Subterraen – In the Aftermath of Blight (Review)

Subterraen are a French sludge/post-metal band and this is their second album.

The follow up to 2020’s humungous Rotten Human Kingdom, In the Aftermath of Blight contains 37 minutes of music spread over four tracks.

Subterraen have a new lineup and a new sound. In the Aftermath of Blight presents as a different form of heaviness to its predecessor, which is an intentional change of direction for the band. Across the new album Subterraen offer an intricate mix of sludge and post-metal, which the promo blurb says is reminiscent of band such as Pallbearer, Yob, Paradise Lost, and Neurosis.

So what does this new material sound like then? Well, it has a firm atmospheric focus, but that doesn’t stop it from peeling off some potent heavy riffs on occasion. Subterraen like to kick out the jams, only in mood-based ways. The songs are layered and far more melodic than I was expecting – think post-metal resplendence – which complements well the earthy sludgy distortion. The compositions can be complex, but all in the service of worldbuilding; the primary aim a here is the creation of immersive soundscapes that draw the listener in and crush with massive presence.

The individual songs each represent Subterraen’s new approach, and each delivers its own content and character within this. Opener Paving the Way to Oblivion balances spiked aggression with shimmering atmosphere, whereas follow up Poisoned Waters is smoother, more emotive, and develops its doom metal influences more. Shortest cut 10:27 offers a good mix of Subterraen’s music so far, with an engaging melodic core that really hits the spot. The title track is the longest song, and closes the album in ominous style. These last two songs are both contenders for my favourites here – it’s hard to pick between them.

In the Aftermath of Blight is a strong return for Subterraen. I prefer it to their debut, and it has plenty of longevity and depth to satisfy over time.

Highly recommended.