Orbit Culture is one of those bands you cannot help but root for. The Swedish melodic death/groove metal band has been around for over ten years now, releasing four records and a handful of EPs, and the lads really feel like they’re giving it all they’ve got! I caught onto them towards the end of their Rasen album cycle, and thoroughly enjoyed Nija. When I heard their newest singles, I was excited to take a deeper dive into their latest offering, Death Above Life.

The band has a sound that truly feels unique in a sea of carbon copies and knockoffs. They blend the thrashy parts of Metallica (whom they cite as one of their major influences), with the heavier groove of a band like Decapitated. All the while throwing in electronic, industrial, and symphonic elements to their tracks, to create a heavy, chunky slab of catchy modern metal. With Nija being as solid and fresh as it was, I was all in on this band.

Sadly, their previous full-length Descent didn’t grab me as much, but I chalked it up to not giving it due diligence, and their EP The Forgotten fared better. I was still on board with Orbit Culture.

The singles off Death Above Life showed promise. “The Tales of War” opens with a symphonic hook that gives me a nostalgic boost from Hypocrisy’s “Fractured Millennium”. In classic Orbit Culture style, we are immediately dropkicked by heavy groove with that industrial oomph, and we’re all systems go! With plenty of groovy guitars and drums, a catchy keyboard hook, and trademark Orbit Culture death-thrash vocals, this is what any fan would appreciate. Continuing the journey, the cyberpunk-y “Hydra” evokes more menace with its more lumbering pacing. Orbit Culture has nailed the art of writing seemingly simplistic chuggy rhythms, but making them sound so anthemic that it is impossible not to move in rhythm. The quicker and more melodic “Nerve” leaned more towards its melodic death influences and would appeal to Soilwork fans. The title track “Death Above Life”, hoo boy, this one really got me! With pounding drums and push-forward guitars, the song drives home its central motif like a power drill into your skull, in the best possible way. I am always extra critical of title tracks because they ought to be flagship songs to define that record’s sound. In this regard, “Death Above Life” nailed the brief. The mix of electronic samples and the pummeling groove locked in between the mid-paced chugs, interspersed with some nifty tremolo-picked riffs, growled over with raw aggression, is a recipe for success.

Moving away from the singles and consuming the record from end to end, Death Above Life is Orbit Culture doing what Orbit Culture does best, with a few tricks up their sleeve. Album opener “Inferna” is riff city, with an uplifting chorus, highlighted with soaring string arrangements; the track evokes feelings of overcoming adversity and is a heady feeling. In contrast, “Bloodhound” kicks off with pure Decapitated worship, laced with Orbit Culture electronics. Some of the choppy, glitchy moments, with the staccato vocal delivery, also weirdly reminded me of a beefed-up Slipknot! Towards the back end of the record, “The Storm” has an almost Amon Amarth-ish texture to it with its tremolo-picked riffs, and viking-ish melodeath themes. Closing out the record, “The Path I Walk” is an emotional ballad. With reverb-laden clean vocals, memories of Slipknot’s “Snuff” bubble up. The track feels like an epilogue to the journey that was Death Above Life.

Overall, I enjoyed what Orbit Culture offers up with Death Above Life. However, I fear those fans looking for substantial progression and innovation will be disappointed, as I was in their stead. Those who have steadily followed the band’s trajectory have noticed that they have found their formula and stay within their bounds. Those who enjoy this formula will enjoy this record. I appreciate forward (or even lateral) progression between records, and that momentum is missing. While the band toys with some novel elements, the “industrial/symphonic laced thrashy modern metal” sound settles into a comfortable staple. In addition, as a common complaint with recent Orbit Culture records, the production is overly dense and compressed, often feeling like the sonic layers are crushed between two industrial pistons. In many of the more layered arrangements, the downtuned, extended-range guitars feel drowned out by the industrial elements, leading to a bottom-muddled mush.

All complaints and nitpicking aside, I am still a fan of what the Swedes in Orbit Culture are doing. Founding member, guitarist, and vocalist Niklas Karlsson really feels like a modern-day James Hetfield, not only with his approach to songwriting, but his persona and aesthetic as well. His earwormy rhythms are so damn catchy, and he excels at making simple, straightforward thrashy chugs sound enjoyable in context. Deserved praise for his efforts behind the mic. What started off as Hetfield-worship on earlier records, his vocal range is quickly broadening with punchier growls, harsher barks, thrashier cleans, and even some melodic crooning. The rest of the band are relatively newer additions, but Karlsson is firmly helming the ship. It will be interesting to see the newer members add their own flair to the Orbit Culture songwriting formula, and perhaps add some much-needed twists and turns to future records.

Fans of Orbit Culture know exactly what to expect from Death Above Life. Chunky, groovy, headbangy tracks, with plenty of industrial, symphonic, and melodic elements to give us their trademark sound. A solid record with some catchy moments, Death Above Life is proof that they have hit on a solid formula. To keep them growing and pushing into newer audiences, I hope Orbit Culture adds more breadth to future work, innovating and adding fresh elements to their unique take on modern metal.