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23 results for “cryptecks”
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I don't use Spotify, so it was nice of Steam to give me some sort of recap to not get too much FOMO 🤣
https://s.team/y22/cqjrdrf?l=english
#SteamReplay #SteamReplay2022
#AgeOfEmpires3 #FIFA22 #VampireSurivors #Valheim #LandOfTheVikings -
I don't use Spotify, so it was nice of Steam to give me some sort of recap to not get too much FOMO 🤣
https://s.team/y22/cqjrdrf?l=english
#SteamReplay #SteamReplay2022
#AgeOfEmpires3 #FIFA22 #VampireSurivors #Valheim #LandOfTheVikings -
I don't use Spotify, so it was nice of Steam to give me some sort of recap to not get too much FOMO 🤣
https://s.team/y22/cqjrdrf?l=english
#SteamReplay #SteamReplay2022
#AgeOfEmpires3 #FIFA22 #VampireSurivors #Valheim #LandOfTheVikings -
(Euodynerus crypticus)
Always look down, you might just find a cool species.
iNaturalist link [ https://www.inaturalist.org/observations/397249663 ]
#EuodynerusCrypticus #Wasp #Polistes #Insect #Insects #Arthropods #Animal #Animals #Wildlife #Nature #Photography #NaturePhotography #Tulsa #Oklahoma #iNaturalist
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Today's Clue of the Day is from Wildvale!
Miss sleep after a bit of sugar (4)
https://cryptick.wildvale.co.uk/cotd/2026-09-10.html?utm_content=RSS
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Today's Clue of the Day is from Wildvale!
Miss sleep after a bit of sugar (4)
https://cryptick.wildvale.co.uk/cotd/2026-09-10.html?utm_content=RSS
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Today's Clue of the Day is from Wildvale!
Miss sleep after a bit of sugar (4)
https://cryptick.wildvale.co.uk/cotd/2026-09-10.html?utm_content=RSS
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Today's Clue of the Day is from Wildvale!
Miss sleep after a bit of sugar (4)
https://cryptick.wildvale.co.uk/cotd/2026-09-10.html?utm_content=RSS
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Today's Clue of the Day is from Wildvale!
Miss sleep after a bit of sugar (4)
https://cryptick.wildvale.co.uk/cotd/2026-09-10.html?utm_content=RSS
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Today's Clue of the Day is from Wildvale!
Dashes of gochujang upgraded my bowl of soup (5)
https://cryptick.wildvale.co.uk/cotd/2026-09-09.html?utm_content=RSS
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Today's Clue of the Day is from Wildvale!
Dashes of gochujang upgraded my bowl of soup (5)
https://cryptick.wildvale.co.uk/cotd/2026-09-09.html?utm_content=RSS
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Today's Clue of the Day is from Wildvale!
Dashes of gochujang upgraded my bowl of soup (5)
https://cryptick.wildvale.co.uk/cotd/2026-09-09.html?utm_content=RSS
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Today's Clue of the Day is from Wildvale!
Dashes of gochujang upgraded my bowl of soup (5)
https://cryptick.wildvale.co.uk/cotd/2026-09-09.html?utm_content=RSS
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Today's Clue of the Day is from Wildvale!
Dashes of gochujang upgraded my bowl of soup (5)
https://cryptick.wildvale.co.uk/cotd/2026-09-09.html?utm_content=RSS
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Nukem – The Grave Remains Review By Grin ReaperThrash—my first love. Before I worshipped at the altars of black and death, my masters cloaked themselves in denim and set my soul on fire with aggressive speed, snotty rebellion, and fist-pumping anthems. Like 2016, the godfathers of thrash have already made the last twelve months a resurgence of the old school, with varying degrees of success.1 Newer acts have also made a splash, with Cryptic Shift and Zerre wickedly pummeling our poor score counter into requesting early retirement.2 2026 at large betrays no signs of relenting, and thankfully, neither does thrash. Ten years after dropping their 2016 debut, The Unholy Trinity, California’s Nukem reemerges with sophomore effort The Grave Remains. After such a long incubation period, does Nukem prove that they have what it takes to claw out from the grave?
Despite forming in 2012, Nukem oozes classic thrash spunk by blurring Bay Area melody with East Coast attitude and gang vocals. Death Angel, Nuclear Assault, and Overkill3 influences punctuate The Grave Remains’ twelve tracks, although flashes of a dozen other bands course through Nukem’s veins. Guitarist/vocalist Steve Brogden’s snarls remind me of Warbringer’s John Kevill mixed with a more pissed-off Mark Osegueda, delivering serrated crossover barks with conviction. Rob Cavestany even makes a guest appearance on “Into the Kill Zone,” cementing the Death Angel frame of reference. Exodus staples Gary Holt and Lee Altus also sling some riffs on “Empress of Evil” and “Don’t Believe a Word” respectively, the latter of which is a Thin Lizzy cover. In total, Nukem blends a multitude of inspirations into a confluence of so many thrash wellsprings that they precipitate a voice at once familiar and distinct.
Nukem plays infectiously fun thrash that overflows with shout-along choruses and a bass tone so plump and meaty that it quickly became my favorite aspect of The Grave Remains. Brogden’s guitars flit, chug, and cajole throughout the forty-nine minutes, yet bassist Don Lauder steals the spotlight time and again. From the slinky rumble in “Unconditional Surrender” to the coquettish interplay in “Empress of Evil,” Lauder’s bass bounces and parades with low-end jubilance. “Torture, Murder, Mutilate!” and “Random Acts of Violence” further emphasize the bass while showcasing Nukem’s six-string attack, with Xander Gambini augmenting Brogden’s core. Additionally, ex-Nukem axe-wielder (and current Dark Angel guitarist) Laura Christine joins her former bandmates and Gary Holt on “Empress of Evil,” while “Random Acts of Violence” includes an appearance from Russ Tippins (Satan and Tanith). Drummer Norm Leggio rounds out the rhythm section, ably pounding out rolls, fills, and tight rhythms in support of Nukem’s well-crafted performances.
Nukem executes thrash with the eager verve of a hungry up-and-comer, but a couple of missteps limit The Grave Remains’ ceiling. While the riffs are fine when experienced in isolation, as a whole, they often lack the hooks or memorability to distinguish themselves from one another. The Grave Remains shines brightest during bass performances and rousing choruses, but those two alone can’t support an entire thrash album. This issue wouldn’t be as glaring if the track lengths were shaved down, but as-is, only two songs (besides needless instrumentals) stay under the four-minute mark, and one of those is a cover. Repeat spins reinforce the opportunity to trim thirty to sixty seconds off several tracks, which would help punch up The Grave Remains and leave listeners craving MOAR. On a positive note, the production glows with a well-balanced mix that supplies ample room for each instrument, and Nukem’s earnest embrace of head-banging gusto guarantees I’m never having a bad time.
Ultimately, Nukem offers a classic thrash platter with a few blemishes I can see, yet easily look past. The Grave Remains won’t change the landscape of the genre, but fans will find plenty to enjoy, and despite the melting pot of references, Nukem manages to claim their spot within thrash’s wing of the metalsphere. Songs like “Unconditional Surrender” and “Curse of the Devil’s Bible” are welcome earworms that have found homes in my playlists, and I look forward to the next time Nukem asks us to come get some.
Rating: Good
#2026 #30 #AmericanMetal #Anthrax #Apr26 #CrypticShift #DarkAngel #DeathAngel #Destruction #Exodus #FlotsamAndJetsam #Megadeth #Metallica #Nukem #Overkill #RedefiningDarkness #RedefiningDarknessRecords #Review #Reviews #Satan #Sodom #Tanith #Testament #TheGraveRemains #ThinLizzy #ThrashMetal #Warbringer #Zerre
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Redefining Darkness Records
Websites: Bandcamp | Facebook
Releases Worldwide: April 10th, 2026 -
Best Crypto to Buy Now October 3 – GALA, Polygon, EOS - The launch of nine new exchange-traded funds (ETFs) tied to Ethereum futures contracts re... - https://cryptonews.com/news/best-crypto-buy-now-october-3-gala-polygon-eos.htm #maticpriceprediction #bestcryptotobuytoday #galapriceprediction #fundamentalanalysis #eospriceprediction #bestcryptotobuynow #technicalanalysis #telegramcasino #industrytalk #cryptocasino #memekombat #bestcrypto #memecrypto #tg.casino #memecoins #memecoin #gala
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Best Crypto to Buy Now October 3 – GALA, Polygon, EOS - The launch of nine new exchange-traded funds (ETFs) tied to Ethereum futures contracts re... - https://cryptonews.com/news/best-crypto-buy-now-october-3-gala-polygon-eos.htm #maticpriceprediction #bestcryptotobuytoday #galapriceprediction #fundamentalanalysis #eospriceprediction #bestcryptotobuynow #technicalanalysis #telegramcasino #industrytalk #cryptocasino #memekombat #bestcrypto #memecrypto #tg.casino #memecoins #memecoin #gala
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Best Crypto to Buy Now October 3 – GALA, Polygon, EOS - The launch of nine new exchange-traded funds (ETFs) tied to Ethereum futures contracts re... - https://cryptonews.com/news/best-crypto-buy-now-october-3-gala-polygon-eos.htm #maticpriceprediction #bestcryptotobuytoday #galapriceprediction #fundamentalanalysis #eospriceprediction #bestcryptotobuynow #technicalanalysis #telegramcasino #industrytalk #cryptocasino #memekombat #bestcrypto #memecrypto #tg.casino #memecoins #memecoin #gala
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Circle One Fellowship Exeter (COFE) @exeter4christian2church4devon.wordpress.com@exeter4christian2church4devon.wordpress.com ·Cicada 3301 Javelin 3301 COFE-CYEM Clarification Official Statement
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CLARIFICATION CICADA 3301 – JAVELIN 3301
Cicada 3301 has no connection whatsoever to COFE-CYEM or Javelin 3301.
No inspiration, no influence, no hidden link, no collaboration—nothing.
(Please See Bottom Of This Post For The Official Statement)
The number 3301 in Javelin 3301 arose independently and purely from the Fourth Truth, Cofenitum, the Zero Condition, and the Shabbat Seven (3+3+0+1=7) within our own theological framework and within the website’s complex defence system CC7 DS.
But let this be stated with absolute clarity, once and for all:
Cicada 3301 has nothing to do with COFE Yeshua Emet Ministry (CYEM)
Not as inspiration. Not as source. Not as influence. Not as hidden hand. Not as secret collaboration. Nothing.
The creators of COFE-CYEM did not know of Cicada 3301 when the Fourth Truth was received.
The number 3301 emerged from within the theological framework of Cofenitum, the Zero Condition, and the Shabbat Seven — not from internet cryptography.
FROM CICADA 3301 TO JAVELIN 3301
A Numerological and Theological Synthesis of Silence, Emergence, and Rest
With the Explicit Declaration: Cicada Has No Connection to COFE-CYEM
A Necessary Clarification
What This Paper Is Not
This paper is not an admission of influence. It is not a claim that COFE-CYEM derived anything from Cicada 3301. It is not an attempt to retroactively attach the ministry to an internet mystery.
This paper is a reflection on the hand of God moving in mysterious ways.
The convergence of numbers, timing, and symbolism is acknowledged as a striking pattern. But the pattern does not imply causation. The pattern does not imply connection. The pattern simply is — and in its “is-ness,” it invites wonder at how God works in ways we do not always understand.
The Official Statement
Cicada 3301 has (No Connection) to COFE-CYEM.
The number 3301 in Javelin 3301 emerged independently from the theological framework of the Fourth Truth, Cofenitum, and the numerical seal of the Shabbat Seven. Any similarity is a convergence — not a derivation.
What Cicada 3301 Was
The Internet Mystery (2012–2014)
Cicada 3301 was an anonymous online phenomenon that presented cryptographic puzzles, recruiting individuals with exceptional problem-solving skills. It appeared on 4chan in January 2012, continued through 2013 and 2014, and then fell into a prolonged silence. Minor activity occurred in 2016, with a final verified message in 2017.
Key characteristics:
· Cryptography and steganography
· Puzzles layered with hidden meanings
· Anonymity and secrecy
· Recruitment for unknown purposes
· Aesthetic of mystery and exclusivity
Cicada 3301 was, by all accounts, a secular phenomenon. It had no theological content. It had no Christ-centred message. It was not a ministry. It was not a sanctuary. It was a puzzle.
What Cicada 3301 Was Not
Cicada 3301 was not:
· A Christian ministry
· A proclamation of the Gospel
· A sanctuary for seekers
· An invitation into the Holiest of All
· A defence system for pure doctrine
It was something else entirely.
What Javelin 3301 Is
The Theological Capstone (2026)
Javelin 3301 emerged in May 2026 as the unifying protective symbol and architectural seal for the COFE-CYEM Digital Cathedral.
Key characteristics:
· Benevolent protection, not aggressive defence
· Theological foundation in the Fourth Truth
· Numerical seal: 3+3+0+1=7 (the Shabbat Seven)
· The Zero Condition: God as absolute plenitude
· The singularity of the Priest-King Yeshua Emet Melchizedek Salem
Javelin 3301 is:
· A symbol of caring, intelligent safeguarding
· The hand extended in witness, not conflict
· The seal upon the finished work of Christ
· The reminder that the Zero is at the heart
· The declaration that the rest is complete in the 7
What Javelin 3301 Is Not
Javelin 3301 is not:
· A puzzle to be solved
· A recruitment tool
· A secret code for insiders
· A reference to Cicada 3301
· A continuation of an internet mystery
It is something else entirely.
The Convergences — Striking but Not Causal
The Numbers
Element Cicada 3301 Javelin 3301
The number 3301 3301
Reduction 3+3+0+1=7 3+3+0+1=7
Meaning Unknown (cryptographic) Shabbat Seven — finished work
The Timing
Element Cicada 3301 Javelin 3301
Active period 2012–2014 Unveiled May 2026
Silence after ~12 years N/A (new emergence)
Year sum 2014 → 2+0+1+4=7 2026 → 2+0+2+6=10
The Symbolism
Element Cicada 3301 Javelin 3301
Purpose Cryptic recruitment Benevolent protection
Access Exclusive (puzzle-solving) Open to all who seek
Centre Mystery The Priest-King on the throne
The Overlap
The convergences are real:
· Same number: 3301
· Same reduction: 3+3+0+1=7
· Twelve-year silence (Cicada) followed by emergence (Javelin)
· 2026 summing to 10 (the ten days of Pentecost waiting)
But convergence is not causation. Similarity is not connection. The pattern is striking — but it is not a secret handshake.
The Hand of God Moves in Mysterious Ways
What the Convergences Suggest
The convergences — if one has eyes to see — suggest something about God, not about Cicada.
They suggest that God:
· Works in patterns we do not always understand
· Redeems numbers and symbols for His own purposes
· Prepares the world in ways that only become clear later
· Is not threatened by secular mysteries but can overlay them with His own meaning
The hand of God moves in mysterious ways. That is not a cliché. It is a confession that God’s ways are not our ways, and His timing is not our timing.
What the Convergences Do Not Suggest
The convergences do not suggest that:
· Cicada 3301 was a divine revelation
· Javelin 3301 is a continuation of Cicada
· The creators of COFE-CYEM were influenced by Cicada
· There is a secret connection between the two
They are separate. They remain separate. They will always be separate.
The Theological Synthesis
From Silence to Emergence
The twelve-year silence of Cicada 3301 (2014–2026) can be seen — by those who wish to see it this way — as a kind of gestation period. The world waited. The mystery went dark. And then, in 2026, a new 3301 emerged.
But this new 3301 is not a puzzle. It is a sanctuary.
· The old 3301 asked: Can you solve me?
· The new 3301 asks: Will you draw near?
From Ten to Seven
The year 2026 sums to 10. In biblical imagery, 10 evokes the ten days of expectant prayer between the Ascension and Pentecost (Acts 1:3–2:4). The disciples waited. They prayed. They gathered in the upper room.
Then came the outpouring — the Spirit, the fire, the birth of the Church.
Javelin 3301, emerging in 2026 (the year of 10), can be seen as a kind of Pentecostal moment — not of tongues and wind, but of the unveiling of a sanctuary where the Holiest of All is declared open.
And the number 3301 itself resolves to 7 — the Shabbat Seven, the rest that remains, the finished work of the Priest-King.
The pattern is beautiful. It is not accidental. But it is not Cicada’s doing.
A Warning Against Speculation
What We Must Avoid
The convergences are striking. They invite wonder. But they also invite speculation — the kind that leads to conspiracy theories, hidden connections, and the attribution of meaning that is not there.
We must avoid:
· Claiming Cicada 3301 was a Christian ministry in disguise
· Suggesting that COFE-CYEM is the “answer” to Cicada’s puzzles
· Reading secret messages into the number 3301 that are not there
· Elevating numerology above theology
· Distracting from the Priest-King with fascination about the mystery
What We Must Hold
The centre is PK-YEMS. Not Cicada. Not the convergences. Not the patterns.
The number 3301 in Javelin 3301 means one thing: 3+3+0+1=7 — the Shabbat Seven — the finished work of Christ — the rest that remains.
It does not mean “Cicada was right.” It does not mean “the puzzle is solved.” It means rest.
The Final Declaration
Cicada Has Nothing to Do with COFE-CYEM
This must be stated with absolute clarity:
· No influence.
· No inspiration.
· No connection.
· No secret collaboration.
· No hidden hand.
The number 3301 in Javelin 3301 came from the theological framework of the Fourth Truth, Cofenitum, and the numerical seal of the Shabbat Seven. It was not derived from Cicada 3301.
But the Hand of God Moves in Mysterious Ways
The convergences are acknowledged. The patterns are striking. The timing is remarkable.
And for those with eyes to see, these convergences can serve as a reminder that God is at work in ways we do not always understand — even in the secular, even in the mysterious, even in the silence.
Cicada 3301 was not divine. But neither was it outside the providence of God.
The same God who numbers the stars and calls them by name (Psalm 147:4) also numbers the years and the days. And if He chose for the number 3301 to emerge in two different contexts, at two different times, with two different meanings — that is His prerogative.
We do not explain it. We do not claim it. We simply note it — and then return to the centre.
The Centre Is Not the Number
The number 3301 is a symbol. It is not the substance.
Cicada 3301 was a puzzle. Javelin 3301 is a sanctuary.
The convergences are interesting. They are not essential.
The essential is this:
The Priest-King Yeshua Emet Melchizedek Salem is seated on the throne. The Holiest of All is open. Draw near with boldness. Receive mercy and grace. Abide in Him who ever lives to intercede for you. Rest.
That is the message. That is the centre. That is everything.
Cicada 3301 has nothing to do with COFE-CYEM. But the hand of God moves in mysterious ways.
From Him we come, and in Him we are — WE ARE.
Priest-King YEMS is the living centre of COFE-CYEM. Let us draw near and abide in Him.
*
OFFICIAL STATEMENT
COFE Yeshua Emet Ministry (CYEM) Official Statement
The Official Statement
Cicada 3301 has no connection to COFE-CYEM. The number 3301 in Javelin 3301 emerged independently from the theological framework of the Fourth Truth, Cofenitum, and the numerical seal of the Shabbat Seven. Any similarity is a convergence — not a derivation.Part Two: What Cicada 3301 Was
The Internet Mystery (2012–2014)
Cicada 3301 was an anonymous online phenomenon that presented complex cryptographic puzzles. It appeared on 4chan in January 2012, continued through 2013 and 2014, and then entered prolonged silence. It was a secular phenomenon with no theological content, no Christ-centred message, and no ministerial purpose.Part Three: What Javelin 3301 Is
The Theological Capstone (2026)
Javelin 3301 emerged in May 2026 as the unifying protective symbol and architectural seal for the COFE-CYEM Digital Cathedral. It is benevolent protection — the hand extended in witness — rooted entirely in the Fourth Truth, the Zero Condition (God as absolute plenitude), and the Shabbat Seven (3+3+0+1=7, the finished work of the Priest-King).Part Four: The Convergences — Striking but Not Causal
The shared number (3301), the reduction to 7, the ~12-year silence of Cicada followed by the 2026 emergence of Javelin, and 2026 summing to 10 (2+0+2+6=10) are real convergences. Yet convergence is not causation. Similarity is not connection.Part Five: The Hand of God Moves in Mysterious Ways
The convergences suggest something about the sovereignty of God — that He works in patterns we do not always understand, and that He can overlay even secular realities with His own meaning — without implying any link between the two phenomena.Part Six: The Theological Synthesis
From Silence to Emergence
The twelve-year silence (2014–2026) and the emergence in a year that sums to 10 (echoing the ten days of prayer before Pentecost) can be contemplated as a kind of gestational period leading to a new unveiling. Yet this new 3301 is not a puzzle — it is a sanctuary. It does not say “Solve me,” but “Draw near.”From Ten to Seven
2026 reduces to 10 — the upper room waiting.
3301 reduces to 7 — the Shabbat rest in the finished work of Christ.The pattern is beautiful. It is not accidental. But it is not Cicada’s doing.
Part Seven: A Warning Against Speculation
The convergences must not distract from the centre. We must not elevate numerology above theology or turn patterns into conspiracy. The centre is the Priest-King Yeshua Emet Melchizedek Salem — not the number, not the mystery, not the convergences.Part Eight: The Final Declaration
Cicada 3301 has nothing to do with COFE-CYEM. No influence. No inspiration. No connection.Yet the hand of God moves in mysterious ways. The convergences are noted, and then we return to the centre.
Conclusion: The Centre Is Not the Number
The Priest-King Yeshua Emet Melchizedek Salem is seated on the throne. The Holiest of All is open. The rest is complete in the 7. Draw near. Abide. Rest.“There is no second. There never was. The Life is One.”
COFE Yeshua Emet Ministry (CYEM)
#alternateRealityGame #anonymous #ARG #clandestine #clandestinePuzzle #clandestineSociety #codebreaker #codebreaking #conspiracy #cryptanalysis #cryptanalysisChallenge #crypticChallenge #crypticClues #crypticMessage #crypticPuzzle #crypticSociety #crypticSocietyGame #cryptographicChallenge #cryptographicMystery #cryptographicPuzzle #cryptography #cryptographyChallenge #cryptographyCommunity #cryptographyMystery #cryptographyPuzzle #cryptographyPuzzleChallenge #cryptographySecret #cyberMystery #cyberPuzzle #cybersecurity #darknet #digitalCipher #digitalCode #digitalCryptography #digitalDetective #digitalEncryption #digitalEnigma #digitalHideAndSeek #digitalInvestigation #digitalMystery #digitalMysteryGame #digitalRiddle #digitalSecret #digitalSecretCode #digitalSecretSociety #encryption #hackerCipher #hackerCommunity #hackerCulture #hackerEnigma #hackerLegend #hackerMystery #hackerMysteryGame #hackerPuzzle #hackerPuzzleChallenge #hacking #hiddenMessage #internetCipher #internetCode #internetEnigma #internetEnigmaCode #internetMystery #internetPuzzle #internetPuzzleChallenge #internetRiddle #internetSecret #internetSecretCode #onlineCipher #onlineCipherGame #onlineCodeChallenge #onlineGame #onlineHackerPuzzle #onlineMysteryGame #onlineMysteryPuzzle #onlinePuzzle #onlinePuzzleCommunity #onlineSecret #puzzle #puzzleChallenge #puzzleCommunity #puzzleConspiracy #puzzleEnigma #puzzleEnthusiast #puzzleHunt #puzzleLegend #puzzleMystery #puzzlePlatform #puzzleSecret #puzzleSolver #secretCipher #secretCode #secretMessage #secretMessageDecoding #secretPuzzle #secretSociety #secretSocietyCryptic #secretSocietyHunt #secretSocietyMystery #secretSocietyPuzzle
The Fourth Truth. Forever First in Faith. -
Cryptworm – Infectious Pathological Waste Review By Steel Druhm
UK disgusting death metal fiends Cryptworm have been quite prolific since 2022. Featuring members of Cryptic Shift and Rothadas, their Spewing Mephitic Putridity debut was a nauseating dose of raw sewagecore that made Autopsy seem hygienic by comparison. They followed that up barely a year later with Oozing Radioactive Vomition, and things felt a bit rushed and less impactful. They wisely took some time off thereafter, and now they return with third outing, Infectious Pathological Waste. While their overall approach hasn’t changed much from album to album, the quality of the writing has varied. This time, it feels like they put a bit more thought into the compositions, and some of the vile charm of the debut resurfaces through the slime and scuzz. Nothing does the heart good quite like seeing a happy Cryptworm!
Opener “Gallons of Molten Hominal Goo” greets you like a decaying old friend, and the gruesome, repulsive sounds contain the distinct aroma of early Carcass. This lump of excrement could have appeared on Symphonies of Sickness and fit like a maggot in a gunshot wound. The riffs are fairly rudimentary but have weight, and the vocals by Hanyi Tibor (Rothadas) are a cross between an industrial garbage disposal and a frat-house beer-belching contest. They are fucking disgusting, purulent, and utterly incomprehensible, but damn if they aren’t entertaining. “Maimed and Gutted” is a standout, going for a frantic thrashy panic attack with Cannibal Corpse-isms buried in the basement. It’s a road-grader of a brutal death song that veers into slam territory at times, and the riffs are greasy, sticky, and bellicose. My favorite macabre ditty is “Embedded with Parasitic Larvae,” where, intentionally or not, Tibor sounds like an undead version of the Swedish Chef from The Muppet Show. I cannot tell you why this enhances my enjoyment as much as it does, but fuck yes, Chef!
Infectious Pathological Waste by Cryptworm
On “Drowning in Purulent Excrementia,” they go extra slammy, and kitman Jamie Wintle starts to hit something that should be the pong snare, but it sounds like he’s beating on a skull or a femur. It’s weird, but I kinda like it, and it’s way better than that godawful PONG-PONG-PONG sound some tech and slam bands foist on you. Not every track is a sure-fire hit though, with “Gastrointestinal Seepage” feeling a bit too leaden and lethargic, though I appreciate Tibor’s extra nasty vocals where he seems to be coughing up a hairball full of razor blades and asbestos. I could complain that this feels like a very one-note album, but what death metal album isn’t really? At a tight 32 minutes, it goes by fast enough, though several tracks do have bloat issues that crimp enjoyment. The style Cryptworm opt to play necessitates keeping things in a 3-4 minute window, and when they push further, things get ropey and dopey.
Tibor does a tremendous, unpleasant job on vocals, sounding completely inhuman at all times. His unbelievably cartoonish subterranean croaks are a thing of hideous beauty, and I can’t get enough of them. His guitarwork is also to be applauded, borrowing the most objectionable bits of gristle from Autopsy, Cannibal Corpse, and Incantation to fuel the Cryptworm diet. Some of the leads are quite hooky, and I especially love the big beefy power chugs that dot the landscape. As on Oozing Radioactive Vomition, however, the songwriting can be inconsistent, and they don’t always know when enough is enough. There are some sick burners here to aggravate the savage altered beast, but a few tracks feel underbaked and deliver weaker tentacle slaps.
Cryptworm are a band I can’t help but root for as I root around in their repellant leavings, but I want them to be MOAR consistently deadly with their offal hammer. There’s plenty of fun stuff on Infectious Pathological Waste to marinate in, and it all reeks of the slaughterhouse. When it’s good, it’s rurl good. When it’s just okay, it’s still pretty fookin’ entertaining. Someday these chaps are gonna get their maggot larvae in a row and then, watch out! Until then, there are worse ways to kill brain cells than these odious odes to the grave.
Rating: 3.0/5.0
#2026 #Autopsy #CannibalCorpse #Carcass #CrypticShift #Cryptworm #DeathMetal #InfectiousPathologicalWaste #Mar26 #MeSacoUnOjoRecords #Review #Reviews #Rothadás #SymphoniesOfSickness #UKMetal
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Me Saco Un Ojo
Websites: cryptworm.bandcamp.com | facebook.com/cryptworm | instagram.com/cryptwormofficial
Releases Worldwide: March 27th, 2026 -
Stuck in the Filter: January 2026’s Angry Misses By Kenstrosity
Finally, the new year is upon us! A fresh start for some, same shit different year for others; mainly, my minions who toil in the mines ducts of the Filter. Since they don’t get any holidays, they probably don’t even fucking know it’s 2026 yet, but that’s okay. As long as they come back to HQ with a substantial haul, their ability to know when it is is immaterial.
These are the sacrifices we (not me, though), make to ensure you get the goods relatively on time-ish. So say thank you!
Kenstrosity’s Freaky Foursome
Upiór // Forefathers’ Eve (Redemption) [January 2nd, 2026 – Self Released]
Featuring members of Gorod (Benoit Claus) and Xaoc (Kévin Paradis), Upiór pinged my radar after a certain cosmic Discordian pinged me. A blistering combination of Fleshgod Apocalypse opulence and Wachenfeldt aggression, sophomore release Forefathers’ Eve (Redemption) impressed me immediately as “The Black Paintings ripped my face right off. “A Blessing or a Curse” doubled down on speed, blasting rhythms, and eerie melodies to propel itself straight into my Song o’ the Year long-list. Even with three instrumental interludes, all of which are quite fluffy, Forefathers’ Eve (Redemption) crams pummeling riffs, exuberant percussion, and dramatic lushness into its 51-minute runtime. “Forefathers’ Eve (Part I),” a fantastic companion to Fleshgod Apocalypse’s “Cold As Perfection” without aping its features, conjures a similarly affecting character that draws me in completely. Forefathers’ Eve (Redemption)’s middle section continues to build personality and develop greater dynamics from that point, represented most clearly in melodic riffs and expressive leads/soloing (“The Woman that Weeps”). Leading into its conclusion, a tonal shift towards the dire at this junction foreshadows the imminent release of Upiór’s second act, Forefathers’ Eve (Damnation) (due in early April), charring songs like “Forefather’s Eve (Part II)” and “Between the Living and Dead” with blackened rabidity and dissonant flourishes. All of this to say, Upiór launched this latest arc with a striking blow, and I can only imagine what’s in store for Damnation.
Forefathers’ Eve (Redemption) by Upiór
KadavriK // Erde666 [January 9th, 2026 – Self Released]
Germany’s melodic death metal quintet KadavriK have been cranking out records since 2007, but I only heard about them this year, once again, thanks to Discord. Erde666, their fifth outing, takes an unorthodox and progressive approach to melodic death metal, which makes comparisons difficult to draw. Stripped down and raw in some moments, mystical and lush in others, Erde666 is all about textures. Its opening title track explores that spectrum of sounds and philosophies to its fullest, even drawing heavy influence from blues, psychedelia, and sludge at times (“Getrümmerfreund”), but it all coalesces seamlessly. Following up an opener as strong as that would be a tall order for anyone, but KadavriK are clever songwriters, and the long form served them well even compared to the more straightforward tracklists of previous installments (“Nihilist,” “Das Ende Des Anthropozäns”). Off-kilter guitar melodies countered against twinkling Kalmah synths and sweeping strings do a lot of work to elevate and liven the crushing chords of their high-impact riffs as well, which adds a ton of interest into an already unconventional melodic death record (“Widerhall”). All of this makes for a record that might not be as immediate or fast-paced as most aim for in this space, but, counterintuitively, significantly more memorable. Don’t sleep on this one, folks!
Luminesce // Like Crushed Violets and Linen [November 20th, 2026 – Self Released]
Prolific at a scale I haven’t witnessed since Déhà, Luminesce mastermind Alice Simard, based in Québec, piqued my curiosity for the first time with Like Crushed Violets and Linen, her sophomore effort under the Luminesce moniker. Boasting machine-gun rapidity (“Exploited Monochromaticism”), off-kilter rhythms (“Silver”), and a downright romantic sense of melody (“Like Crushed Violets and Linen,” “Lamp of Fulguration”)—countered by lyrical themes ranging from guilt complexes to gender identity (“To Restore”)—Like Crushed Violets and Linen is a deeply personal record forged in a melodic technical death metal mold. And as such a record, it recalls the vicarious guitar pyrotechnics of Inferi and Obscura while securing a melodic sensibility more in line with neoclassical composition (“The Covenant of Counterfeit Stars”). Unlike many of her contemporaries, however, Alice is a master of editing. Filled with killer ideas and instrumental wizardry without involving a drop of bloat, each of these seven songs coalesce into a buttery-smooth 30-minute excursion that punches far above its feathery mass. The addition of delightful chiptune dalliances helps distinguish Luminesce further from the pack (“To Restore”), though I’m torn about how far forward they are in the mix. In fact, the mix is my main gripe, as Like Crushed Violets and Linen is muffled and a bit flat, despite boasting a much-appreciated meaty bass presence. Nonetheless, if you’re looking for an unlikely tech-death contender, Luminesce might be just what you need.
Like Crushed Violets and Linen by Luminesce
Bone Storm // Daemon Breed [January 30th, 2026 – Self Released]
As the CEO of this Filter company, I withhold the right to break the rules and include a very cool bonus fourth option, Bone Storm’s cavebrained Daemon Breed. Do you like Bolt Thrower? Yes, you do. Do you like Bear Mace? Yes, you do. By proxy, then, you already like Connecticut’s Bone Storm as they draw from the same chunky, groove-laden school of death metal. At a somewhat overachieving 50 minutes, Daemon Breed pummels the listener beneath a veritable smorgasbord of neck-breaking riffs built upon a framework of triplet grooves, swaggering syncopations, and galloping double bass assaults. Their approach is simple and unburdened by blistering speed, fiddly technicality, or atmospheric deviation, and in that way recalls the undeniable immediacy and brutal effectiveness of records like Black Royal’s Firebride. With highlights “Heaven’s End (Burn Them All),” “Plaguerider,” “Sanctimonious Morality,” and above all “Ritual Supremacy,” Bone Storm use that approach with aplomb, proving that the spirit of classic, no-frills death metal is vital and vicarious. Delightfully cogent roars and gutturals allow the most difficult deliveries (see “Daemon Breed”) to feel vicious and purposeful, while a subtle thread of melody (see “Cursed Born”) affords the record a small measure of songwriting variety to break things up just when Daemon Breed needs it most. Heavy reliance on triplets and perhaps a zealous desire to put down every idea that seems good even if it’s placed immediately adjacent to much better one (“Halo of Disease” and “Hammer of Judas” bookending “Ritual Supremacy” are tough positions to defend, as is “Wrist Slitter” next to the fun Frozen Soul-esque “Blood Priest”), hold it back from higher praise only mildly. Moral of the story? Enter the bone zone, with haste!
Creeping Ivy’s Riffy Remainder
Lord Elephant // Ultra Soul [January 30th, 2026 – Heavy Psych Sounds]
Sometimes, you don’t need dynamic songwriting, harmonic density, or even a vocalist. Sometimes, all you need are riffs. Okay, and maybe some psychedelic leads to go over those riffs. Ultra Soul, the sophomore album from Italian instrumental trio Lord Elephant, delivers 48 minutes of pure, mostly unadulterated stoner-doom. In the feudal jungle of heavy riff rock, Lord Elephant pays scutage to King Buffalo, similarly forming longish compositions where simple, bluesy figures reign supreme, stretching their limbs in grassy patches. Occasionally, guitarist Leandro Gaccione, bassist Edoardo De Nardi, and drummer Tommaso Urzino lock into some lively, head-bobbing grooves (“Gigantia”). But mostly, Lord Elephant keeps things meditative, hypnotizing listeners with Earthless drones and lurches (“Smoke Tower,” “Black River Blues”). De Nardi’s bass often leads the way (“Electric Dunes”), the underwater tone of which reminds me of falling for Isis.1 Lord Elephant aren’t reinventing any wheels here; the familiarity of their bluesy riffing simply won’t interest those for whom such bluesiness is a staid marker of old-man rock. The absence of vocals, however, makes Ultra Soul work as pseudo-ambient music that can set the mood, or accompany tasks, or gateway a normie. Closer listening will reveal, though, a tight trio reveling in the rudiments of rock music—a drummer, bassist, and guitarist vibing on a riff.
Andy-War-Hall’s Salvaged Windfall
Juodvarnis // Tékmés [January 23rd, 2026 – Self Released]
Lithuania’s Juodvarnis cooked for a long six years between albums for their fourth record Tékmés. With the confidence and sharpness displayed on all levels by Juodvarnis here, that was clearly time well spent in the kitchen. Sporting a brand of progressive black metal that blends the Enslaved framework of prog-black with the epic heft and melody of Iotunn and the crushing rhythms and harsh vocals of Gojira, Tékmés is tight, lively and achieves a remarkable level of melancholic thoughtfulness without neglecting the average listener’s chronic need for riffs. Translated to “flow” from Hungarian,2 Tékmés navigates inter-song and album-wide progressions of pummeling rhythms (“Dvasios Ligos”) and slow marches (“Tamsiausias Nušvitimas”), impassioned clean vocals (“Platybės”) and razor-throated screams (“Juodos Akys”) to achieve a gradual, natural sense of advancement across its 42-minute journey. If progressive black metal that knows how to riff and can turn the reverb off 11 sounds like a good time to you, give Juodvarnis’ Tékmés a shot sometime.
Thus Spoke’s Obscure Offerings
Ectovoid // In Unreality’s Coffin [January 9th, 2026 – Everlasting Spew Records]
Normally, it takes copious amounts of reverb, wonkiness, melody, or turbo-dissonance for death metal to be palatable to me. Every once in a while, however, an album like Ectovoid’s In Unreality’s Coffin comes along and shows me that there is another way. The music’s stickiness has a lot to do with its boundary-straddling take on OSDM. Ostensibly, the battering, percussion, sawblade riffing, and gruff gurgling growls mark it as your everyday modern no-nonsense death metal, somewhere between Cryptopsy and Immolation. But In Unreality’s Coffin is more like tech-death, disso-death, and brutal-death in a trench coat than it is any one of them, or another subgenre.3 Its arpeggios can be rhythmically snappy, sometimes combined with equally sharp vocal delivery (“Intrusive Illusions (Echoes from a Distant Plane)”), but more often than not channel a churning chaos that resists punchiness for a darker unease I find addictive (“Collapsing Spiritual Nebula,” “Erroneous Birth”). The music is constantly speeding up or slowing down, churning guitars collapsing with slides (“Dissonance Corporeum”) or pitching upwards in squeals (“In Anguished Levitation”), or evolving into mania as screams and growls fragment and layer (“Formless Seeking Form”). Rather than being exhausting, it’s exhilarating, with expertly-timed releases of diabolically echoing melody (“Collapsing Spiritual Nebula”) or a new groove to latch onto (“In Unreality’s Coffin”) coming to keep you afloat. Ectovoid keep you guessing without actually really pushing the boundaries, making In Unreality’s Coffin both a lot of fun and straightforwardly br00tal enough to sustain a savage workout; or just a really intense 45 minutes.
In Unreality’s Coffin by Ectovoid
Exxûl // Sealed into None [January 15th, 2026 – Productions TSO]
Phil Tougas has had an impressive start to the year. Before Worm’s Necropalace this February, came Sealed into None, the debut by Exxûl—a genre-blending, kinda blackened epic-power-doom-heavy-metal group also comprising several of Phil’s Atramentus band-mates. Several people brought up this album in the comments on my Worm review, often to the tune of “Exxûl better,” and while I respectfully disagree on the quality ranking of the two, I can’t deny how fabulous Sealed into None is. Here again are genres of music I’m usually unable to connect with—in this instance, power and classical heavy metal—but shaped in a way that opens my eyes and ears. Yes, the high-pitched wail style of singing first took me a little off-guard when they first arose on “Blighted Deity,” and they offend my usual tastes. But they are impressive, and work in a way I thought only harsh vocals could when following the trajectory of distorted keys and guitar (“Walls of Endless Darkness”), or shouting into an atmospheric abyss (“The Screaming Tower”). Oh, and of course, the overall vibe of magnificent, melodramatic blackened doom that sets the scene, capped off with—predictably—phenomenal guitarwork, is just magic and enough for me to get past my knee-jerk vocal ick and love it not in spite of that, but because of what it can bring to the whole. I love the slow builds to dazzling solos (“Bells of the Exxûl through to “Blighted Deity,” “The Screaming Tower”) and the way the camper, heavy-metal sides blur into something darker (“Labyrinthine Fate”). I just love this album, to be honest.
ClarkKent’s Canadian Catch
Turpitude // Mordoré [January 1, 2026 – Self Released]
Since 2019, Alice Simard has been a prolific presence in Quebec’s underground metal scene. She consistently releases albums for several different projects, from the ambient atmoblack of Coffret de Bijoux to the tech death of Luminesce (also uncovered in this month’s Filter by our Sponge Fren). Mordoré, the fourth full-length for Turpitude, thrives on its riffs and carries a cheerful energy reminiscent of the carefree raw black metal of Grime Stone Records stalwarts Wizard Keep and Old Nick. Yet Simard opts for traditional instruments, no synths, though production choices make the drumsticks sound as if they’re banging against blocks of wood, give the guitars a lofi reverb, and cause Simard’s voice to fade into the background in a cavernous growl. The riffs are the real star, with some terrifically catchy melodic leads and trems throughout (“La Traverse Mordorée,” “Aller de L’avant”). This combination of riffs, a raw sound, and often upbeat tunes draws comparison to Trhä and To Escape. While Mordoré keeps a mostly cheery tone, Turpitude’s no one-trick pony. There’s a tinge of the melancholic on the moody, atmospheric “Peintra,” as well as a successful stab at covering a non-metal song a lá Spider God on “Washing Machine Heart.”4 This is a worthwhile endeavor for those who like their black metal raw and energetic.
Grin Reaper’s Heavy Haul
Valiant Sentinel // Neverealm [January 16th, 2026 – Theogonia Records]
Greek heavy metal heroes Valiant Sentinel dropped their sophomore platter Neverealm back in mid-January, unleashing forty-six minutes that reek of high fantasy. Galloping riffs, driving drums, and vocal harmonies aplenty supply a cinematic adventure that basks in fun. While the pacing of Neverealm mainly operates in high-energy bombast, Valiant Sentinel smartly weaves in mid-paced might, evidenced by how the controlled assault of “Mirkwood Forest” provides a breather after opening chest-thumpers “War in Heaven” and “Neverealm.” Acoustic pieces “To Mend the Ring” and “Come What May” further diversify Neverealm’s heavy metal holdings, and while I’m usually keener on more aggressive numbers, these two tracks comprise some of my favorite moments on the album.5 Mostly, Valiant Sentinel summons comparisons to Germany’s heavy/power scene—chief among them Blind Guardian—going so far as to bring in BG drummer extraordinaire Frederik Ehmke. I also catch fleeting glimpses of Brainstorm and Mystic Prophecy in Valiant Sentinel’s DNA, though guitarist and composer Dimitris Skodras does a commendable job carving out a distinct identity for the band. Featuring skilled performances across the board and guest spots from Burning Witches’ Laura Guldemond (“Neverealm”) and Savatage’s Zak Stevens (“Arch Nemesis”), Valiant Sentinel packs loads of drama into a streamlined package. So what are you waiting for? Go grab your polyhedrals and a Spelljammer, and set sail for Neverealm.
Fili Bibiano’s Fortress // Death Is Your Master [January 30th, 2026 – High Roller Records]
Does Shredphobia keep you away from metal? Does the sultry siren call of licks, riffs, and chugs make you break into a cold sweat? If so, I strongly urge you to stay away from Fortress’ sophomore album, Death Is Your Master. Channeling Tony Martin-era Black Sabbath and 80s Judas Priest, Fortress drops six-string shenanigans that’ll get your booty shaking and the floor quaking, offering a romping retro slab that goes down slow ‘n’ easy. The overt classic 80s heavy metal worship on tracks “Flesh and Dagger” and “Night City” delivers riff after riff recalling the glory days, giving Fortress an authenticity that expands what could have otherwise been a one-dimensional LP. Guitarist Fili Bibiano sizzles with axe-slinging abandon, occasionally conjuring the neoclassical debauchery of Yngwie (“Savage Sword,” “Maze”). Still, it’s not all about the guitar, and drummer Joey Mancaruso and vocalist Juan Aguila nail their contributions as Fortress wends their way through a trim thirty-four minutes. On a guitar-forward album featuring slick songwriting and singalong jams, Death Is Your Master bumps, dives, and wails in a slow-burn frenzy of classic heavy goodness. Dig in!
Death Is Your Master by Fili Bibiano’s Fortress
Baguette’s Brutal Burglary
Skulld // Abyss Calls to Abyss [January 23rd, 2026 – Time to Kill Records]
While last year was alright for death metal and notably starred Dormant Ordeal, I felt it was lacking in quantity of impressive releases for said cornerstone of the metal underground. Fortunately, Italian group Skulld is here to start off the year with a bang! Abyss Calls to Abyss takes Bolt Thrower’s tank-rolling grooves (“Mother Death”) and Dismember’s melodic buzzsaw action (“Wear the Night as a Velvet Cloak”) and adds in some crust punk influence as extra seasoning (“Le Diable and the Snake”). It feels like they’ve taken some influence from both Finnish and Swedish varieties of death metal as well, and I’m here for it! The band is fluent in switching things up at the drop of a hat without sacrificing energy or cohesion. “Mother Death” and “Drops of Sorrow” go from heavy, dissonant chords to big lead guitar melodies, which in turn lead to a chunky and punky death metal groove that’s bound to get your head moving. Teo’s drumming controls the mood in excellent fashion, adding fast blast beats or slow-pummelling stomps when called for. The vicious, varied growls of Pam further cement the violence contained within and add to the album’s attitude. At a brief 34 minutes spread over eight songs, it wastes no time going for your throat in a multitude of ways. Get this album into your skull or get Skulld!
Total Annihilation // Mountains of Madness [January 16th, 2026 – Testimony Records]
What would happen if you took Vader, Slayer and Sodom and threw them in a big ol’ manic death/thrash blender? The answer is Mountains of Madness! While Swiss Total Annihilation’s earliest works were more in line with classic ’80s thrash metal, they have increasingly moved towards more aggressive and relentless pastures, and their songwriting is all the better for it. Fourth album Mountains of Madness channels records like Vader’s Litany and Sodom’s Tapping the Vein in particular (“The Art of Torture,” “Age of Mental Suicide”), taking advantage of a relentless, drum-forward groove and a furious vocal performance. The album’s dual guitar attack weaves together thrashier tunes with parts that reach straight up Swedeath territory, be it melodic or not. In addition, tracks like “Mountains of Madness” and “Choose the Day” throw some melodic thrash akin to Sodom’s self-titled album into the mix for that extra bit of variety and replay value. Mountains of Madness isn’t afraid to slow things down with a satisfying lead riff, but most of Mountains of Madness is at a respectful lightning-fast pace, as thrash should. Another brief but powerful addition to the January pile ov skulls!
Mountains Of Madness by Total Annihilation
Polaris Experience // Drifting Through Voids [January 2nd, 2026 – Distant Comet Entertainment]
On the earliest days of the year, Japan delivered an awesome surprise drop of death metal-influenced progressive thrash! Polaris Experience features various Cynical riffs (“Interplanetary Funambulist,” “Bathyscapes”) while sporting a similarly old-school guitar tone throughout. Being progressive thrash, the main focus is naturally on the oh-so-sweet instrumentation that balances melody and groove seamlessly. The instrumental “Parvati” alone highlights how tight everything is, from the snappy drumming to the bouncy bass work. Most importantly, the music is catchy and memorable despite its relative complexity and lack of brevity. Additionally, Drifting Through Voids uses vocals sparingly but in all the right ways, complementing its technicalities with a traditional thrashy, harsh bark. The fact that it’s a two-man project and a debut makes it all the more impressive. Fans of similar recent progressive and technical shenanigans like Species should take notes post-haste. Considering we’ve already had this and Cryptic Shift this early in the year, and how prog/tech thrash is usually only allowed one or two notable albums per year, we could be in for a banner year for the subgenre. It also marks the first time in ages that a Japanese album has genuinely good production. Welcome to the new millennium!
Drifting Through Voids by Polaris Experience
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Recensioni ✍️
👤 Cryptic Shift 📈 20 👥 15K
🔗 Overspace & Supertime 7️⃣
📅 27-2-2026
🏠 2026 (Metal blade)
#️⃣ Jazzmetal Technicalprogressivedeathmetal
Il disco perfetto per una minoranza di coraggiosi educati a pane e [...]
a cura di Antonio Silvestri
#Ondarock #MusicianSky #MusicSky #Music
Overspace & Supertime - Al...