Band:	Seprevation
Album:	Consumed
Style:	Death metal, Thrash metal
Release date:	May 10, 2014
Guest review by:	omne metallum

01. Divine Devastation
02. Servants Of Suffering
03. Ascension Of Agony
04. Sarcophagal Chamber
05. Dreams
06. Slave To The Grave
07. In Torment They Burn
08. Sea Of Thoughts
09. Postmortem Lividity
10. Between Two Worlds

Out of nowhere, Seprevation release what has to be one of the strongest tech death metal albums in years, managing to catch the feel of the nascent scene of the 90s while having a modern production. Consumed hits you with precision blows to maximise the sonic damage it creates, leaving you in its wake.

Each song is a well-crafted brutal slab of quality tech death metal, showing a consistency that belies the fact that this is a debut record, with a technical prowess that echoes the likes of Atheist and latter-day Death while maintaining its own unique flavour. From the opening notes of "Divine Devastation" to the end of "Between Two Worlds", Seprevation carve out their own niche in your brain.

"Sarcophagal Chamber" and "Dreams" are the highlights of this album, though I would recommend giving the whole record a try; there is not a dud among the thing. All the bases you want in a death record are covered on this album: Fast unrelenting metal, see "Ascension Of Agony"; mid-pace maraudering, see "Dreams"; songs that blend both? "Postmortem Lividity" has you covered. The band sequence the album perfectly, mixing up each style without it disrupting the flow of the album; ending the album on "Between Both Worlds" means you get to have the best guitar interplay on the record see you out of the crypt.

The bass playing of Tupman throughout elevates Consumed above so many of its peers; it manages to simultaneously support the guitars and create a thicker sound while creating moments where it pops and is the centre of attention. This is on full show on "In Torment They Burn" but it pops up all over each track, very reminiscent of Dying Fetus' Beasley. Tupman also balances this role with that of vocalist, strong and emotive vocals that add character to the songs, such as the pain and desperation of "Slave To The Grave".

While it does remind me of the Tampa bay scene, the drum sound doesn't endear itself beyond that. Wintle is a talented player for sure; it's just a shame his drums have such a flat sound on this album. In tandem with the rest of the band who get a full sound and throw themselves at you, Wintle's drums are limp and lifeless (and not in the cool zombie way).

Consumed is an album that demands listening to; the talent Seperevation possesses is in full force here. From beginning to end, the album is a latter-day classic, deserving of a wider audience than the band has. If anyone questions what the UK death scene has to offer, throw Consumed their way; it will convert many in short time.