With their debut EP Prelude to Extinction, slam newcomers Final Resting Place deliver a six-song introduction that demonstrates ambition but falters under the weight of its own execution. The band leans heavily on familiar tropes of slam and brutal death metal—downtuned chugs, guttural growls, and punishing breakdowns—but the presentation rarely rises above the standard template. What could have been a statement of intent instead feels more like a rough sketch of what the band might become.

From the opener “Suffering,” the tone is established with distorted, megaphone-style vocals layered against faint choral touches. It’s an intriguing atmospheric choice that hints at a larger vision, but the promise is quickly undermined once the full band enters. The guitars and drums sound boxed-in and oddly distant, robbing the track of the crushing weight it’s clearly aiming for. This problem continues throughout the record: “Chaos Collected” drags forward on ominous ringing chugs and a sharp snare crack, yet the mix renders the band strangely muffled, as if their heaviest moments are being filtered through a wall. Even the climactic breakdown—normally the moment a slam band should devastate—lands dulled rather than destructive.

Production remains the EP’s biggest obstacle. On “Ridding of Impurities” and the title track “Prelude to Extinction,” flashes of potential peek through in the drum work, especially the crisp snare and bursts of double-kick energy. Yet the vocals—meant to be cavernous and monstrous—are buried so deep in the mix that they feel miniature, robbed of their intended ferocity. Riffs occasionally shine with punchy or flashy runs, but just as often they fall into generic patterns, executed competently yet without much personality.

That’s not to say the record is without highlights. “Mundane Reflection” benefits from its dynamic drumming, which injects momentum and makes the track feel more alive than most of its peers. “Mindless Obliteration” gives the vocals a touch more presence, allowing their guttural weight to cut through, if only briefly. These glimpses show that Final Resting Place do understand the mechanics of slam—they can lock into a groove, and they know how to structure a breakdown—but they struggle to make those moments resonate beyond the surface.

Ultimately, Prelude to Extinction reveals both the promise and the pitfalls of a young band. Final Resting Place clearly know the language of the genre: they can summon the brutality, the drops, and the grooves that diehard fans expect. Yet their execution is hampered by uneven production, a restrained mix, and songwriting choices that rarely distinguish them from countless other acts in the scene. What should feel crushing instead feels muted, leaving the impression of a band playing behind a veil rather than in the room with you.

As a debut, Prelude to Extinction serves as a rough first step. There’s intent here, and flashes of potential in the drumming and heavier bass-driven sections. But unless Final Resting Place find a way to sharpen their production, carve out a more distinct identity, and push beyond genre convention, their music risks fading into the endless churn of modern slam. Fans may enjoy a breakdown here or there, but as a whole, the EP does little to announce itself as essential listening.

A tentative introduction to Final Resting Place—some solid ideas and flashes of heaviness, but ultimately buried under uninspired writing and flat production.