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Deceased > Supernatural Addiction > Reviews
Deceased - Supernatural Addiction

Supernaturally addictive - 94%

robotniq, May 13th, 2021

This is the ultimate Deceased album. King Fowley had attempted to make the ultimate Deceased album three years earlier on "Fearless Undead Machines". He fell short because metal concept albums are difficult to do, and because the songs were too long and not memorable enough. "Supernatural Addiction" rectifies these problems. This is a tighter, slimmer and better record than its predecessor. Fowley revisits the 'concept album' idea from a different angle. He doesn't look for a unified story. Instead, he delivers a series of unconnected mini-horror tales. Horror is a genre that has always suited novellas and short stories. This was true for Edgar Allan Poe, HP Lovecraft, right through to the Halloween episodes of The Simpsons. Fowley plunges himself into this arena. Here, he finds the best possible way to showcase his storytelling talents.

The music has evolved too. Mark Adams and Mike Smith improved as guitarists between the previous album and this one. Their riffs here are as good as ever. Their soloing and use of melody is far superior. On “Supernatural Addiction”, Deceased no longer feel like a death metal band. The traditional metal influences come to the fore, albeit with gruff vocals and a macabre aesthetic. The best way to describe this album is as Mercyful Fate with Cronos on vocals, delivering King Diamond’s lyrics. So many of the riffs and melodies remind me of "Don't Break the Oath". The guitarists must have listened to that record over and over again. Notice how the melodies drive the riffs forward (rather than merely adorning them). The opening seconds of "The Premonition" are a great example, but there are many more.

The band's biggest challenge was to make intricate, propulsive music without detracting from the stories. They achieved this by emphasising song-writing over everything else. Each of the eight songs is a miniature ghost story. Each reveals itself over repeated listens, as lyrical details creep into the listener’s consciousness. From a storytelling perspective, the album’s undisputed highlight is "A Very Familiar Stranger". It describes the narrator's eerie encounter with a passenger in his car, with an obligatory twist ending. It also provides the album’s defining moment, the emotional climax of the solo that leads into the lines "I told her to cherish her spirit, she just sat and cried at the grave!". Once heard, this is never forgotten. The whole song is a masterful moment of heavy metal narrative storytelling that ranks with the likes of Sabbat and Iron Maiden.

Other highlights include the crushing "Frozen Screams", an intense murder ballad with the best riffing (and catchiest chorus) on the whole album. "Dark Chilling Heartbeat" is a frenetic, metalised adaptation of Poe's "The Tell Tale Heart". “Elly's Dementia” is a slow, hypnotic, sinister final track, and is the closest the band get to their death metal beginnings. The attention to detail throughout is astonishing. Listen to the way "Chambers of the Waiting Blind" begins, Fowley building tension on the drums as he introduces the story. This is a reminder to all metal drummers that it is possible to convey emotion and narrative with percussion. The spoken-word samples are the icing on the cake, helping the songs establish their identity; "The Doll with the Hideous Spirit" is identifiable as “the song about the Zuni tribe spirit”, for example.

“Supernatural Addiction” is a genius album. No other band could have made this record. It cements Deceased as a legendary metal band, and establishes Fowley as one of the genre's most underrated song-writers. There is something so elegant about it all, right down to the clear (yet natural) production and the amusing cover art kitsch. Deceased themselves would struggle to reach this level again, although they would continue to release worthwhile records. This is one of my favourite metal records of the 21st Century. Classic.

"Far, far faraway you must leave this place or die" - 88%

Feast for the Damned, December 1st, 2019

Supernatural Addiction is a fan favorite for many. For their fourth album, Deceased tweaked their sound once again, but they didn't implement drastic changes to their style. The genre-bending is even more typical for this record, but this time around the conceptual zombie story of Fearless Undead Machines is exchanged for a multitude of haunting horror stories. That being said, I don't think this record is better than the previous one (hell, I wouldn't even call it their second-best), but one thing is sure: This record has some of the catchiest songs Deceased has done up to this point.

What did they exactly change in their sound? Well, they decided to exclude a little aspect of their previous albums, namely, the death metal elements. While this might make some upset, I feel like it was evident that sooner or later they will drop these roots. Instead of chugging and crushing riffs we get their more melodic, thrashy and triumphant sounding cousins. In a similar fashion to the previous record, the constant eruption of guitar solos are to be expected, but this time around, I can safely say that unlike on the previous record, these have a good amount of traditional heavy metal influences. They are generally more virtuosic and shreddy. The drumming also feels a lot less blast beat heavy than The Blueprints for Madness was for example. The well-placed drumming segments serve as the secondary powerhouse for the atmosphere and even though I'm more of a sucker for riffs, I could spend hours just listening to the masterful work of King Fowley. His vocals retain those lunatic screams that we got used to on the previous record, but the tone of his voice, in general, is second to none.

The opening track, The Premonition, starts with an amazing melodic, heavy metal riff that smoothly transitions into a more aggressive thrashy one. While these two different riffs duel during the entire track, King is screaming his soul out the whole time, but that's not even the greatest thing about this song. That would be the two guitar solos that remind me of the early 80s NWOBHM guitar wizardry. The other song that has more heavy metal influences than thrash is The Hanging Soldier and DEAR GOD it's one of my absolute favorites. The soulful main riff is one thing, but the bridge part is just something else. King's voice just gets so mournful, but at the same time, it still manages to retain the insanity of his regular vocals.

As for the thrashier songs, you don't need to go further than Dark Chilling Heartbeat, A Very Familiar Stranger or Frozen Screams. While story/lyrics wise the former two are unbeatable with their horrifying stories, musically speaking Frozen Screams is just superior (even though all 3 of them are phenomenal). The galloping thrash metal riffage is led by some fantastic licks in the background and these guitar segments (complemented with King's trademark vocals) lead up to the solo that you won't forget anytime soon.

Although the song is the closing track, Elly's Dementia is one of the most unique songs that the band has ever recorded. Based on The Blair Witch Project, we get the most atmospheric song on the entire album. The "stop-and-go" style of riff fits the demented screams of King and the chilling keyboard parts that are supporting this unusual riffage. The song moves on to a different kind of mid-paced segment, but even though only for a short period, we get a fast bit too. I know some people think this song is rather stale and doesn't fit the rest of the record, but for me, its atmosphere is so much better than anything else on the record, I simply can't get enough of it.

The record deserves all the praise it's getting. So much so that there is only one track that was more of a miss than a hit for me. The Doll with the Hideous Spirit isn't a bad song by any means. I never skip it and I can still get a handful of enjoyment out of it, but somehow it doesn't stick with me as much as the rest of the record.

Overall this record is a solid follow-up for the titan that Fearless Undead Machines is. It has the atmosphere required to be a proper Deceased record and the adjustment they made to their sound works out perfectly. One of the finest releases of the genre-bending legends.

The highlights of the album are Frozen Screams, Elly's Dementia and The Hanging Soldier.

Behold! Susurrations of the Supernatural! - 86%

Naught, July 8th, 2010

One of the white-faced shadows stepped forward from the group, seemingly drawn forth into the proximity of the idol. The figure stood motionless, while from within its dark body something began to drift out like luminous smoke. It floated, swirling gently, toward the idol and there was absorbed. - Thomas Ligotti (Nethescurial)

Often the Elysian echoes of delight and delicacy tempt man to proceed with their daily routines in a fashion that is favorable towards the complacent-minded. Yet there are those suppressed “white-faced shadows” that lurk within us all; incessantly craving carnal, ominous tales of hideous horror and vile victories which swallow the soul in a rejuvenating aura of delight and disgust, terror and triumph, and sadness and serenity. These are the feelings that man inwardly desires, whether they are aware of the said fact or not. Mankind has always been a creature that nourishes on sadistic scenes of suffering: adolescent youths relishing in addicting first-person shooter video games, ambitious pre-teens tuning into their favorite wrestling outlets to witness brutal onslaughts of talented actors and actresses. Also, let us not forget those high school vultures who attempt to loom upon various outbreaks of violence and/or insults. Nonetheless, while man may attempt to redeem himself through various acts of philanthropy, the simple fact that man relishes violence is evident. Therefore, we are brought to the fourth outing by Deceased, titled Supernatural Addiction (2000), which is a record that satisfies mankind’s inward desire for death, doom, and disaster. Throughout this album, Deceased compose melodies that are bred and nourished upon man’s quest for suffering and depravity, yet the music has been refined with numerous stimuli that stimulate the natural attraction towards beauty and modesty. Supernatural Addiction is a crypt that was constructed upon a hill of wet, oozing mud, unknown liquids that reek of a putrefying stench of decay, and of a piece of land that has been decorated with eroded bones, stale ash, and the occasional lump of forgotten flesh. However, on top of this seemingly malevolent design, towers the said crypt which is adorned with blossoming roses, dandelions, and daffodils, polished granite bricks, and an aesthetically pleasing architectural coating reminiscent of early-Gothic pillars, totems, and memorials. The musicians that form the collective, Deceased, are similar to professional wrestlers--composing tunes that quench the thirst for fury, ferocity, and fidelity within a performance that manages to be both, addicting and refined, yet depraved and ugly. Therefore, Deceased’s Supernatural Addiction is a record that complies with the norm’s appreciation towards pleasure, delight, and decadence, while also catering to the crowd that moans towards the evil and destruction that is subtlety secreted among society .

The cadence and percussion that is present throughout the entirety of Deceased’s depravity is Kingsley “King” Fowley’s recognizable voice and bombastic drumming technique(s). Furthermore, as an integral contributor to this performance, Fowley conjures forth terrifying adaptations of renown tales of revenge, death, suspense, and horror.

[…]

The wish for urgence to the grave brought murder into his mind,
With a mistress waiting for his touch with pleasure he’ll take her life!


As you can see, Fowley’s manifestation of these tumulus tales certainly stimulates the forlorn ferocity that lies within us all; urging us and tempting us to bask within the supposed moral blasphemies that dominate the crux of society. Furthermore, Fowley’s lyrical technique evokes images and scenes that run rampant within the myriad of mournful horror films that ran loose within the twentieth century, such as Faust (1926), Jacob’s Ladder (1990), and The Exorcist (1971).

[…]

With sweet revenge his life was lost by her dead and broken corpse,
Without a warning his lover crept into the horror house!


Technically speaking, however, Fowley performs with a tamed ferocity that showers chills down your spine and to the tips of your very toes. The vocal register that Fowley performs within is muddled within a low, almost growling range while soaring to the pitch of a mother shrieking in sheer terror at the sight of a still-born corpse. Technically speaking, Fowley’s growls, grunts, and groans are comparable to the range of a mid-end baritone vocalist, whereas his shrieks, screams, and shouts will certainly impress a connoisseur of the tenor singing range. In addition, Fowley’s vocal technique appeals to the obscure and brooding personification that lies within us all; that faint, forlorn susurration that one will occasionally observe throughout moments of manic depression, culminated rage, or perhaps even simple adolescent frustration. Moreover, Fowley emulates the whelps and moans that are ever-so recognizable and comparable to the weeping howls and screams that the stereotypical meek mistress yelps forth in a state of enormous shock and pain at the onset of one’s devised sepulchral satisfaction--which contributes to the mournful, somber vibe that Supernatural Addiction is adorned with, all while riling man’s inner-coyote; indulging himself in the pain of helpless and innocent prey. The varied microphone meal that Fowley prepares teems with ghastly growls, mesmerizing moans of mourning, and searing shouts which ignite the candelabra of corrosive corruption that will one day, engulf us all. Yet, Fowley’s approach towards the duties of a vocalist maintain an air of accessibility, as well. Appealing to both poles of the stylistic continuum, Fowley’s voice acts as a middle-ground between the fronts of the hideous and horrifying, and the aggressive and anticipating. In addition to Fowley’s lyrical and vocal prowess, this outstanding musician also deserves exceptional merit at his percussive talents at the often-rampant drum kit.

The style of drumming that is dominant throughout Supernatural Addiction is as bombarding as Fowley’s singing and shrieking. Consisting of well-placed blast beats, mid-paced rhythms, and all-out percussive frenzies, Fowley showcases his talent at the drum kit. Unlike the drumming that is to be heard within Deceased’s following album, As the Weird Travel On (2005) by David Castillo, Fowley manages to maintain an intriguing and pleasing tone to his technique: such by establishing an envenoming vigor within his style that lures the listener in a hair flying trance of modest technicality. While not playing with the flair of drum virtuosos, Fowley is certainly skilled in the percussive department, yet abstaining from the urge to flaunt his technical prowess as countless modern-day death metal outfits tend to display.

Furthermore, Fowley encapsulates the thrilling, terrifying vibe that his voice and lyrics emit through the use of suspenseful drum leads and rhythms that foreshadow eminent doom and devastation, i.e. an onslaught of blast beats and fast-paced drumming during the climax of any given song; especially throughout the track, “A Very Familiar Stranger”. Hence, in lieu with Fowley’s commendable efforts at the microphone and pen, his drum kit performance falls equally in line with his musical merit. As stated earlier, mankind relishes within the select moments of frenzy and depravity and Fowley successfully envisions those said moments throughout his aural assault upon the drums; through ferocious rhythmic cadences and the inflamed emissions that his blast beats leave in their wake. Similar to watching a renown horror classic and anticipating an outstanding performance, the listener will expect nothing short of musical excellence with Fowley’s musicianship, and that is just what the listener will be haunted with throughout the entirety of Supernatural Addiction.

However, as Fowley continues to emancipate the expanding hordes of sinister silhouettes, relentless covenants, and cavernous carnivores from their earthen-chained slumber, the orchestral oath of resurrection hinders and stumbles throughout the execution of their usually-sublime symphony of sickness, which is then rooted at the base of the blasphemies: the composition. In comparison, the guitar riffs, leads, and melodies that Mike Smith and Mark Adams induce suffer from the same symptoms that plagued to aforementioned metaphor; a fault within the album’s framework and foundation: the guitarist’s contributions to the composition, i.e. Supernatural Addiction. As heard throughout Deceased’s earlier outings, most notably Luck of the Corpse (1991), The Blueprints for Madness (1995), and the recent As the Weird Travel On (2005), the riffs and overall guitar composition are coupled with the occasional harmonic lead, yet driven with a ravenous, blistering onslaught of riffs that force you to methodically sway your mane to and fro; North and South. Those said riffs are cathartic to the seasoned ear, just as how a hard-hitting, toiling pipeline engineer feasts upon a freshly seasoned, cooked slab of well-done steak that oozes and slivers with damp-deep cow blood.

Yet, the riffs and leads that Smith and Adams construe and layer upon this effort do not maintain the status quo that was previously established while recording Luck of the Corpse and The Blueprints for Madness. The riffs that construct Supernatural Addiction are obscured within the final audio mix, and overtaken by numerous guitar-driven leads reminiscent of Iron Maiden‘s early musical career, and Judas Priest’s popular 1980s offerings. While several of these leads leave a memorable, melancholic trail behind, a fine majority fail to impact the listener, and in turn, enhance the musical effort as a whole. Perhaps, just as many modern-day horror film remakes reek of misunderstanding and abominable acting and abominable adolescent actresses, the twin harmonic efforts of Mike Smith and Mark Adams suffer from the same fate; attempting to re-kindle the blaze of last year’s illumination, yet facing several trepidations along the way. Henceforth, while the riffs that Smith and Adams contribute towards Deceased’s petrifying performance are embellished with an overabundance of seemingly-pleasant melodies and harmonics, the meat of the matter stands that the rhythmic riffs that can be noticed are certainly cognizant of Deceased’s earlier methodical madness, while ultimately beckoning forth the vigor-damned spirit that rests within us all. Despite this consistent corrosion, the musical foundation of Deceased’s Supernatural Addiction is still proudly towering above and beyond the substandard efforts that musicians were producing throughout the late 1990s.

Concerning the tumors that Les Snyder blemishes with his bass-lines underneath the crypt of Supernatural Addiction, the aftermath admonishes any hesitations pertaining to the horror-bound, soul stricken blight that this record scatters in its wake. While the rumbling, tumbling riffs remain unheard to the amateur ear, the experienced listener will instantaneously notice the instrumentation and as such, will forfeit his soul and being to the outer terrors that ravage innocent dreams of benevolence. Similar to the occasional glistening of Smith and Adams’ pick plucking their strings, Snyder’s following with the bass guitar trails en route to Fowley’s stygian call-to-arms; shaking and shattering the benign foundations of society, all the while caressing the coos of society’s so-called degenerate and degraded. Synder’s position within Deceased’s performance is top-par and decorated with creeping rumbles, cataclysmic riffs which can metaphorically conjure catastrophic chasms, and inert melodies which modestly nod towards the past yet always present efforts of early Black Sabbath and Pentagram.

Nevertheless, despite the assertion of an abundance of guitar-driven leads, melodies, and harmonies upon the performance, the sempiternal crypt which suppresses the monsoon of malevolent monsters still reigns upon the muddled, damp soil drenched with decay. Thus, Deceased’s fourth full-length album, Supernatural Addiction, while marred with a flaunting showcase of harmony and melody, continues to consume mankind’s incessant urges for ugliness, decay, and aggression, all the while envenoming its listener with a potent poison of misery, melancholy, and beauty. Supernatural Addiction, while not being classified as a transcending classic within the pantheon of heavy metal, still maintains an air that a scarce amount of bands can replicate. Here, Deceased establish themselves as a profound and determined force within an era when countless bands faded into the depths of the unknown, and several once-revered acts slipped in the cesspool of haphazard and substandard musicianship. Deceased prevailed through this furious storm, and as such, produced a haunting record that seeps with ghastly grandeur and hideous honor.

[…]

But what is on their mind what sort of horror will we find?
Down within the chambers of the waiting blind!

Screaming for this torture ride to end - 90%

autothrall, December 24th, 2009

Fearless Undead Machines (1997) was a pretty good horror metal concept album, from one of Americas best old school advocates Deceased, but three years later they would trump that release with the more melodic, classic metal tinge of Supernatural Addiction, which I consider to be the band's strongest work to date. If you're a fan of the band's earlier, heavier work, fear not, because the primal death/thrash metal roots are abundant. But the injection of pure 80s inspired NWOBHM melodies into the mix adds a depth to the writing which simply did not exist in large quantities prior to this.

Like the cover art implies, the focus of this album is to celebrate the more cerebral, psychological side of horror than the visceral corruption covered on Fearless Undead Machines. The writings of Poe, the classic ghost story, the dark black and white horror of silent film, all of these are inherent influences which translate well into the lyrics. "The Premonition" is a driving track with some soaring if haunting melodies, and King's Venom-like voice is at its peak, mixed in extremely well with the rhythm guitars and leads. "Dark Chilling Heartbeat" has a pair of fine, winding leads to intro the shuffling, somber tone of the obvious tribute to Poe's Telltale Heart. "A Very Familiar Stranger" is a raging roadster based on The Hitchhiker. Other excellent tracks on the album include the blistering "Frozen Screams", the morose and beautiful "Doll With the Hideous Spirit", and the fright fest "Chambers of the Waiting Blind".

Like some of the past records, Supernatural Addiction uses a different sort of lyrical approach from the typical metal album; where the words simply speak the narrative of each tale, organized into a rough approximation of verse and chorus. I wouldn't call them poetic so much as a death metal Rod Serling sitting by the fireplace, recounting visions of the macabre. The mix of this album is simply unmatched by anything else in the history of the band, and like its predecessor, each track is loaded with a slew of riffs to explore. Few artists can balance such an excellent array of influences as King Fowley and crew, thus Supernatural Addiction winds up another cult classic for the ages. Whether you enjoy the pioneering thrash/death metal sounds of Possessed or Venom, or the more melodic NWOBHM/power/speed metal of the 80s, this album has many a moment for you. While I have never found any of their albums to be perfect, they are easily one of the more consistent metal bands of the past 20 years.

Highlights: Dark Chilling Heartbeat, Frozen Screams, Doll With the Hideous Spirit, Chambers of the Waiting Blind

-autothrall
http://www.fromthedustreturned.com

Brilliant thrash - 90%

SouthofHeaven11, July 15th, 2007

“Supernatural Addiction” isn’t your typical thrash affair. For starters, it’s a concept album. Each song featured here is based upon a famous story, whether it be from a show like the Twilight Zone or a short story by Richard Matheson, and on top of that, no other band even remotely sounds like what Deceased created here. In thrash, there’s almost never a mix of technicality, melody, speed, and heaviness, but here they blend together perfectly.

Originally, Deceased was a death metal band, but as time went on they progressed into thrash. They did, however, keep some of their old traits. This is evident by King’s vocals right off the bat, as they're very reminiscent of old-school death metal; tight, throaty-rasps envelope his lyrics, giving off a desperate atmosphere. Mixed in with Mike and Mark’s melodic leads and palm-mute driven rhythm sections, it’s a marvelous sound to behold. The first track, “The Premonition”, features one of the most phenomenal leads in thrash history before King’s shrill voice breaks the calm and the guys start to shred all over the place.

One of the best parts of this album is that there are so many riffs per song, so nothing feels overused. The shortest song on the album, “The Hanging Soldier”, is only 4:20, with the longest being “Chambers of the Waiting Blind” at 7:50. In those times, however, Mark and Mike throw out riff after riff that keeps each song fresh. Whether it is the constant tempo and fluctuation of “Dark Chilling Heartbeat” or the frantic thrasher “Doll With the Hideous Spirit”, Mark and Mike keep it alive. Their solos, as well, are just as sharp. Most of them have a rather progressive feel to them, such as “The Premonition”, as they throw in melody here and there to keep the listener hooked.

Every song on “Supernatural Addiction” is just as enjoyable as the one before it. Listening to this album from start to finish is pure bliss, as you’ll be hard pressed to press the “skip” button. To top it off, nearly every song has its jaw-dropping moments. The chopped-melodic riff with King complementing the guitars with shriek yells during the post-verse on “A Very Familiar Stranger” and the New Wave of British Metal-esque fills during the chorus to “Chambers of the Waiting Blind” are definite highlights, as you’ll be on constantly smiling and head-banging the whole way.

Since this is a concept album, the lyrics stick close to the source material from which they were derived. “Doll With the Hideous Spirit” immediately caught my attention, since I’m a fan of Richard Matheson. I already knew it was conceived from his work when King shouted out “Around its neck a guarding chain is said to stop its life, So with a smile and a laugh she sets the doll aside. Other topics include the famous story “The Hitchhiker” by Oscar Brand (A Very Familiar Stranger) and "The Blair Witch Project" by Daniel Myrick and Eduardo Sanchez (Elly's Denentia). Not only does King do all the vocal work on this album, but he also laid down all the drum tracks. You won’t find any Dave Lombardo insane fills here or anything, but it’s a more than solid job. He never really branches out of the basic drum roll or anything, but he makes use of different drum patterns to keep it crisp.

The only real gripe about this album is the song “Elly's Denentia”. Unlike the other 7 songs on this album, it constantly reverts back to the same slow-plodding start-stop riff with a haunting fill in-between. To be honest, it’s a good song, but it doesn’t pack as much punch as the other 7 tracks did. It has its moments, mainly the infused-melody near the end, but for the most part, it doesn’t stack up as well with the others. The bass, just like most thrash, is basically non-existant. Not once did I ever hear it (save for the slow intro to "Doll With the Hideous Spirit"), which is quite frustrating seeing as how it could’ve branched-off on its own during songs like “Frozen Screams” and it would’ve fit in fine.

“Supernatural Addiction” is something that any fan of metal should experience. The melody and technicality featured here could put any thrash-haters at bay, but its heavy enough that even the most die-hard thrashers would throw up the horns. Songs like “The Premonition” and “A Very Familiar Stranger” are easily two of the most intriguing songs I’ve heard in awhile. Not only that, but these songs have enough of a hook that’ll keep you in their grasps for days to come. If you like metal in general, do yourself a favor and check this out right now.

Overall Rating – 4.5/5 (90)

Recommended Tracks:
The Premonition
A Very Familiar Stranger
Doll With the Hideous Spirit
The Hanging Soldier

A Classic Metal Album to Behold! - 92%

PowerMetalGuardian, April 9th, 2007

My first encounter with the King came via an October 31 show. The next day I went out and purchased Supernatural Addiction along with Beyond the Mourners Veil EP, which were included together. After one spin, I was not satisfied with it, until now. Supernatural Addiction is a classic metal album, which all metal heads should own, or at least recognize as being a classic.


The music is a mix of traditional sound, thrash, and death metal. Some songs sound thrashier like Dark Chilling Heartbeat, and especially A Very Familiar Stranger. Some songs sound more traditional like opening track The Premonition. Others sound like classic death metal i.e. Doll with the Hideous Spirit. However, most songs incorporate a little of each sound, making the album an emotional roller coaster.


King has a unique vocal style that not many have attempted to copy. While most of the album features his “style,” a blend of growls and almost bass like vocals, there are some pretty good death metal howls, reminiscent of the old Deceased days. King is not one of those metal singers that feel it is needed to screech or raise the vocals up an octave. Because of this and for me personally, it takes awhile to get used to this style. Especially if you are recently getting into metal, borrow or listen to some Deceased songs to see if you like his vocal style. Like the music, the vocals have definitely grown on me over time. The lyrics focus on horror and, well…supernatural tales. A plus if you are into zombies and the like. While these are like King Diamond vocals, this album is not a concept album, where as most King Diamond albums are.


The best thing about this album is the guitar work and drums. This album offers some of the coolest guitar riffs of the new millennium. My favorite is the opening riff to The Premonition. There are a lot of classic straight notes that are familiar in death metal, but a lot of the riffs include backing licks which add detail to the songs and make them stand out more. As for the solos, well they’re there. Not to discredit the lead guitarist, but there are really no stand out solos. In fact most of the riffs and licks are better then the solos. Which is not a bad thing at all, since it adds flavor to the songs. The drummer is amazing. He can go from a simple tempo to a death metal blast beat in a second. Truly this album should be bought and heard just for the guitars and drums. If you do not like it the first spin, do not put it away, as was my mistake. All metal heads should own this album!

Addicted! - 95%

Shovel, January 26th, 2004

If you haven't heard this album, you need to. Plain and simple. You are an unmetal bastard if you have not heard Supernatural Addiction.

Anyways, the most simple description of this album is "fucking awesome". The riffs are harmonic, yet thrashy. The vocals, well, King Fowley is the master. The King Diamond of the modern scene. King Fowley, like King Diamond, has a completely unique voice that screams for respect. The guttural howl, the emotion he puts into every blood curdling "uurrghhhaaaa!!!" will make you remember his name, and his voice.

The drums are absolutely killer. Awesome beats, memorable as fuck. King Fowley easily out does Dave Lombardo for memorable drum beats (yeah, he's the drummer AND the vocalist, beat that). While the drumming isn't as great as it was on Fearless Undead Machines, it is still great. Imagine Dave Lombardo with a hint of death metal.

Some of the most memorable points in the albums include: the chorus to "The Premonition" (That shadow!), the opening riff to "Dark Chilling Heartbeat", the haunting lyrics/vocals to "A Very Familiar Stranger", the drumming to "Frozen Screams", the opening to "The Doll With the Hideous Spirit", as well as all of "The Hanging Soldier" (absolutely great track).

All together this album is excellent for setting a dark, chilling mood. King Fowley's vocals have exceptional emotion in them, almost to the point that you would think he is telling a story about himself (in actuality, his songs are based on popular horror stories/books/movies).


My only problem with this album is the fact that there is not a song based on a Lovecraft tale. How the fuck do you make a metal album based on horror stories and not include a Lovecraft tale? Thats like making an album based on norse mythology and not mentioning Thor or Odin. Where the fuck is Cthulhu, Yog-Sothoth, or the Ancient Ones? But this seems trivial, and it is. The album rules, and all should own it.

fucking awesome - 94%

ironasinmaiden, February 23rd, 2003

Deceased can no longer be classified as a death metal band. Maybe they began their career as one, but now they just play straightforward, jarring heavy metal... and Supernatural Addiction is their best disc yet.

King Fowley's vocals sound better than they ever have, a vast improvement from the nonsensical gargle prominent on past releases. He takes a stand (or seat?) as a fine metal vocalist, powering excellent thrashy traditional based songs with gruff vocals. Those epic song structures showcased on Fearless Undead Machines are almost gone. SA consists of 8 concise metal anthems, with great melodic leads and catchy guitar work. Imagine a mix of Iron Maiden and mid 80s Kreator.

The Premonition is just a fine track, a true metal anthem, and my favorite along with the Doll With the Hideous Spirit and Elly's Dementia. As usual, the lyrical base is horror, and nobody does it better than the originals. Deceased truly rules, and this album proves that beyond a shadow of a doubt.