In the ever-churning cauldron of modern metal, few bands have made as visceral an impression as Russia’s Slaughter to Prevail. Formed in 2014 in Yekaterinburg, Russia, by vocalist Alex Terrible (Aleksandr Shikolai) and guitarist Jack Simmons. From their early days, the band carved out a place in the extreme metal scene with their ferocious blend of deathcore, brutal breakdowns, and unique Russian influences. Their debut EP, Chapters of Misery (2016), and first full-length, Misery Sermon (2017), showcased their talent for combining technical prowess with guttural intensity.
Over the years, Slaughter to Prevail have become known not just for their music but also for their outspoken stance against oppression and their advocacy for artistic freedom, particularly given the political climate in their home country. Their sophomore album, Kostolom (2021), marked a significant evolution, with more melodic elements, intricate songwriting, and even greater international reach. With Grizzly, Slaughter to Prevail aims to push their boundaries yet again, cementing their reputation as one of the most innovative and uncompromising acts in modern extreme metal.
The signature Slaughter to Prevail sound is a relentless onslaught of down-tuned guitars, pummelling drums, and Alex Terrible’s monstrous vocal range, which oscillates from subterranean growls to piercing screams. Their music is often described as a blend of deathcore, death metal, and hardcore, with a penchant for groove-laden breakdowns and an undercurrent of Eastern European musical motifs. Over the years, they have experimented with electronics, clean vocals, and even elements of industrial and nu-metal, all while maintaining an uncompromising ferocity. Slaughter to Prevail’s impact on deathcore cannot be overstated. They have inspired a new generation of metal musicians with their technicality, stage presence, and unfiltered lyricism. Their music videos — often featuring macabre, theatrical imagery — have amassed millions of views, and their popularity extends well beyond the Russian-speaking world.
While Misery Sermon introduced the world to the raw brutality of Slaughter to Prevail, and Kostolom demonstrated their ability to meld groove and melody with aggression, Grizzly incorporates the best of both worlds. Equal parts aggressively brutal with face melting breakdowns, roaring trademark guttural growls and ridiculously catchy and melodically rich hooks. However, aside from the juxtaposition of fury and melody, Slaughter to Prevail aren’t afraid to demonstrate their willingness to chuck curveballs into the mix either. Take opening track “Banditos” for example, a cacophony of rampaging drums, demonic growls, screaming turntables and pulverising, orchestral intensity suddenly crashes into a preppy mariachi interlude which is both jarring and brilliant, ensuring that the listener is paying attention. Likewise, “Russian Grizzly In America” injects a slice of strangeness amongst the slamming deathcore beats and hints of early Slipknot with 1940s era swing vocals. Terrible’s vocal range and abilities are well showcased here incorporating his signature rolling demonic growls, pig squeals and fry screaming.
“I’m Dead” sees the album’s first collaboration with the ever-controversial Ronnie Radke of Falling In Reverse. The screaming turntables return, backed by thunderous drums and chugging riffs. The track spirals, combining Radke’s cleans and screams with Terrible’s deafening roars. This track is ridiculously catchy; if Slipknot and Cattle Decapitation decided to collaborate at any point, this would be the result. “Babayka” doesn’t offer any kind of reprieve whatsoever and slams you repeatedly with swinging intensity and knuckle dragging groove-stomps, sung entirely in Russian. However, it takes a turn as ethereal synths begin to dominate alongside monastic throat singing and Rammstein-style choruses before reverting back to the former again. This is by far one of the strongest and more diverse tracks of the record. “Viking” opens with an ominously dark atmosphere, almost like a call to arms before it violently descends into pure, unadulterated chaos but with style. “Koschei” continues on a rampaging groove-stomp with Eastern flair. This track is slower in pace but all the more crushing regardless, it’s a battering ram of chaotic breakdowns and intense fury.
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If anyone had a Slaughter to Prevail and Babymetal collaboration on their 2025 bingo card, please raise your hand because it certainly wasn’t on the cards here. But it works and it works well; stupidly well. “Song 3” blends Kawaii-Metal with brutal Russian metal, creating an addictively furious and unbelievably catchy track. Particularly with the comparative and layered growls from both Terrible and Babymetal’s resident growling death metal queen Momometal. Who knew counting to three in Japanese could be so effortlessly cool and insanely heavy? More of this, please and thank you. “Lift That Shit” will get your blood pumping in the gym and see the mosh pits pulse whereas “Behelit” is a literal nightmare ascending from the depths of Hell with orchestral grandeur and melodically rich atmosphere.
“Rodina” begins the descent into the closing chapters of the album. A beautiful acoustic guitar and Terrible’s powerful and emotive clean vocals command your attention before it drags you to the depths with impassioned growls, haunting orchestral arrangements and devastating brutality. The emotion and power felt in this track is something special, perfectly conveying Terrible’s inner turmoil considering his public condemnation of current events orchestrated by his homeland whilst still remaining proud of his heritage. It’s at this point of the album that we encounter some unnecessary filler and quite possibly the only critique of the album. “Conflict” is just over 2 minutes long and as punchy as it is, it seems to be out of place in the grand scheme of the album; it’s doubtful that it would be missed if it was removed from the track list entirely. “Kid of Darkness”, however, is intricate, dark and has an industrial tone to it. The breakdown is absolutely devastating and the looping guitars add an air of extravagance. Finally, the Orwellian album closer “1984” condemns war and all of its consequences, serving as a severe throat punch to the jugular.
The album’s pacing is one of its greatest strengths. Each track leads naturally into the next (aside from “Conflict”) with enough variation to maintain interest but enough cohesion to feel like a unified work. The collaborations are well-placed, offering moments of surprise without overshadowing the band’s identity.
Grizzly is a triumphant testament to Slaughter to Prevail’s relentless pursuit of artistic evolution. It honours the band’s roots in brutal deathcore while fearlessly exploring new territory through inspired collaborations and daring songwriting choices. By blending bone-crushing heaviness with surprising moments of vulnerability and experimentation, Slaughter to Prevail have crafted an album that is both an uncompromising force of nature and an invitation to explore the furthest reaches of expression and it demands to be experienced in its entirety.
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Grizzly is out on July 18th via Sumerian Records
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