I could spend this whole review talking about how the album sounds like dismembered bodies or whatever, which is kind of funny, because it actually sounds like dismembered bodies. "The Fleshland" marks seventeen years of doing the death metal dance for the gentlemen of Coffins, and I think it's safe to say that this isn't a radical departure from any of their previous works by any stretch of the imagination. Coffins' style is uneasy, unpolished, unostentatious. The band makes no attempt to appear larger than life or to prove itself an elite master of death metal, and I think that's a point often missed when this type of record rolls around. The riffs are often slow-cooked and grimy, conjuring ripples of the guileless Autopsy, mixed into a raw sound quality that brings the bass, drums, and vocals into equal perimeters. That said, the atmosphere is archaic and dirty, bringing life to the undead essence of "The Fleshland" through the filthiest of sounds.

Obviously things on the musical end are far from sanitized. Right from the get-go Coffins dives into a swamp of sludgy, crawling riffs and brutal grooves that once again conjure the works of Autopsy, Celtic Frost, Asphyx, and other primitive idols of death metal. "Here Comes Perdition" and "Hellbringer," the opening tunes, are the best songs here; they're both neck-snapping drills of atonal, creepy guitar work and precise percussion patterns that hammer home the definition of barbarism. "The Colossal Hole" and "The Vacant Pale Vessel" show the group's doom obsession, clearly drifting away from the occasional up-tempo themes and instead dwelling on clobbering sections of slow riffing and punishing brutality. Heavier than heavy itself. "No Saviour" kills everything with a savage riff and some of the rawest blast beats I've ever heard. The undercooked quality is maddening.