We know that the composition and production of Asseptic Room’s records are long and punishing processes—just like giving birth—thanks to the perfectionist nature of its founder, Carlos Ruiz. The former member of Dioxyde, together with Mario González, has delivered this year their fourth album, Deconstructor. And while they had already reached great heights with their previous release, there’s no doubt they’ve managed to surpass themselves with this LP.
Five years have passed since the release of Extinction or Reawaken, their complex third album, which they presented in Madrid alongside Hocico. Carlos has always taken his time when delivering records, and Visceralofobia, his second albums is from 2011, just another five years after the debut Morbid Visions (from 2006). Deconstructor has been released by the label Advoxya on CD, and you can also listen to it on the artist’s Bandcamp.
“The album reflects a process of transformation and reconstruction within the project’s sonic identity,” says the Bandcamp text.
And it’s true: Deconstructor sounds different from other Asseptic Room releases—more modern in the best sense of the word, with electronics that sound like 2026. On top of that, the tracks are more catchy, even though Carlos sings in the most brutal way possible.
Moving on to a more detailed review, any great work needs a great intro—and this one is “Chants”, the track that perfectly brings us into the album’s atmosphere. It’s driven by smashed, furious drums and victorious shouts. We got into the vibe of the album with “Final Bottle”, a composition with a heavy rhythm, intense and genuinely terrifying. New production details are already starting to show, and the track also features a fantastic chorus with a hint of epicness—undoubtedly one of the album’s standout tracks.
More dance-floor friendly is the crushing “Deconstructor”, with an interesting production, industrial sounds, and an intensity that grows little by little. In “Faceless” you find dramatic pianos and celestial choirs that serve as an introduction to this heavy, oppressive track. The remix of “Golem” brings industrial sounds, a super powerful performance from Carlos, and an unsettling touch thanks to sounds that seem like sirens.
In “Don’t Stab Me”, production shines again: the duo really manages to create their own sound through military rhythms, an epic touch in the use of synths, a pinch of industrial, and a modern finish. It’s also one of the catchiest tracks. From “Estigia”, I especially highlight the stifling atmospheres—again—along with voices designed to inspire terror.
“Oppression” sounds like more dark electro, an aggressive track where Carlos almost seems like a metal vocalist. “Somos Piezas” would make a great single: it’s catchy, features a furious performance, and has overwhelming production. “Synthetic Dreams” is a slow, dramatic track with evolving, elegant keyboards, while “Slavetanz” is one of the sung compositions in Spanish, with a heavy rhythm, detailed production, and lots of epicness. “Through the whispers” is more industrial—very dark and powerful.
In “Shame and forgiveness”, the darkness continues with another excellent production. We reach the end with “Debris of the Self”, a danceable rhythm that’s also very catchy. And if you still want more, there are two bonus tracks: the aggressive “Exitless Room” and the short but intense “The Other side.”
Deconstructor is the best album Asseptic Room could have released today—and that’s already saying quite a lot.
