A band going on hiatus is quite a gamble: though the extra time could be invaluable in refining and perfecting your craft, it’s sure to push fan expectations through the roof at the same time. It’s been eleven years since American melodic death metal band Wretched’s last album ‘Cannibal,’ putting all eyes on 2025’s ‘Decay’ to mark a strong comeback for the group. All signs, from the group signing to Metal Blade Records to the return of vocalist Billy Powers, were pointed in the right direction for Wretched— now that it’s here, the new album doesn’t disappoint, though it can be a little rough around the edges.

If there’s a single element of ‘Decay’ that’ll truly blow you away, it’ll be the way the record sounds: the band’s partnership with a new label is clearly paying off, as their modern material is wrapped up in pure sonic perfection. Funderburk’s guitars are sharp enough to cut through glass, bringing a vicious heft to the chugging rhythms of a song like ‘Malus Incarnate’— his tones complement the group’s heaviest moments as well as they do their soaring lead parts, ringing out like a mixing engineer’s wet dream. Where Wretched’s previous albums exhibited the dirty, gnarly bite of old school death metal, ‘Decay’ is far more imposing and crushing. The Wieczorek/Grevey rhythm section is done all kinds of justice here as each track drags along a hulking low end that will have you wincing (but only in the best of ways). As for returning member Powers, we’re giving him the all clear: his shrill shrieks and bellowing cries really haven’t aged a day, completing the absolutely immaculate sound palate at the band’s disposal.

These changes in style are no accident, as they reflect the ways in which Wretched have evolved since 2014’s ‘Cannibal.’ ‘Decay’ is, by quite a margin, the longest record in the band’s catalogue— the goal was clearly to make this a grand, triumphant return for the group, and one that’ll have you in awe more than in the mosh pit. Compared to the technical fury that fuelled a record like ‘Beyond The Gate,’ 2025 sees Wretched placing a greater focus on atmosphere and sheer spectacle: the songs are slower and groovier this time around, to mixed results. If any part of the album feels most successful, it’s the first leg, which dives straight into pure melodeath bliss. The opening title track is nigh-on untouchable, like it could soundtrack your descent into hell— from its sinister note choices to its vicious drumming, the song announces Wretched’s return in style. Similar praise could easily be heaped onto the following four tracks, which are all packed with some of the best riffs and solos of the year: despite how pummelling these songs can be, its the mysterious guitar melodies of ‘The Royal Body’ and ‘Radiance’ that have us in a chokehold.

It’s after this remarkable first leg that ‘Decay’ begins to collapse under the weight of its own ambition: bigger does not always equal better, and Wretched may well have bitten off a little more than they can chew on this one. The new album houses, at its centre, a number of winding ambient passages that sit awkwardly alongside the enthralling death metal we know and love the band for. ‘Clairvoyance’ escapes mostly unscathed, even if its country influences and raspy vocals aren’t much to write home about. No, the real offenders are the pointless choral theatrics of ‘The Mortal Line,’ which do little but eat up almost four minutes of runtime, and the sixteen-minute behemoth ‘Behind the Glass.’ This track, which makes up a quarter of the entire album, is perplexing— it meanders through pretty clean guitar passages, brutal instrumental swells and triumphant solos that all work in isolation, but feels entirely disconnected when strung together like this. Even after eleven years in incubation, the centre of ‘Decay’ feels largely unfinished: ultimately, the album might feel far sharper (and more consistent) if these tunes hadn’t made the cut at all.

After such a bizarre offshoot, the roaring blasts that kick of ‘Lights’ feel like returning home again: even if Wretched have always toyed with lengthy song structures and ambient experiments, they’re still at their best when the drums are booming and the vocals are harsh and grizzly. The echoing cries of “we are eternal” on ‘The Golden Tide’ make for one of the album’s most memorable moments, pairing perfectly against some killer guitar melodies: the following ‘Blackout,’ meanwhile, is interested only in piling out-and-out aggression onto the unsuspecting listener. The songs in this final leg may not be quite as impressive as ‘Decay’ or ‘Malus Incarnate,’ but it’s always a pleasure just to hear Wretched doing what they do best: ‘The Golden Skyway’ is an excellent closer for the project, rounding things out on the thoughtful, bright note we were hoping for. When armed with such killer tones, even the most mundane of songs would sound fantastic— though Wretched do occasionally play things a little safe here, they surely earn every piece of praise thrown their way.

Eleven years is a long time to wait for an album, and it’s difficult to say that ‘Decay’ lives up to the hype when albums like ‘Beyond The Gate’ and ‘Son Of Perdition’ were made so much quicker. The record’s Achilles’ heel really is its centre though: aside from the pointless wanderings of ‘The Mortal Line’ and ‘Beyond the Glass,’ this is another strong melodeath exhibition from Wretched. The band are finally back, and with some brutal new material— if the next album can manage to trim the fat, it’ll be something special indeed.