Review: “The Dead Ones” by The Last Ten Seconds of Life

“Dealing with these emotions can make you want to reach out to people who bring you comfort or peace and be a vessel to speak to them again, it invokes the physical scene of a seance and connecting with those, but questions if good is only a temporary veil for evil and warns about what lines might be crossed looking into the void.” ~ Wyatt McLaughlin.

The Last Ten Seconds of Life have been around in one form or another since 2010 with numerous line up changes over the past two and a half decades leaving guitarist Wyatt McLaughlin the last man standing from the original band. Their last rebuild was in 2022 with vocalist Tyler Beam (Promise Breaker), bassist Andrew Petway (The Merciless Concept, Bodybox, Without Remorse) and drummer Dylan Potts (Distention, Organ Trail, Rivers Of Nihil) all joining the ranks. 2022 EP “Disquisition Of An Execution” was followed by 2024’s critically acclaimed album “No Name Graves” and it seems this time after so many two steps forward, one step back in their career, they have found the right balance. Produced by Carson Slovak (A Wake in Providence, Black Crown Initiate, Shadow of Intent) and Grant McFarland (Nights of Malice, Rivers of Nihil, Vintersea) of Pennsylvania’s Atrium Audio, “The Dead Ones” is said to be directly focused on the human experience and the band members’ own struggles…

There are horror movie vibes to the potent mid-tempo crush of opening abrasion “The Dead Ones” as Beam roars about the dead ones speaking to him, his throat splitting vocals breaking for spoken word style passage that builds on the tension filled dramatic atmosphere. It’s like Beam is Cole Sear from The Sixth Sense but as a battle scarred and bitter adult who is no longer afraid of seeing dead people. The guitars, drums and bass have all been multi tracked and mixed to give the album a super thick tone sound and you can feel that in your bones. “Make It to Heaven” is the first of four guest vocal appearances with David Simonich of Signs of the Swarm joining the party, the band finding a way to incorporate a catchy scream-a-long chorus into a downtempo Deathcore cut without making it sound cheesy in any way, shape or form. Sonically they build the atmosphere with a play on short, fleeting moments of silence so on the first few spins you’re never quite sure when they’re going to bring it back which, like the best of horror movies, keeps you on the edge of your seat.

Former Fit For An Autopsy vocalist Nate Johnson joins the party “Rat Trap” with Wyatt McLaughlin bringing out a suitably fitting riff, the eclectic soloing a nice touch that doesn’t take away from the rhythmic pummelling as the band flow between Deathcore and Groove Metal with consummate ease. Chants of “Sewer Rat! Sewer Rat!” will no doubt be heard at shows, the angle grinding of the finale a brutal example of what the quartet are cable of. Cut from the same cloth “Freak Reflection” finds Beam reaching some bowel clenching hitherto heard new lows before bringing out a few rap-screams and a gargantuan chorus, all of which flow very well together, like a river to the sea. Jackhammer footwork and china hits keep the tank rolling with the violent chugs of the guitars and rumbling bass all posing equal threat. Menacing and sinister from the outset, angry anthem “1-800-DO YOU WANT TO DIE?” has some blood spitting vocals, some shriller moments mixed in with the trademark bark and bite are a nice touch, Tyler Beam demonstrating his versatility with incredible range.

A long, needle pointed dagger designed for thrusting, rather than the heal of a woman’s shoe, “Stiletto” continues the heavy hitting collection with something from the dark side and while it doesn’t have a guest or that gut punch moment, it still packs a punch. Descriptive violent thoughts flow like blood from the veins because what is blood for, if not for shedding? That makes way for “Stereo“, another cut with a bold and yet harsh chorus sandwiched between staccato riff breaks and thunderous percussive battery. It has to be said that there is a real art to going low and slow and that’s something which The Last Ten Seconds of Life have mastered, their seamless tempo shifts all incredibly well worked. If the title doesn’t give it away “Dollar to a Dime” has more of a hip-hop influence lyrically in the chorus, something which brings to mind “About That Life” era Attila but the difference here is that there is no sex or drugs, just self loathing hatred and dark introspection. Sonically its very much in keeping with the rest of the burnt offering, downtempo Deathcore chugging guitars and big percussive sounds with Alan Grnja of Distant making an appearance.

Some technical leads at the start of  “Corruption Concerto” add a sinister vibrancy to this tale of the desire for money and power causing the powers that be to become corrupted in the shadow of intent. A couple of solo flirtations echo those that appear earlier in the record stylistically but this one benefits from breakdowns being piled upon breakdowns and the need for a fleet of tow trucks to take the body bags away. Original The Last Ten Seconds of Life vocalist Storm Strope joins for “XXXXXXXXXX” which makes for a welcome throwback to the bands early days, the bombastic bass and Slam inspired vocal moments a reminder that this world belongs to the beasts from the black depths. Darker than the depths of hell when the fires no longer burn, this album represents arguably the most ferocious The Last Ten Seconds of Life have offered in recent times [7.5/10]

Track Listing

1. The Dead Ones
2. Make It to Heaven (ft. David Simonich of Signs of the Swarm)
3. Rat Trap  (ft. Nate Johnson ex-Fit For An Autopsy)
4. Freak Reflection
5. 1-800-DO YOU WANT TO DIE?
6. Stiletto
7. Stereo
8. Dollar to a Dime (ft. Alan Grnja of Distant)
9. Corruption Concerto
10. XXXXXXXXXX  (ft. Storm Strope ex-The Last Ten Seconds of Life)

“The Dead Ones” by The Last Ten Seconds of Life is out 17th April 2026 via Metal Blade Records