Marking the first full length release since the band's re-introduction in 2022 with their Disquisition On An Execution EP, the current configuration of PA deathcore brutalizers The Last Ten Seconds of Life have seemingly found their stride with No Name Graves. Serving as testament to the resilience of guitarist Wyatt McLaughlin following a personnel shift that would have likely dismantled other bands, TLTSOL have reemerged as a cohesive, creative force deadset on pushing the limits of deathcore extremity.
Leveling up their songwriting by asserting a sense of experimentation on a deathcore record speaks to their intentions of pushing the genre forward rather safely rehash its past. Anchored by the McLaughlin's breadth as an extreme musician and bolstered by the skilled contributions of vocalist Tyler Beam, bassist Andrew Petway and drummer Dylan Potts, TLTSOL's latest incarnation has clearly achieved a new plateau of artistic aggression.
In addition to the merits of No Name Graves all its own, the project also speaks to the spirit of collaboration that is evident with the current iteration of the band. Touting guest features from Ricky Myers of Suffocation, Devin Swank of Sanguisugabogg and Ben Mason of Bound In Fear, the added firepower allowed the band to effectively broaden their stylistic repertoire while reaching a whole new crop fans.
Ironically enough, though the future looks as bright as ever for a band that was just two years ago on the brink, No Name Graves is among the band's darkest work yet. Delving into themes of existential dread, fear, retribution and isolation, the combination of execution and delivery make for the kind of presentation that in which style and theme work in tandem to create an all consuming listening experience.
Offering some added insight into the kind of pivotal record No Name Graves is, guitarist and principle songwriter Wyatt McLaughlin broke down the backstory of each track. Detailing the influences, the inspirations and the intentions with each entry, the band's roadmap to musical rebirth is laid out in ten devastating tracks.
Sticking with a familiar M.O., McLaughlin shared how the first song on the record was intended to establish the precedent for the what the listener was about to experience - giving some sense of scope of the album's narrative. The songwriter explained, "In line with previous Last Ten albums, we wanted to begin with a track that encompasses the lyrical and conceptual vision of the entire album. No Name Graves is the sequel to Disquisition on an Execution and portrays our horror-esque vision of the next realm after the physical execution in DOAE. This album is not an affirmation or denial of any belief system/spirituality. It is a sonic novel.
"Of All Humanity, the Sum"
Beyond the veil.
McLaughlin - OAHTS deals directly with the human race, the denial of our baseline existence, and the ever-present truth that we are unknowing of the ultimate boundaries of life, death, and nature. The subconscious monolith forever gnawing away at the back of our minds and the center of our hearts. Of All Humanity, the Sum is a modern musical allegory to the Denial of Saint Peter; albeit absent of a religious center. A person can continue denying their unknowing place in the cosmos through various ways (Isolation, Anchoring, Distraction, Sublimation) but will eventually have to face the music.
Brought on by their actions, the subject of OAHTS will soon encounter a terrifying realization by being cast into a realm of suffering. Charles Baudelaire’s poem ‘The Denial of Saint Peter’ had a great effect on me during a period of personal tribulation. This is where the title of the track comes from.
Litany of the Infernal.
Mclaughlin - For this track, we up the tempo as the chaos begins. Tyler, Andrew, and Grant McFarland of Atrium Audio worked together to create a back-and-forth vocal chorus come to life. The subject experiences terror and sees horrifying things. They do not yet know if what they are experiencing is in their previous reality or merely hallucinations. They soon realize they are in a personal purgatory that is a mirror of their soul and earthly actions. The writer of their own fire and brimstone symphony. This track features Ricky Myers of Suffocation.
"No Name Graves"
Prison living in poison.
McLaughlin - The title track of the album features Devin Swank of Sanguisugabogg. We wanted an anthemic, almost towering chorus that was surrounded by vicious riffs. The chorus also utilizes a slide guitar lead to give a mammoth ethereal overlay. The subject has dug a grave of no redemption and they soon become cognizant of the futility of hope. The title comes from an excerpt from the Werner Herzog documentary ‘Into the Abyss’. The sound clip at the beginning of the song also comes from a Werner Herzog documentary.
"Body of a Bastard"
Fee Fi Fo Fum.
McLaughlin - We aimed to make Body of a Bastard a definitive combination of all the things that Last Ten is most known for. Groove, soaring leads, razor-sharp vocals with pinpoint enunciation, huge riffs, and crushing breakdowns. Lyrically, BOAB is a commentary on the subject’s actions in the previous realm and their continuation into mental/physical ruin inside the present void. All the while the simmering realization of what they have done and what is to come.
"Saint No More"
Flesh and bone will turn to stone.
McLaughlin - Another notch turned up in tempo as the realization has now fully set in. The subject is paralyzed by the ever-mutating void and absolute vacancy of hope. Flashes of the past are deformed by the grotesque present.
Darkness consuming, useless revolting for one moment and in turn for all eternity. We wanted the entire song to build up the destructive ending featuring Ben Mason of Bound in Fear. A haunting lead pierces through the low end to give the listener the essence of the abyss.
"Feel My Fangs in You"
Behemoth of the unhallowed hall.
McLaughlin - This track was written with the phrasing and tenacity of the vocals to be at the forefront. This is because novelly and lyrically, this is where the void/abyss has now anthropomorphized. The realm is now speaking directly to the subject.
Making it clear that all they ever were and are is now for them to dine on. As the two merge pain will be delivered in perpetuity. This is the only song on the album to contain a guitar solo.
"Doomsday Death Trap"
Look up to the stars from this steel cage.
McLaughlin - In moments of extreme anxiety/stress/suffering, humans will sometimes experience maladaptive daydreaming. The mind escapes from the current situation where sensory overload is present. The subject experiences an MD back to an earthly reality. Doomsday Death Trap is the nightmarish MD of a car careening through an empty cold desert. The anthropomorphized entity is the one driving. The main extended guitar riff/lead was written by Tyler, aptly creating the feeling of an empty wasteland. The audio clip is from the film ‘The Lighthouse’.
"Broken Glass Incantation"
Eternity in the realm of suffering.
McLaughlin - Broken Glass Incantation marks a vital point in Last Ten. This song was primarily written by Andrew with additions by Tyler, Wyatt, and Dylan. The first time the primary songwriter of the music was not Wyatt. The song is an absolute monster! In continuation of the novel aspect, the sirens signal the end of the doomsday death trap car ride. The subject snaps back from their MD and realizes the entity is still in absolute control and the desert fades with hellholes swallowing them once again.
"Debt to the Dark"
Soft spoken horrors of a poet’s hand.
McLaughlin - Debt to the Dark strays from the continuation of the novel of the album. It is a commentary on the creation of music and artistry itself. Some artists go through great sacrifice; some do not. Some artists write from a place of sadness and some from happiness. No matter the struggle/ inspiration all artists question their creation and its lasting effect. This is the only song on the album to contain acoustic guitar.
"Thirst for Extinction"
Belly groans for the feast of extinction.
McLaughlin - To finish the album we raised the tempo to max, bringing us full circle to the DOAE EP where this all began. Dylan shines on this track with blistering drums that will push the limit of any speaker. The novel ends with the subject feeding the worms in a grave with no name. The delirium of everything in between becomes resolute in the question: In the end, what did you live for?
No Name Graves from The Last Ten Seconds of Life is now available via Unique Leader Records. Order the album - HERE