"The Nothing That Is," the opening track of this new Fit for an Autopsy album, sets a high bar for the rest of the record, and unfortunately, much of the material that follows doesn't quite reach those same lofty heights. The deathcore titans bring their signature heaviness and dark, brooding atmosphere as expected, but on the opener, "Hostage," they introduce new layers of complexity and nuance that add a fresh dimension to their sound. It's a dense, massive song, with an overwhelming sense of sadness that permeates throughout, particularly in the clean vocals. These clean vocals are a standout, beautifully complementing the colossal riffs and giving the track an emotional depth that feels unique for the band. The chorus in particular, with the way the vocalist sings the word "hostage," is haunting and powerful, creating a stark contrast with the heavier sections as the band transitions smoothly back into their usual intensity. Though the song follows a relatively simple structure, the addition of subtle flourishes, particularly in the drumming, provides a nice balance to the straightforward heaviness.

After "Hostage," the band continues to deliver their trademark heaviness and emotional intensity, but none of the subsequent tracks seem to match the impact of the opener. One notable element that carries over from the first track is the exceptional drumming, which is one of the album's highlights. The drumming is tight and refreshing, with a particular focus on the cymbals that adds a dynamic and varied feel to the songs. Tracks like "Savior of None / Ashes of All," "Weaker Wolves," and "Lust for the Severed Head" showcase great drum fills, intense kick patterns, and clever cymbal work, contributing significantly to the album's solid sound.

As for the riffs, they are undeniably dense and hard-hitting, especially on tracks like "Hostage," "Lurch," and "Red Horizon," where they truly shine. However, on some other songs like "The Nothing That Is" and "Lower Purpose," the riffs feel less memorable or distinctive. While the production is clean, these tracks can come across as somewhat generic, lacking the unique flair that makes the standout moments of the album so compelling.

The bass playing is fairly understated throughout the record, only really standing out on "Lurch" and "Red Horizon," where it adds some extra depth and texture to the sound. Vocally, the band does a solid job of mixing heavy, guttural growls with occasional screams and vocal fry to keep things varied. The clean vocals, particularly on "Hostage," "Lurch," and "The Silver Sun," bring a melancholic, almost mournful tone to the album, evoking strong emotions, but these moments of vulnerability feel too sparse across the tracklist, leaving the album feeling less emotionally engaging than it could have been.

The song arrangements themselves are generally solid, but they sometimes fall into more familiar, predictable territory, which makes the album feel less exciting and innovative than it could be. That being said, there are moments where the band's sound recalls elements of other bands like The Black Dahlia Murder or Kublai Khan, which work well and add some cool variations to the overall tone of the record. The band’s balance between all its elements—riffs, drums, vocals—never feels off, and the production is clean and well-executed, which is certainly a plus.

Overall, while this album offers a solid mix of heaviness and emotional depth, the experimentation with clean vocals and the more somber tracks hints at potential for further growth. The introduction of these elements could give the band a distinctive edge in the future if they continue to develop this sound further, moving beyond the more generic moments and tapping deeper into their emotional and experimental range.