THE HAUNTED

SONGS OF LAST RESORT

Eight years in between albums is a long time, the longest gap in The Haunted‘s history, and considering the tumultuous events of the past decade, it’s a small miracle we didn’t lose more bands to the void. Sweden’s very own The Haunted make a long-awaited return with Songs Of Last Resort, their tenth studio album and a definitive statement from a band that has weathered time and lineup changes. Thematically steeped in war and the looming spectre of the apocalypse, the album’s mood is dark and unrelenting. Despite their Gothenburg roots, The Haunted continue to sidestep the city’s melodic death metal legacy in favour of a more eclectic mix, cherry-picking elements from heavy metal, thrash, and groove to forge their sound. With the current lineup being the band’s most stable and longest-serving, Songs Of Last Resort feels both like a homecoming and a new chapter.

Sonically, the album moves fast, clocking in just over forty minutes; it feels like half that time thanks to its consistently driven tempo. From front to back or shuffled randomly, if that’s your style, the album maintains a cohesive thread with The Haunted‘s previous work while delivering a fresh urgency. It opens with a prerecorded “general transmission” message that seamlessly transitions into the lead single, ‘Warhead,’ setting an aggressive tone right from the start. The second track, ‘In Fire Reborn’ (also the second and final single), accelerates the pace even more, then eases off slightly in the chorus to lock the listener in for the rest of the album’s journey.

Several tracks stand out across the album’s runtime. ‘To Bleed Out’ ends on a particularly haunting outro that captures an almost cinematic end-of-the-world atmosphere, making it the longest and one of the most memorable songs on the record. Conversely, ‘Blood Clots’ feels a bit underdeveloped, more like a sketch than a fully realized track, though it fits the tradition of shorter, punchy interludes The Haunted has included on previous albums. Closing with ‘Letters Of Last Resort,’ the band bookends the album with another “general transmission” message, creating a circular, thematic structure that lends weight to the album’s apocalyptic tone.

Performance-wise, every member of the band is in peak form. The record is rich with headbanging riffs, chugging grooves, and razor-sharp solos, delivering a tight, muscular sound that’s both musically and lyrically intense. Despite its war-driven lyrical themes, the album is surprisingly poetic at times. A standout line, “In the name of peace we lost our way”, hits like a hammer, encapsulating the album’s emotional and philosophical weight. The production is sleek and powerful, offering a level of polish not always afforded to this genre, which makes the impact of these songs even more visceral.

With early access to the album, I made it a point to spin it alongside the rest of The Haunted‘s discography, and it seamlessly integrates into their catalogue, an essential trait for fans who value continuity. The album’s live potential is undeniable, and I can only hope it paves the way for tour dates outside Europe, especially considering it’s been since 2009 for Canada and 2016 for the U.S. that North America last saw the band live. Although my only gripe is its brevity, and there are no bonus tracks to push it to the coveted 50–55-minute mark, Songs Of Last Resort is a powerful addition to the band’s legacy and a satisfying listen for both longtime fans and newcomers alike.