Godslut – The Art of Deconstruction
Release Date: 4th September 2026
Label: Selfmadegod Records
Bandcamp
Genre: Technical Death Metal, Thrash.
FFO: Decapitated, Morbid Angel, Vader, Suffocation, Psycroptic.
Review By: Steiner Metal
Unless you’ve been living under a rock, you’re already aware that the Polish metal scene has been punching well above its weight in recent years. An infusion of younger bands—including Dormant Ordeal, Hauntologist, Sphere, and Death Reapers—has injected fresh blood and new ideas into the scene, while established titans like Behemoth, Vader, Hate, and Decapitated continue to churn out formidable new material. Poland is an increasingly fertile ground for extreme metal and now, Godslut have formally staked their claim to a spot among the scene’s elite with their forthcoming sophomore LP, The Art of Deconstruction, set to be released on September 4th through Selfmadegod Records.
The creative force behind this death metal trio is founder, guitarist, and chief growler Krzysiek Śniadecki, who formed Godslut in 2020 at just 13 years of age. Remarkably, all the material on their 2023 debut, Procreation of God—also released via Selfmadegod Records—was written before his 15th birthday. It’s an extraordinary fact but the band’s relative youth did not prevent them from making an impact on the live circuit. In support of their debut, Godslut appeared at festivals including Metal Mine, Rockowisko Zwierzyniec, and Mystic, while sharing stages with acts like Decomposition, Faust, Hate, Antigama, Redemptor, Watain, and Krisiun. Just five years into their ascent, that’s a résumé that already forces more established acts to take notice. Once you hear the music, though, it becomes immediately apparent why Godslut has built such a formidable reputation so quickly.
The Art of Deconstruction is, at its core, a technical death metal assault. Its blistering pace and surgical precision are alarming, with musicianship that borders on the absurd. Jakub Maciuk is particularly devastating behind the kit, delivering relentless, varied and astonishing drum work with nary a moment of respite in the engine room. That’s not to say Daniel Kozyra’s contributions on bass and vocals are any less considerable. It’s truly all-hands-on-deck any time a trio can generate power and presence on this scale. Not since the latest Dying Fetus album have I felt weight and force like this from a three-piece act. Yet for all its technical firepower, it’s the thrashy sections, hypnotic grooves and enchanting solos that ultimately make this release memorable.
Take, for example, the opening 40 seconds of Druglust, the album’s second track. The frantic, galloping interplay between guitar and drums is captivating, delivering a blistering introduction that perfectly foreshadows the carnage to come. That thrashy assault also would not have sounded the least bit out of place on a recent Psycroptic release, but the comparisons don’t end there. Two minutes later, the song abruptly shifts gears, dropping the listener into a catchy, pummeling groove that might remind Sylosis fans of an earlier era. Even devotees of early Lamb of God should find something familiar in the band’s knack for turning rhythmic violence into an infectious groove.
When it comes to unforgettable guitar solos, arguably the belle of the ball arrives a few minutes into Sacred Genocide, the album’s seventh track, where Śniadecki skillfully unleashes an eerie incantation that gradually amplifies the sense of tension in the music. There’s a playfulness to the pessimism here and the backdrop—one of the album’s heaviest and most sinister grooves—only magnifies the impact. Not far behind though is the lead from Stifled, the sixth track and only single release of the album. What seemingly starts out structured and mechanical abruptly transitions into a flourish of finesse before eventually relenting. Breathtaking guitar solos are certainly a hallmark of this release.
Taken as a whole, The Art of Deconstruction is an impressive collision of technical precision, relentless aggression and surprisingly infectious songwriting. Godslut’s musicianship is undeniably the foundation, with Śniadecki’s guitar work and Maciuk’s drumming combining to produce a level of intensity that feels strikingly profound for such a young three-piece. The future is most assuredly bright, yet technicality never becomes the album’s sole selling point. The thrashy bursts, pummeling grooves and melodic touches give the songs character, while the memorable leads introduce and maximize atmosphere. From beginning to end, Godslut demonstrates a capability to balance instrumental virtuosity with genuine musicality. For a band still so early in its development, that combination is perhaps the most remarkable aspect of all. So, with the release of this highly anticipated sophomore record, The Art of Deconstruction, Godslut has laid down a marker for their future, showing both the Polish extreme metal scene and global fans that they have no intention of slowing down.
(3.5 / 5)
