Album Review: Vacuous - In His Blood
Reviewed by Sam Jones
Vacuous are a name that have become synonymous with London’s metal community in recent years, even prior to the release of their first album. Formed in 2020 from London, United Kingdom, Vacuous grew rapidly amongst their contemporaries and friends to become of their most ruthless and popular extreme metal acts. The band released their first Demo and EP, Katabasis, in their formative year and by 2021, they put out a Live Album recording of a September show in Leeds. But 2022 was a big year for the band since Vacuous released the much and rightful praised debut album, Dreams Of Dysphoria, to much acclaim including my own. The following year would see them release a Single as well as a Split alongside Leeds act Mortuary Spawn although are often doing the rounds amidst British extreme metal today. But at last, due for a February 28th release window, Vacuous have returned to unleash their second full length offering, forgoing all niceties of dissonant carnage as per Dreams Of Dysphoria for an album cover that unapologetically showcases a snapshot of a bloodsoaked room. In His Blood looks set to be the band’s most punishing and scathing release year and I was more than prepped for it. In His Blood will be the band’s first release via Relapse Records and will feature new Bassist Zak Mullard with his first album credit with Vacuous; other than that, the lineup is identical to their previous record.
There’s no indication that Vacuous will hold anything back if their album opening is anything to go by, rolling out a bellowing cry followed by the band’s trademark, bludgeoning assault. I’d argue their soundscape is heavier on the bass this time round for when their riffs and vocals come at us, their fists feel far more clenched, resulting in an impact that strikes harder and with greater focus. This in turn points us towards their production as whilst Vacuous are renowned for their scathing and unapologetic attack, much like their album cover the band are leaning towards a much more blunt-force, bodily onslaught than it felt Dreams Of Dysphoria was vying for. Their performance feels to be a lot cleaner, at least where instrumental cohesion is concerned; regarding the overall performance by the band their savagery is as on point as ever though they have absolutely polished themselves some more. Thankfully the overarching malice their sound infers is still as prevalent as ever.
What always pleases me concerning Vacuous’ performances, whether its on album or live, is the momentum one gathers by experiencing their assault. Rather than being content with music that just plays fast, Vacuous have established themselves as a force that will get you on board with their arsenal quickly and ensure you that your time spent with them is no accident. Though the band naturally play with speed in mind I’d rug their most eye-opening moments come into play when the tempo relaxes, not slowing, and thus gives the band various outlets for their strength to merge together for these one-two-three punches before dispersing once more into where the songwriting needs them to be. With that said, its clear the band are already experimenting with different approaches to songwriting amidst their sound, incorporating more nuanced and cerebral qualities like the opening to “hunger” where the band rein us in with a softer caress before that hand rapidly morphs into a bloodied punch. This points to how the band are no longer content with their record merely giving fans what they’re expecting; they’re looking to branch out and try new ideas already, only into their second album of their career. Regardless of how the band conduct their songwriting you will always feel like their songwriting is carrying you from start to finish with purpose and direction.
Particular credit must be given towards the drums and especially Max Southall who has already garnered for himself a reputation as a prolific and highly versatile drummer whose work alongside not only Vacuous but Vaticinal Rites too really needs to be seen to be believed. Having seen him perform live a few times now around the London venues, his performance here comes as no surprise for he is somehow able to explode from nothing into everything at once with little prior warning of his oncoming detonations. I will say however that In His Blood has been demonstrating the drumming to be much more expansive and is more than your typical displays of blast beats; those examples are here too but the drumming herein definitely feels more developed with numerous unique patterns and styles that are befitting to the riffs and songwriting. Its evidently in line with the band’s approach to this album as In His Blood isn’t so in our face and has chosen to take some steps back if only to enable us to better process their work.
As mentioned, Vacuous seem far more occupied in crafting a more complete and well-rounded album experience than merely throwing a succeeding sequence of songs at us and calling that the album. In His Blood oozes a greater vision of what the band wanted to achieve and absolutely sees them maturing from a local London act on their first major release to a band entering the national, and wider international, stages. There certainly seems to have been more thought and planning put into their songwriting as their music, as covered, isn’t so straightforward anymore. It weaves and slows and climbs with intensity, though the jaws are yet gnashing and their rabid drive hasn’t quelled. The record undoubtedly sees Vacuous maturing and is such short time too; the riffs are bulky and strong but they aren’t seeking to destroy us since Vacuous naturally want us to return. If anything this record is a surprisingly easy and accessible listen since its not out to test our mettle, yet the inherent performance is as volatile and rapturous as anything by the most crushing tones yet seen in 2025. The soundscape has adopted this pleasing, alluring aesthetic wherein the violence is obvious from the start but owing to the polished, prepared slate this album runs off of it becomes a deeply enticing and satisfying experience. Liked the Pied Piper the band have you under their trance with ease and thus are free to do entirely as they please with your attention, of which you will be giving the band without hesitation.
In conclusion, I believe In His Blood really sees Vacuous come into their own as a death metal act. No longer should they be seen as an upcoming band from London, this record truly sees them becoming the force of nature the UK has seen them destined to become. The number of shows they receive is no mistake for In His Blood is simultaneously their most aggressive yet meticulously created work by a country mile; comparing this with Dreams Of Dysphoria is like putting a Summer’s day alongside a Winter’s evening, the two are so vastly different from the other yet they will have legions of fans who appreciate their nature to the greatest extent. I think In His Blood will be the band’s greatest triumph easily and certainly deserves to be their breakthrough record amongst the greater international community. Granted it delivers all the power you’d want to discover from Vacuous, whose prowess for raw delivery is well respected, yet its clear they’re already seeking newer horizons by implementing more cerebral, introspective extreme metal that’s a step above carnage alone. One of the more unique death metal works of 2025’s early slate, Vacuous are here with something to say.
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