Uninhibited — From Flesh to Void Review
Uninhibited is a German two-man death metal project. On 30 January 2026, the band released their independent third EP, From Flesh to Void, promoted via Cutting Edge.
Uninhibited, From Flesh to Void Review: This review will evaluate every aspect of the album, from its intricate musical composition to its production.
The First Three Sins, The Summary
The First Sin, The Strings/Keys: Low-tuned, mid-scooped riffing forms the spine of the EP, balancing old-school death metal density with modern clarity. The Second Sin, The Vocals: Deep, cavernous growls delivered with ritualistic cadence and authority. The Third Sin, The Percussions: Grounded yet forceful drumming shifts between heavy mid-tempo double-bass passages and controlled blasts.
The Fourth Sin, Overall Discussion
The Hollow Invocation
The experience begins with a chilling subversion of the sacred. The opening hymn, Intro, greets the listener with the muffled audio of a worship ceremony — a hollow ritual that quickly dissolves into a brief, ominous instrumental.
This serves as the gateway to the remaining five hymns — a lean but devastating collection spanning just under twenty-four minutes. From this first movement, From Flesh to Void establishes an atmosphere of total impiety before the true weight of the music takes hold.
Veil Torn, Flesh Exposed
Once the introductory veil is lifted, hell is unleashed. What follows is a slab of brutal, heavy, classic death metal steeped in a bleak, almost ceremonial atmosphere. Thematically, the record explores the collapse of faith, identity dissolution, and total annihilation through a stark, uncompromising lens.
The music is aggressive but never chaotic; instead, it uses tension as a primary structural element. This is DIY to the bone— raw and intentional — where classic death metal DNA is sharpened by cold, modern production choices.
Devilmanship: Weight & Precision
Within the devilmanship of Uninhibited lies a composition forged with precision — a seamless fusion of arrangement and execution. Marco, handling the entirety of the instrumentation, pushes the guitars into a dense, oppressive atmosphere. Utilising a low-tuned, thick rhythm tone, the riffs sit in a mid-scooped death metal register while retaining a modern clarity that keeps every chug and tremolo line articulate. Sudden bursts of tremolo and dissonant chords punctuate the atmosphere, creating transitions that feel like mounting pressure rather than conventional verse–chorus shifts.
These are slow, dragging groove riffs — hooks that feel as though they are hauling the listener across charred stone.
Marco’s bass is no afterthought; it is a primary force reinforcing the EP’s crushing weight. Complementing this is a percussion style that is high-energy yet grounded, shifting naturally between explosive blasts and heavy, mid-tempo double-bass grooves. The drumming feels physical and live, using slower passages to build a suffocating, oppressive weight.
Voice of the Godless
On vocals, Basti delivers a performance that is as much a ritual as it is a narration. He utilises deep, cavernous growls and ritualistic phrasing, maintaining a surprising clarity of articulation even within the harsh atmospheric layering. These vocals reinforce the themes of impiety and the godless void.
Basti sounds less like a modern, polished vocalist and more like an ancient, weathered entity emerging from the shadows to witness the collapse of faith.
Raw Doctrine of Sound
The recording of From Flesh to Void feels deliberately raw and DIY, yet every element remains distinct; nothing is lost to over-polishing. The guitars dominate, forming an oppressive wall of sound, while the drums remain punchy without succumbing to modern artifice. Basti’s vocals sit forward, lending a ritualistic clarity to the narrative.
Rite of Extinction
The result feels like two voids collapsing into one another— one born of pure aggression, the other of suffocating atmospheric tension.
Channelling the riff architecture of early Bloodbath and the ceremonial dread of mid-era Hypocrisy, all anchored by the dark, pre-death ‘n’ roll weight of Entombed, these elements create a dark rite where every phrase feels like a step towards extinction.
This is neither retro nor derivative; it is a modern death metal invocation of collapse.
The Suffocating Testament
Overall, From Flesh to Void is a suffocating fruit of art — a mandatory experience for those who crave the intersection of classic death metal weight and modern atmospheric tension.
Silence After the Grave
As the final notes of Grave or Grace decay, the ceremony reaches its terminal point. The descent is complete; the listener is left suspended in the hollow silence of the void.
The Fifth Sin, The Memorabilia
For me, Uninhibited represents an uncompromising brand of death metal. While the classic old-school sound is a guaranteed winner, this specific modern-yet-old-school approach has been winning me over, creeping into my consciousness like a persistent nightmare.
The Sixth Sin, The Artwork
The artwork plunges you directly into a nightmare tableau where stability is an illusion. It depicts a world in the throes of grotesque mutation and human ruin — a visual collapse that perfectly mirrors the sonic decay within.
The Seventh Sin, Disrelish
To find disrelish here is a difficult task. The music moves with a predatory slowness, rotting the listener from the inside out. It is total immersion in decay, leaving the inner self as weathered as the artwork itself.
The Hymns
01. Intro
02. Blood Baptized
03. Chossing Death
04. When I Become Godless
05. Crematorium
06. Grave or Grace
Uninhibited
Marco — All instrumentation
Basti — Vocals