrial" defines brutality in death metal; those slowed sections bang like thunder, not to mention Karl Sanders' guest lead is maniacally suited for the attack. And just as a side note, "Sexual Mutilation" is actually a rerecording of a demo song that never appeared on a future release until now, and it rightful sounds technical, chaotic, and definitely Grave. It may not be the most individualistic record ever, but Grave can never screw up this sound even though they've made a career out of repeating their formula over and over again. I guess the Grave will always have the goods.
With Grave, you always know what you're getting into; "Burial Ground" is a carbon copy of everything nasty and dirty that made this crew so fun in the first place. And as I said, there is no colorful experimentation or otherworldly design that changes Grave's genetics within "Burial Ground," so don't think the group is flying across the musical spectrum with progressive elements or uncharacteristic qualities. Instead, embrace the album for what it is: filthy, maggot-infested death metal. "Burial Ground" is far from revolutionary and not on the same level as the band's "Into the Grave" record or newer smashes like "Dominion VIII", but it has the riffs and might to keep death metal fans banging their heads for listens to come.