ENTOMBED - Entombed (CD)

By the time this 1997 self-titled compilation arrived, Entombed had already carved their name into the tombstone of death metal history. Yet this collection provides more than just a retrospective glance—it’s a treasure trove of rare EP material, obscure covers, and overlooked gems that shine a light on the band’s stylistic breadth and musical evolution.

Drawing together the complete Crawl (1991), Stranger Aeons (1992), and Out of Hand (1994) EPs, Entombed functions as a one-stop gateway into the band’s most formative years. It’s a patchwork of transitional moments, stitched together by grit, groove, and the band’s unmistakable chainsaw guitar tone. There’s something particularly rewarding about hearing these tracks outside the context of the albums—freed from a full-length’s narrative arc, they land like standalone punches, each one showcasing a different side of Entombed’s expanding identity.

“Out of Hand” leads the charge with its feral swagger, foreshadowing the death ‘n’ roll tendencies that would define Wolverine Blues. Orvar Säfström’s vocals on the Crawl tracks offer a unique glimpse into an alternate reality of the band—raw, grimier, and brimming with bile. “Forsaken” stands out here, a truly haunting non-album track that would have fit comfortably on Clandestine, yet feels even more urgent in this stripped-back context.

The real charm of this compilation, however, lies in the covers. Whether it’s channeling the deranged chaos of Repulsion’s “Black Breath,” paying reverent homage to KISS on “God of Thunder,” or filtering Roky Erickson’s psychedelic horror through a death metal lens on “Night of the Vampire,” Entombed display a keen sense of musical curiosity. Even the blunt-force noise rock of Unsane’s “Vandal X” is dragged through the Swedish mire and reassembled with menace. These aren’t just curios—they’re integral puzzle pieces to understanding the full picture of the band’s inspirations.

Of course, fans of the early Left Hand Path days will gravitate toward the more blistering moments—“Dusk,” “Shreds of Flesh,” and the titular “Crawl” still sound ferocious, a reminder of just how much Entombed helped shape the Swedish death metal sound. But what makes Entombed compelling isn’t just the brutality—it’s the balance of grit and groove, homage and innovation, rawness and refinement.

While some later compilations like Sons of Satan Praise the Lord would repackage many of these covers in broader scope, Entombed remains the most focused and cohesive collection of the band’s essential non-album material. It’s not a substitute for their early full-lengths, but rather an indispensable companion—especially for those looking to trace the band’s bold and sometimes unpredictable trajectory.

A solid recommendation for both devoted fans and new initiates. This is where the restless spirit of Entombed’s middle period lives, snarling and unrepentant.