Cutterred Flesh returns to horror.
For this seventh album, titled The Shapes of Hidden Malice, set for release in 2026 via Transcending Obscurity Records, Vitali Novak (guitar, Pandemia), David Krombholz (guitar), Jiri Krs (vocals, Pandemia), Ondrej Klaban (bass, ex-Poppy Seed Grinder), and Jakub Bayer (drums, Pandemia) drew inspiration from horror novels written by authors such as Guy de Maupassant, Edgar Allan Poe, Stefan Grabi?ski, H. P. Lovecraft, and Iginio Ugo Tarchetti.
The sense of dread sets in right from The Mad Farmstead, the opening track with its unsettling intro, but the band’s intensity quickly takes over, delivering a furious yet controlled, jagged approach as the vocalist bellows; and even though some passages seem slightly softer and darker, it is indeed pure intensity that reigns supreme. Next up is the groovy Le Horla, which effortlessly blends heaviness with catchy patterns; the track also features haunting melodies to round out its assault before moving on to the already well-known The King in Yellow, a composition unveiled over a year ago that allows the band to deliver a real knockout live thanks to its visceral vocals and killer riffs. It’s time for The Willows to strike, offering fierce grind influences to complement the musicians’ technical prowess, along with a healthy dose of dissonance before the final chorus leads into Mimi-Nashi-H?ichi, a track where the musicians once again focus on surprisingly aggressive waves that hit at a brisk pace. There are also a few samples in the background to accentuate the theatricality of the central break, then the rhythm section kicks in before transitioning to The Feather Pillow, where new ethereal sounds emerge to contrast the obvious rage—but they’re far from the only surprise, as the band also features Hanka Hajdová’s vocals (Silent Stream of Godless Elegy, formerly of Forgotten Silence), who adds an element of mystery to the finale. Prog influences become apparent with The Letter U and its ethereal notes that skillfully wind around a solid foundation, and I’d almost go so far as to call The Painted Skin Slam Death, with its thick, jarring bursts that suffocate us as savagely as a palm-mute until a siren induces a certain drowsiness. We quickly find ourselves back in the throes of unbridled fury before being swept away once again by The Color Out of Space, which doesn’t hesitate to pound us in turn while weaving in more majestic passages that perfectly complement the track, before Berenice treats us to a heavy piano section followed by the final surge of the album featuring some sumptuous orchestrations that once again contrast with the massive Brutal Death Metal that rages on until the very end.
Although a bit short, The Shapes of Hidden Malice allows Cutterred Flesh to make a powerful impact once again, whether through its brutal Death Metal tinged with other equally violent influences or through its oppressive atmospheres. Give it a try – you’ll love it.
95/100