The Return of Grond: A Decade Later, Do They Still Rule the Temple?
It’s been a decade since Grond last graced us with their brand of Lovecraftian death metal, and honestly, I wasn’t sure they’d ever return. Worship the Kraken was a beast of an album—a perfect blend of Bolt Thrower’s tank-like riffs and Autopsy’s grotesque atmosphere. So when The Temple emerged after such a long hiatus, my curiosity was piqued. Could they recapture that magic, or would it feel like a relic of a bygone era?
What immediately stands out is how Grond hasn’t lost their edge. The band still sounds like a stomping monstrosity, with those signature Bolt Thrower-inspired riffs and a bass tone that feels like it’s burrowing into your chest. Tracks like ‘Weddigen’ and ‘Submergence’ are prime examples—they’re heavy, they’re nasty, and they’re exactly what fans have been craving. But here’s the thing: The Temple isn’t just a rehash of their earlier work. There’s a newfound doom-death influence here, reminiscent of Temple of Void, that adds a layer of shadowed moodiness. It’s like they’ve taken their old-school roots and draped them in a shroud of cosmic horror.
Personally, I think this is where Grond shines brightest. They’ve always been about simplicity—no need for overcomplicated structures or flashy technicality. Instead, they rely on reliable parts of the death metal arsenal: gut-punching bass, clever drum fills, and guitar solos that feel both frightful and exhilarating. It’s a formula that works, especially in tracks like ‘Dreadnought,’ where the guitar pyrotechnics steal the show. But what’s truly fascinating is how they’ve managed to make this album more accessible without sacrificing extremity. It’s their slowest and longest record, yet it’s also their most digestible. How does that work? Well, they’ve doubled down on groove and hooks, making even the most straightforward cuts feel exciting and distinctive.
One thing that immediately stands out is the runtime. At 48 minutes, The Temple feels a bit bloated. The title track, for instance, clocks in at six and a half minutes, and while the guitar work is stellar, it could easily lose a minute without losing impact. This isn’t just a nitpick—it’s a pattern across the album. Most tracks flirt with that six-minute mark, and while they don’t feel that long, there are moments where a trim would do wonders. Take the instrumental intro ‘Rotter Himmel,’ for example. It’s a nice setup, but it doesn’t add enough to justify its existence. If you take a step back and think about it, these small edits could elevate the album from ‘very good’ to ‘great.’
What many people don’t realize is how much depth there is beneath the surface. On first listen, The Temple might seem like a straightforward death metal album, but revisits reveal layers of detail—especially in the guitar work. It’s the kind of album that grows on you, a ‘grower’ as they say, and that’s a rare achievement in today’s fast-paced music landscape. It’s not groundbreaking, but it doesn’t need to be. Grond has carved out a niche for themselves, and The Temple fits perfectly alongside other Lovecraft-inspired acts like Sulphur Aeon and Corpsessed.
From my perspective, this album is a testament to Grond’s staying power. They’ve evolved just enough to keep things interesting while staying true to their roots. It’s not perfect—the runtime could use a tweak, and some tracks feel a tad overambitious—but it’s a solid addition to their discography. If you’re a fan of doom-tinged, mid-paced death metal with a healthy dose of cosmic horror, The Temple is worth your time.
What this really suggests is that sometimes, a long wait is worth it. In an era where bands churn out albums every couple of years, Grond’s decade-long hiatus feels almost rebellious. And you know what? It paid off. The Temple isn’t just a return to form—it’s a reminder of why we fell in love with Grond in the first place. So, choose your vessel, and enter the gate. The Temple awaits.
Rating: Very Good
Label: XTreem Music
Release Date: April 30th, 2026
Website: grond.bandcamp.com
