Death Metal titans Cancer are set to unleash their seventh studio release, Inverted World, featuring founding member and vocalist, guitarist and songwriter John Walker alongside a refreshed line-up of Gabriel Valcázar on drums, Robert Navajas on lead guitar and Daniel Maganto on bass. This trio really add a dynamic edge to the sound, showing Cancer are still a force within the Death Metal scene to be reckoned with. This latest offering should please old fans and gain new ones.
Cancer – Inverted World
Release Date: 25 April 2025
Words: Jools Green
Lyrically Inverted World explores the dark and murky world of manipulation and barbarity both past and present, with themes relating to shadowy entities and cult mentalities, including the brainwashing of people into compliance and the weaponizing of religion. So, there is a lot here that resonates with current times. 
Inverted World opens with Enter The Gates, and right from the offset, this album seizes your attention, confronting you with punchy and spiralling riffs. The powerful, protracted opening roar is followed by equally powerful, well punctuated and protracted growls, along with superb drum rhythms. This is topped by superb thrashy leadwork soaring out of the second half. Everything about this track makes a massive statement.
Until They Died continues to assault your senses as it unleashes another torrent of punchy riffs and a wave of drum battery upon you. There is an almost hypnotic quality to the repeat of the extended intro. Lyrically and vocally, it is as dynamic as it is brutal, and the delivery of the repeat phrase across the track of “until they die” is powerfully unnerving. In the second half, there is a beautifully haunting swathe of leadwork that extends and morphs into something insanely thrashy and hugely exciting.
Title track Inverted World stomps along with brutal determination. Lyrically, it is as catchy as it is dark. You will invariably find yourself joining in with the repeat, “This world knows no quarter, only famine, plague and slaughter!” The second half thrashy leadwork, once again, is excellent and extensive. Another great piece.
I love the bounce to 39 Bodies. It is very groovy and hypnotic. The pace picks up when the sinister-edged vocal growls arrive, dropping back in between lyrical passages. Lyrically, it is engagingly dark and bleak, and once again, the thrashy leadwork is superbly on point.
Test Site is an absolutely superb piece on so many levels. Lyrically it looks back to 16 July, 1945, when, at 5:29 am, when the Manhattan Project “successfully” tested the first atom bomb in Alamogordo, New Mexico.
Musically, it gets off to a frantic start with spiralling riffs mixed with driving swathes. I love the subtly technical aspect to this piece. The punctuation to John’s delivery is hugely impactful. His delivery is deeper and more sinister as the track progresses, building on the dark atmosphere of this piece. The instrumental swathe reflecting the countdown is also hugely impactful. A hugely thought-provoking track.
Brutal punchy riffs reflect the brutal story behind Amputate, reflecting on the historical forced labour of the people of the Congo. This was under the control of Belgium’s King Leopold II, whose Force Publique was notoriously known for severing the hands of workers, or worse, who did not meet targets or who dissented in any way.
Lyrically, this is delivered in a forthright but sympathetic manner. It is a crushingly well-delivered piece that reflects respectfully on the subject. The harsh, thrashy second-half leadwork builds on the brutal mental image created.
A bleak, dark, and crawling pace opens When Killing Isn’t Murder. A deathly atmosphere dominates a piece which looks at killing for a belief system or cause. It is a superbly oppressive crusher of a track that never gets much above a mid-pace but marches slowly and steadily onwards, the leadwork adding a haunting reflective mood.
Charging towards you next at a frantic pace is Covert Operations, a sharp-edged piece that packs a punch thanks to the very dynamic repeating riff and sinister edge to the vocal delivery. Yes, you do get another rather superb extended blast of second-half thrashy leadwork just to add to that intensely engaging atmosphere further.
The reflective to open, Jesus For Eugenics, with its initially quiet yet sinister whisper/growled vocals, is a hugely impactful piece. From the start, you sense that unnerving edge as the song gradually reveals itself. It builds in pace in punchy increments, punctuated with soaring wailing leadwork, adding to the sinister atmosphere. A hugely dark and impactful track with a strong lyrical message for the listener to decipher for themselves.
The final piece visits a favourite topic of Death Metal fans and musicians with Corrosive, inspired by the exploits of English serial killer the acid bath murderer John Haigh. The riffs and leadwork are sharp and corrosive in keeping with the forty-gallon drums of sulphuric acid Haigh used to dissolve the bodies of his victims. An impactful and memorable closer to the album.
Inverted World was recorded at The Empty Hall Studio with Simón Da Silva and mixed by V. Santura (Triptykon, Obscura, Pestilence, Dark Fortress) at Woodshed Studio. All have made a superb job, as the overall sound quality of the finished album is excellent.
I think Inverted World is a masterclass in Death Metal and a must-have for all Death Metal fans. It ticks all the boxes for me.
Cancer will release Inverted World on 25 April 2025 via Peaceville on purple vinyl LP, black vinyl LP, CD and digitally. Pre-order here.
