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CORONER
Dissonance Theory

Century Media (2025)
Rating: 8.5/10

Still looking dark around the eyes and pale in the cheeks, legendary Swiss thrashers Coroner are the latest combo to reform, bringing back their dry and colourless rhythms after dissolving in the mid-90s. Naturally, I was concerned about the reformation, especially when one considers how many bands have failed so miserably in re-emerging from the grave (Dark Angel anyone?). However, Coroner was always a special unit, a band that existed on its own humourless grey plateau in a leaden galaxy. Those pallid auras have never left the ashen shoulders of members Ron Broder (aka Ron Royce; vocals and bass) and Tommy Vetterli (aka Tommy T. Baron; guitar) as they embark on this next venture aided by drummer Diego Rapacchietti.

The album was officially teased to us in August 2025 with the release of single ‘Renewal’, which was followed a month later by ‘Symmetry’. Both tracks suggested that the trio were and, most importantly, still Coroner operating through the usual wiry gauze of arrogance and despair. ‘Renewal’ is a technical behemoth, a twisted thrash barrage led by Broder’s mocking, seething snaps within an acidic wave of scathing riffs. It was certainly the return we had hoped for. ‘Symmetry’, as equally volatile, is built upon the surging stick work of Rapacchietti who furiously pounds his kit to produce layers of debris ash.

Vetterli’s riff work is masterful; conniving and crafty they swirl like a raging mental vortex (excuse the pun!). Meanwhile, Broder’s bass is a backbone of formidable form, even more so on the less aggressive ‘Consequence’. Arguably the best song on the album, its sublime flow causes shudders with that juggernaut bass. The pace is more methodical, glinting almost with every strategic jab, assaulting the brain like the perfect boxer performing within himself yet still outsmarting all competition with the bobbing and weaving.

Dissonance Theory is still that band which effortlessly fuses alien industrialisation and dystopian gloom as one envisions grinding cogs and steaming pistons fuelled by the gaseous emissions of Broder’s throat. ‘Sacrificial Lamb’ begins with a stark drum, the clank reminding me somewhat of a dehydrated mix of Killing Joke and Treponem Pal. There’s a condensed anger, a concise and almost Teutonic precision as a blackened vapour coats the lungs due to the grating cascades of the guitar sound. “Fear not, little flock,” sneers Broder, “the kingdom is yours until I will come”, and suddenly Coroner are at the pale summit leering down into the void.

We are not worthy is how we are made to feel as ‘Transparent Eye’ begins with angular chords and Rapacchietti’s menacing pattering. Diego is a giant here, as he steadily builds those marches to a slower melody. The trio drifts back to the early 90s, toying with an industrial vibe before a little bit more pace is applied. And then there’s ‘The Law’, a morose slab of early 90s alternative metal that wouldn’t have been out of place on a Faith No More album.

Coroner creates an almost uninviting landscape only frequented by those with a bleak outlook as pessimistic undertones writhe through the soul of this album. The riffs act as wicked, polluted veils greedily swarmed by efficient yet partly mechanical parasites to the hum of their own worthless existence. This is an album summed up perfectly by its title; a dissonant soundscape revelling in its own caustic clamour as ‘Crisium Bound’ and ‘Trinity’ steadily rumble, the latter more discordant in its journey, but both epitomising the blanched metallic prose of a band whose return has been much needed in a world of miserable comebacks.

Neil Arnold

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