Review: Thætas ‘The Irredeemable Age’

Greetings and Salutations, Johnny Mc here, who some of you might know from talking about music on my YouTube channel, Rock and Metal Plus.

A friend of a friend told me The Shaman were looking for new writers, and having been a fan for a while, I thought I’d throw my hat in the ring. It’s been quite a few years since I last did a written review, but I figured it’s like riding a bike, right?

So, let’s review some music. When I saw the list of available promos, I figured I would pick something closer to what I’ve been spinning recently.  Couldn’t see any black metal, but a couple of death metal albums took my eye, neither of which I was aware of, so I grabbed the first one. Rather pleased with my choice, if I’m honest.

Thætas are a four-piece technical brutal death metal project from New York, Brooklyn, possibly. The Irredeemable Age is their second full-length, and it’s a bit good.

First track, DHUKHA, starts with some dirty, chuggy riffs. Lots of blast drums and some breakdowns to let everything breathe, like some evil, ancient beast. The track finishes with the sound of a train on tracks, just to let you know you are in for a journey. Summers Of Hate is next and clicks in at just over two minutes. Lots of deep gutturals, with blast beats and off-kilter chord changest’s chaotic and wonderful. The way the vocals flit from left to right in my headphones makes it even more intense.

The End Of History starts like a classic of the genre, then has a spacey, sci-fi riff in the background. Chuck in some breakdowns and proper technical riffs, it’s a cracking three and a half minutes of noise. For The Hope Devoid is more of the same; it’s chuggy and riffy, blasty with an atmospheric breakdown in the middle.

Lots of deep gutturals, with blast beats and off-kilter chord changes, it’s chaotic and wonderful…

The title track, The Irredeemable Age, is next and starts slow and dissonant with lots of off-key riffing. The drums are a standout on here as well, lots of cool fills. Some unnerving spoken word, and an almost jazzy/proggy instrumental break near the end. Stretched Paradox has some more of the spacey oddness in the middle, and more spoken, whispered vocals, then blasts till the end.

Daytime Lantern begins with an acoustic passage, then straight back into the brutal stuff. Another atmospheric breakdown, then pedal to the metal, and the following Pillars Ov Fault is more of the same.

The final track is Digital Locusts, and pretty much sums up the sound of this album. At five minutes, this is the longest cut on the album, and basically takes everything we have heard previously and adds some thrashy, Voivod riffs into the mix as well. Tons of pitch harmonics, breakdowns, guitar walkers and guttural vocals.

If you like early Suffocation and modern bands such as Blood Incantation and Sanguisugabogg, then this is the brutal death metal album for you in 2026. The production is just right; all the instruments can be heard, the bass does its job, never overpowering the guitars and drums. It doesn’t sound too clean and has the correct amount of murkiness to complement this style of music.

Oh yeah, you may be glad to know that it sounds like no pigs were harmed in the making of this record, not a pig squeal to be heard.

Label: Profound Lore Records
Band Links: Facebook | Bandcamp | Spotify | Instagram

Scribed by: John McMeiken