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By Grin Reaper
Defigurement’s debut album Endbryo is classified as experimental deathgrind, and though that’s accurate, it doesn’t fully capture what’s on tap. Endbryo is an album in constant flux, never content to lock into one vibe for too long. While experimental, Defigurement still adheres to grindcore’s brutal core tenets: short songs and unfettered aggression. Their sound isn’t limited to just these things, though, as Defigurement adopts crackerjack technicality that contrasts with the blunt drubbing associated with much of the subgenre. Varied paces and some unconventional instrumentation further heighten Endbryo’s unorthodox approach. Dissonant bleats, melodic leads, blast beats, and key-heavy interludes create an engaging atmosphere. Yet it takes more than a wide-ranging assortment of sounds and ideas to fashion an album.
With so many ingredients to unite, you may wonder what Defigurement actually sounds like. Gridlink’s Coronet Juniper, Full of Hell’s Coagulated Bliss, and Beaten to Death’s Sunrise over Rigor Mortis provide apt reference points. These albums imbue deceptively melodic hooks into grindcore’s caustic backdrop, a convention perpetuated on Endbryo. Gridlink’s own Takafumi Matsubara even appears on “Wounded Landscape,” imparting gorgeously malicious riffs. In addition to grindcore influences, Defigurement pays homage to System of a Down via the “Suite Pee”-tinged intro of “Shogun of Sorrow” and the Slayer “Rain in Blood” gallop heard in “Wounded Landscape.” Rather than aping these acts, though, Defigurement forges a stank all their own. Chaos is the name of the game, but not all of it is funneled through uniform, full-tilt abuse. Endbryo’s half-hour pumps blood and rhythm through sixteen tracks, featuring constant shifts in tempos and moods that make the music feel alive and unpredictable. The album is jam-packed with so many morsels that even after dozens of listens, I’m still discovering new details.
Conceiving such a diverse and layered soundscape requires heaps of vitality and musicianship, and Defigurement steps up to answer the challenge. From Mike Heller’s (Changeling, Azure Emote, ex-Fear Factory) atom-blasting drums to Kevin Fetus’s snaking leads and D.M.T.’s gritty bass, Endbryo brims with relentless vigor. Heller’s drum performance in particular elevates Defigurement’s character. Juggling blast beats, disco hi-hat frills (“Open Veins, Visceral Tapestry”), and jazzy phrasing (“We Are the Worst”) shouldn’t be this seamless, yet Heller’s nimble work provides the engine for the album’s mélange of styles. Rounding out the rhythm section, D.M.T.’s meaty bass grumbles and grooves in support, and a couple of intros even throw the spotlight on his throaty purr (“Wounded Landscape,” “Godtopsy”). Guitars attack from every direction, utilizing trem-picked blitzes (“Burnt by the Truth”), plaintive wails (“We Are the Worst”), and glossy shredding (“Godtopsy”). Matthias Joyce’s vocals are capable and versatile, sitting far enough back in the mix that they mesh smoothly with the music rather than overpowering it. Besides Matsubara, several other guests pop in, including Brian Hopp (Cephalic Carnage) and Leon Del Muerte (Impaled, ex-Nails). Endbryo boasts a potpourri of talent, and this bouquet reeks of grind beef.
Endbryo sounds great, even though some moments don’t effortlessly converge. Subgenres like grindcore don’t need much auditory contrast to be effective, but Endbryo boasts a DR7 anyway, benefiting the complex structure of its tracks. The finely-tuned mix allows listeners to appreciate the nuances of the performances within, notably the drumming; a lesser production could have obfuscated Heller’s unhinged sticksmanship. My only complaint is that with such a dense album, Defigurement doesn’t quite achieve the cohesion needed to stitch all of Endbryo’s fragments together. Piano-only interlude “Eternal Dusk” is a beautiful instrumental featured about halfway through. It allows you to take a breath before re-entering the maelstrom, but foreshadowing the melody earlier or including piano elsewhere would have strengthened its inclusion. Similarly, “Left in a Cold Rain” contains slowly swirling synths played under a distorted voice-over. Once again, this skillfully navigates the album’s pacing, but without more tethers to other tracks, it feels isolated from its surroundings. Despite these small shortcomings, Endbryo scores a resounding success.
Defigurement pulls no punches on Endbryo, hewing a slab of great experimental deathgrind. Their ferocity is bruising and their vision unyielding, and it’s rare I encounter music that demands so many repeated spins. This platter is captivating, and each time I think I have Endbryo figured out, the next listen corrects that notion. So many ideas loaded into thirty minutes might seem daunting, but Defigurement expertly balances intrigue and digestibility. Assuming Endbryo is only the beginning, I’ll wait on the edge of my seat to hear how the band’s sound develops.
Rating: Great
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Nefarious Industries
Websites: Bandcamp | Facebook
Releases Worldwide: October 17th, 2025#2025 #40 #BeatenToDeath #DeathGrind #DeathMetal #Deathgrind #Defigurement #Endbryo #ExperimentalDeathMetal #ExperimentalDeathgrind #FullOfHell #Gridlink #Grind #NefariousIndustries #Oct25 #Review #Reviews #Slayer #SystemOfADown #USMetal
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Stuck in the Filter: November/December 2025’s Angry Misses By KenstrosityBrutal cold envelops the building as my minions scrape through ice and filthy slush to find even the smallest shard of metallic glimmer. With extensive budget cuts demanded by my exorbitant bonus schedule—as is my right as CEO of this filtration service—there was no room to purchase adequate gear and equipment for these harsher weathers. However, I did take up crocheting recently so each of my “employees” received a nice soft hat.
Hopefully, that will be enough to tide them over until the inclement weather passes and we return to normal temps. Until then, they have these rare finds to keep them warm, and so do you! REJOICE!
Kenstrosity’s Knightly Nightmare
AngelMaker // This Used to Be Heaven [November 20th, 2025 – Self Released]
I’ve been a fan of AngelMaker’s since their 2015 debut Dissentient. The grossly underrated and underappreciated Vancouver septet are a highly specialized deathcore infantry, with their lineup expanding steadily over their career in concert with their ever-increasing songwriting sophistication. Unlike the brutish and belligerent debut and follow-up AngelMaker, 2022’s Sanctum and new outing This Used to Be Heaven indulge in rich layering, near-neoclassical melodies, and dramatic atmosphere to complement AngelMaker’s trademark sense of swaggering groove. With early entries “Rich in Anguish” and “Haunter” establishing the strength of both sides of their sound, it always surprises me how AngelMaker successfully twist and gnarl their sound into shapes—whether it be hardcore, blackened, or melodic—I wasn’t anticipating (“Silken Hands,” “Relinquished,” “Nothing Left”). A rock-solid back half launched by the epic “The Omen” two-part suite brings these deviations from the expected into unity with the deathcore foundation I know AngelMaker so well for (“Malevolence Reigns,” “Altare Mortis”), and in doing so secure their status as one of the most reliably creative deathcore acts in the scene. Nothing here is going to change the minds of the fiercer deathcore detractors, but if your heart is open even just a crack, there’s a good chance This Used to Be Heaven will force themselves into it, if not entirely rip the whole thing asunder. My advice is simply to let it.
This Used To Be Heaven by AngelMaker
ClarkKent’s Sonic Symphonics
Brainblast // Colossus Suprema [November 11th, 2025 – Vmbrella]
A debut album five years in the making from a band formed in 2015, Colossus Suprema is the brainchild of Bogotá, Colombia’s Edd Jiménez. Jiménez turned his passion for and training in classical composition towards his symphonic progressive act, Brainblast. With Bach as an inspiration, Brainblast’s brand of technical death metal has the grandeur of Fleshgod Apocalypse, the speed of Archspire, and the virtuosity of concert musicians. Jiménez’s classical training shows — the compositions have an orchestral feel, only played at insane energy levels. The speed, the depth, and the breadth of the instrumentation are sure to leave you breathless. Nicholas Le Fou Wells (First Fragment) lays down relentless kitwork with jaw-dropping velocity, while Eetu Hernesmaa provides technical fretwork that’ll similarly leave you awestruck. He delivers sublime riffs on “Relentless Rise” and a surprising melodic lead that steals the show on “Unchain Your Soul.” Perhaps most prominent is the virtuoso play of the bass from Rich Gray (Annihilator) and Dominic Forest Lapointe (First Fragment) that is omnipresent and funky on each and every song. To top it all off is the piano (perhaps from Jiménez), giving the music some gravitas with the technical, concert-style playing. This record is just plain bonkers and tons of fun. Given this is the debut from a young musician, the idea that Brainblast has room to grow is plenty exciting.
COLOSSUS SUPREMA by BRAINBLAST
Gods of Gaia // Escape the Wonderland [November 28th, 2025 – Self Released]
If you’ve been eagerly awaiting the next SepticFlesh release, Germany’s Gods of Gaia have got you covered. Founded in 2023 by Kevin Sierra Eifert, Gods of Gaia is made up of an anonymous collective from around the world, contributing to a dark, heavy, and aggressive form of symphonic metal. Their sophomore album, Escape the Wonderland, features a collection of death metal songs with plenty of orchestral arrangements that add a dramatic flair. Along with crushing riffs and thunderous blast beats, you’ll hear choral chants (“Escape the Wonderland,” “Burn for Me”), bits of piano (“What It Takes”), and plenty of cinematic symphonics. SepticFlesh is the obvious influence, but the grandiosity of Fleshgod Apocalypse flares up on cuts like the dramatic “Rise Up.” The front half is largely aggressive, with “What It Takes” taking the energy to thrash levels. The back half dials down the energy, even creeping to near doom on “Krieg in Mir,” but never pulls back on the heaviness. Cool as the symphonic elements are, the riffs, blast beats, and brutal vocal delivery are just as impressive. Make no mistake, this is melodic death metal above all else, with symphonic seasonings that elevate it a notch. Just the opposite of what the record title suggests, this is one wonderland you won’t want to escape.
Escape the Wonderland by Gods of Gaia
Grin Reaper’s Frozen Feast
Hounds of Bayanay // КЭМ [November 15, 2025 – Self Released]
Two-and-a-half years after dropping debut Legends of the North, Hounds of Bayanay returns with КЭМ to sate your eternal lust for folk metal.1 Blending heavy metal with folk instrumentation, specifically kyrympa2 and khomus,3 as well as throat singing, Hounds of Bayanay might sound like a Tengger Cavalry or The Hu knockoff, but you’ll do yourself a disservice by writing them off. Boldly enunciated, clarion cleans belt out in confident proclamations while grittier refrains and overtones resonate beneath, proffering assorted and engaging vocal stylings. Rather than dwelling overlong in strings and tribal chanting, the deft fusion of folk instruments with traditional metal defines Hounds’ sound and feels cohesively integrated on КЭМ, providing an intimate yet heavy backdrop to a hook-laden and alluringly replayable thirty-nine minutes. In addition to the eclectic folk influence, there’s a satisfying variety of songwriting from track to track, with “Ardaq,” “Cɯsqa:n,” and “Dɔʃɔrum” exemplifying the enticing synthesis of styles. More than anything else, Hounds of Bayanay embodies heart and fun, warming my chilly days with a well-executed platter of Eastern-influenced folk metal. Don’t skip this one, or the decision could hound you.
Blood Red Throne // Siltskin [December 05, 2025 – Soulseller Records]
I’m shoving up against the deadline to wedge this one in, but Blood Red Throne’s latest deserves a mention, and bulldozing is just the sort of thing you should do while listening to BRT’s brand of bludgeoning, pit-stomping romp. Back in December, the venerable Norwegian death metal act dropped twelfth album Siltskin, maintaining their prolific and consistent release schedule. In addition to their dependable output, BRT stays the course with pummeling, brutish pomp. In his coverage of Nonagon and Imperial Congregation, Doc Grier drums up comparisons to Old Man’s Child, Panzerchrist, and Hypocrisy, and while I’m not inclined to disagree on those points, I’ll add that Siltskin also harkens to Kill-era Cannibal Corpse in its slick coalition of mid-paced slammers, warp-speed blitzes, and fat ‘n’ frolicking bass. Add to that the sly, sticky melody from the likes of Sentenced’s North from Here (“Vestigial Remnants”), and you’ve got a recipe for a righteous forty-five-minute smash-a-thon. Blood Red Throne’s last few records have been among their best, which is an incredible feat for a band this far into their career. While Siltskin doesn’t surpass BRT’s high-water mark, it keeps up, and if you’re hungry for an aural beatdown, then Blood Red Throne would like to throw their crown into the ring for consideration.
Gotsu-Totsu-Kotsu // Immortality [December 17, 2025 – Bang the Head Records]
I am woefully late to the charms of Gotsu-Totsu-Kotsu, a Japanese death metal outfit prominently featuring slap ‘n’ pop bass. Had it not been for our trusty Flippered Friend, I might have continued this grievous injustice of ignorance, but thankfully, this is not the timeline to which I’m doomed. Immortality is Gotsu-Totsu-Kotsu’s seventh album, and those who enjoy the band’s previous work should remain satisfied. For new acolytes, Gotsu-Totsu-Kotsu grasps the rabid intensity of Vader and Krisiun and imbues it with a funky edge. Meaty bass rumbles and sprightly slapped accents, provided by bassist/vocalist Haruhisa Takahata, merge with Kouki Akita’s kit obliteration to establish a thunderous, unrelenting rhythm section. Atop the lower end’s heft, Keiichi Enjouji shreds and squeals with thrashy vigor and a keen understanding of melody. First proper track “Anima Immortalis” even includes gang intonations that work so well, I wish they were more prevalent across the album. The sum total of Gotsu-Totsu-Kotsu’s atmosphere is one of plucky exuberance that strikes with the force of a roundhouse kick to the dome. Had I discovered it sooner, Immortality would have qualified for a 2025 year-end honorable mention, as I haven’t been able to stop spinning it or the band’s prior releases.4 Though I’m still in the honeymoon phase, I expect this platter to live on in my listening, and recommend you not miss this GTK killer like I almost did.
Thus Spoke’s Random Revelations
The Algorithm // Recursive Infinity [November 21st, 2025 – Self Released]
I’ve been a fan of The Algorithm since the early days, back when their electronica-djent was almost twee in its experimental joy, spliced with light-hearted samples. Over the years, Rémi Gallego has tuned his flair for mesmeric, playful compositions to develop a richer, more streamlined sound. Recursive Infinity continues the recent upward trend Data Renaissance began. With riffs and rhythms the slickest since Brute Force, and melodies the brightest and most colourful since equally-prettily adorned Polymorphic Code, it’s a cyberpunk tour-de-force. The wildness is trained, chunky heaviness grounding magnetic melodies (“Race Condition,” “Mutex,” “By Design”), dense chugging transitioning seamlessly into techno (“Advanced Iteration Technique,” “Hollowing,” “Graceful Degradation), and adding bite to bubbly, candy-coloured soundscapes (“Rainbow Table,”). The skittering of breakbeats tempers synthwave (“Endless Iteration), and bright pulses wrap cascading electro-core (“Race Condition,” “Mutex”) and orchestral melodrama (“Recursive Infinity”). It’s often strongly reminiscent of some point in The Algorithm’s history, but everything is upgraded from charming to entrancing. This provides a new way to interpret Recursive Infinity: not just a reference to an endless loop in general, but to Boucle Infinie (Infinite Loop)—Remi’s other musical project—and by extension, The Algorithm themselves. Yet he is still experimenting, including vocoder vocals (“Endless Iteration,” “By Design”) for a surprisingly successful dark-Daft Punk vibe in slower, moodier moments. With nostalgic throwbacks transformed so beautifully, and the continued evolution, there’s simply no way I can ignore The Algorithm now. And neither should you.
Recursive Infinity by The Algorithm
Owlswald’s Holiday Scraps
Sun of the Suns // Entanglement [December 12th, 2025 – Scarlet Records]
Bands and labels take heed—We reserve December for two things: Listurnalia and celebrating another trip around the sun. It is not for releasing new music. Yet this blunder persists, ensuring we inevitably miss gems like Sun of the Suns’ sophomore effort, Entanglement.5 The record dropped just as the world was tuning out for the year, and it deserves much better. Building on the foundation of their 2021 debut, TIIT, the Italian trio has significantly beefed up their progressive death formula. Mixing tech-death articulation with deathcore brutality, Entanglement ensures fans of Fallujah will feel right at home with its effervescent clean melodies and crystalline textures. Francesca Paoli (Fleshgod Apocalypse) returns to provide another masterclass behind the kit with rapid-fire double-bass, blasts, and tom fills, while guitarists Marco Righetti and Ludovico Cioffi deliver cosmic shredding and radiant solos that are both technical and deliberate. While the early tracks lean into Fallujahian songcraft and Tesseract-style arpeggios, the album shines brightest late when the group largely sheds its stylistic orbit. “Please, Blackout My Eyes” pivots toward a majestic Aeternam vibe with ethereal tech-death incisiveness, while “One With the Sun” and “The Void Where Sound Ends Its Path” hit like a sledgehammer with Xenobiotic’s deathcore grooves. Though Luca Dave Scarlatti’s vocals lack differentiation, the sheer quality of the compositions carries the weight, proving Sun of the Suns are much more than mere clones.
Entanglement by Sun Of The Suns
#2025 #Aeternam #AngelMaker #Annihilator #Archspire #Bach #BangTheHeadRecords #BloodRedThrone #Brainblast #CannibalCorpse #ColombianMetal #ColossusSuprema #DaftPunk #DeathMetal #Deathcore #Dec25 #Djent #Entanglement #EscapeTheWonderland #ExperimentalMetal #Fallujah #FirstFragment #FleshgodApocalypse #FolkMetal #GermanMetal #GodsOfGaia #GotsuTotsuKotsu #HeavyMetal #HoundsOfBayanay #Hypocrisy #Immortality #ItalianMetal #JapaneseMetal #Krisiun #MelodicDeathMetal #NorwegianMetal #Nov25 #OldManSChild #Panzerchrist #ProgressiveDeathMetal #ProgressiveMetal #RecursiveInfinity #Review #Reviews #ScarletRecords #SelfRelease #SelfReleased #Sentenced #SepticFlesh #Siltskin #SoulsellerRecords #StuckInTheFilter #StuckInTheFilter2025 #SunOfTheSuns #SymphonicDeathMetal #SymphonicMetal #Synthwave #TechnicalDeathMetal #TenggerCavalry #TesseracT #TheAlgorithm #TheHu #ThisUsedToBeHeaven #Vader #Vmbrella #Xenobiotic #КЭМ -
Stuck in the Filter: November/December 2025’s Angry Misses By KenstrosityBrutal cold envelops the building as my minions scrape through ice and filthy slush to find even the smallest shard of metallic glimmer. With extensive budget cuts demanded by my exorbitant bonus schedule—as is my right as CEO of this filtration service—there was no room to purchase adequate gear and equipment for these harsher weathers. However, I did take up crocheting recently so each of my “employees” received a nice soft hat.
Hopefully, that will be enough to tide them over until the inclement weather passes and we return to normal temps. Until then, they have these rare finds to keep them warm, and so do you! REJOICE!
Kenstrosity’s Knightly Nightmare
AngelMaker // This Used to Be Heaven [November 20th, 2025 – Self Released]
I’ve been a fan of AngelMaker’s since their 2015 debut Dissentient. The grossly underrated and underappreciated Vancouver septet are a highly specialized deathcore infantry, with their lineup expanding steadily over their career in concert with their ever-increasing songwriting sophistication. Unlike the brutish and belligerent debut and follow-up AngelMaker, 2022’s Sanctum and new outing This Used to Be Heaven indulge in rich layering, near-neoclassical melodies, and dramatic atmosphere to complement AngelMaker’s trademark sense of swaggering groove. With early entries “Rich in Anguish” and “Haunter” establishing the strength of both sides of their sound, it always surprises me how AngelMaker successfully twist and gnarl their sound into shapes—whether it be hardcore, blackened, or melodic—I wasn’t anticipating (“Silken Hands,” “Relinquished,” “Nothing Left”). A rock-solid back half launched by the epic “The Omen” two-part suite brings these deviations from the expected into unity with the deathcore foundation I know AngelMaker so well for (“Malevolence Reigns,” “Altare Mortis”), and in doing so secure their status as one of the most reliably creative deathcore acts in the scene. Nothing here is going to change the minds of the fiercer deathcore detractors, but if your heart is open even just a crack, there’s a good chance This Used to Be Heaven will force themselves into it, if not entirely rip the whole thing asunder. My advice is simply to let it.
This Used To Be Heaven by AngelMaker
ClarkKent’s Sonic Symphonics
Brainblast // Colossus Suprema [November 11th, 2025 – Vmbrella]
A debut album five years in the making from a band formed in 2015, Colossus Suprema is the brainchild of Bogotá, Colombia’s Edd Jiménez. Jiménez turned his passion for and training in classical composition towards his symphonic progressive act, Brainblast. With Bach as an inspiration, Brainblast’s brand of technical death metal has the grandeur of Fleshgod Apocalypse, the speed of Archspire, and the virtuosity of concert musicians. Jiménez’s classical training shows — the compositions have an orchestral feel, only played at insane energy levels. The speed, the depth, and the breadth of the instrumentation are sure to leave you breathless. Nicholas Le Fou Wells (First Fragment) lays down relentless kitwork with jaw-dropping velocity, while Eetu Hernesmaa provides technical fretwork that’ll similarly leave you awestruck. He delivers sublime riffs on “Relentless Rise” and a surprising melodic lead that steals the show on “Unchain Your Soul.” Perhaps most prominent is the virtuoso play of the bass from Rich Gray (Annihilator) and Dominic Forest Lapointe (First Fragment) that is omnipresent and funky on each and every song. To top it all off is the piano (perhaps from Jiménez), giving the music some gravitas with the technical, concert-style playing. This record is just plain bonkers and tons of fun. Given this is the debut from a young musician, the idea that Brainblast has room to grow is plenty exciting.
COLOSSUS SUPREMA by BRAINBLAST
Gods of Gaia // Escape the Wonderland [November 28th, 2025 – Self Released]
If you’ve been eagerly awaiting the next SepticFlesh release, Germany’s Gods of Gaia have got you covered. Founded in 2023 by Kevin Sierra Eifert, Gods of Gaia is made up of an anonymous collective from around the world, contributing to a dark, heavy, and aggressive form of symphonic metal. Their sophomore album, Escape the Wonderland, features a collection of death metal songs with plenty of orchestral arrangements that add a dramatic flair. Along with crushing riffs and thunderous blast beats, you’ll hear choral chants (“Escape the Wonderland,” “Burn for Me”), bits of piano (“What It Takes”), and plenty of cinematic symphonics. SepticFlesh is the obvious influence, but the grandiosity of Fleshgod Apocalypse flares up on cuts like the dramatic “Rise Up.” The front half is largely aggressive, with “What It Takes” taking the energy to thrash levels. The back half dials down the energy, even creeping to near doom on “Krieg in Mir,” but never pulls back on the heaviness. Cool as the symphonic elements are, the riffs, blast beats, and brutal vocal delivery are just as impressive. Make no mistake, this is melodic death metal above all else, with symphonic seasonings that elevate it a notch. Just the opposite of what the record title suggests, this is one wonderland you won’t want to escape.
Escape the Wonderland by Gods of Gaia
Grin Reaper’s Frozen Feast
Hounds of Bayanay // КЭМ [November 15, 2025 – Self Released]
Two-and-a-half years after dropping debut Legends of the North, Hounds of Bayanay returns with КЭМ to sate your eternal lust for folk metal.1 Blending heavy metal with folk instrumentation, specifically kyrympa2 and khomus,3 as well as throat singing, Hounds of Bayanay might sound like a Tengger Cavalry or The Hu knockoff, but you’ll do yourself a disservice by writing them off. Boldly enunciated, clarion cleans belt out in confident proclamations while grittier refrains and overtones resonate beneath, proffering assorted and engaging vocal stylings. Rather than dwelling overlong in strings and tribal chanting, the deft fusion of folk instruments with traditional metal defines Hounds’ sound and feels cohesively integrated on КЭМ, providing an intimate yet heavy backdrop to a hook-laden and alluringly replayable thirty-nine minutes. In addition to the eclectic folk influence, there’s a satisfying variety of songwriting from track to track, with “Ardaq,” “Cɯsqa:n,” and “Dɔʃɔrum” exemplifying the enticing synthesis of styles. More than anything else, Hounds of Bayanay embodies heart and fun, warming my chilly days with a well-executed platter of Eastern-influenced folk metal. Don’t skip this one, or the decision could hound you.
Blood Red Throne // Siltskin [December 05, 2025 – Soulseller Records]
I’m shoving up against the deadline to wedge this one in, but Blood Red Throne’s latest deserves a mention, and bulldozing is just the sort of thing you should do while listening to BRT’s brand of bludgeoning, pit-stomping romp. Back in December, the venerable Norwegian death metal act dropped twelfth album Siltskin, maintaining their prolific and consistent release schedule. In addition to their dependable output, BRT stays the course with pummeling, brutish pomp. In his coverage of Nonagon and Imperial Congregation, Doc Grier drums up comparisons to Old Man’s Child, Panzerchrist, and Hypocrisy, and while I’m not inclined to disagree on those points, I’ll add that Siltskin also harkens to Kill-era Cannibal Corpse in its slick coalition of mid-paced slammers, warp-speed blitzes, and fat ‘n’ frolicking bass. Add to that the sly, sticky melody from the likes of Sentenced’s North from Here (“Vestigial Remnants”), and you’ve got a recipe for a righteous forty-five-minute smash-a-thon. Blood Red Throne’s last few records have been among their best, which is an incredible feat for a band this far into their career. While Siltskin doesn’t surpass BRT’s high-water mark, it keeps up, and if you’re hungry for an aural beatdown, then Blood Red Throne would like to throw their crown into the ring for consideration.
Gotsu-Totsu-Kotsu // Immortality [December 17, 2025 – Bang the Head Records]
I am woefully late to the charms of Gotsu-Totsu-Kotsu, a Japanese death metal outfit prominently featuring slap ‘n’ pop bass. Had it not been for our trusty Flippered Friend, I might have continued this grievous injustice of ignorance, but thankfully, this is not the timeline to which I’m doomed. Immortality is Gotsu-Totsu-Kotsu’s seventh album, and those who enjoy the band’s previous work should remain satisfied. For new acolytes, Gotsu-Totsu-Kotsu grasps the rabid intensity of Vader and Krisiun and imbues it with a funky edge. Meaty bass rumbles and sprightly slapped accents, provided by bassist/vocalist Haruhisa Takahata, merge with Kouki Akita’s kit obliteration to establish a thunderous, unrelenting rhythm section. Atop the lower end’s heft, Keiichi Enjouji shreds and squeals with thrashy vigor and a keen understanding of melody. First proper track “Anima Immortalis” even includes gang intonations that work so well, I wish they were more prevalent across the album. The sum total of Gotsu-Totsu-Kotsu’s atmosphere is one of plucky exuberance that strikes with the force of a roundhouse kick to the dome. Had I discovered it sooner, Immortality would have qualified for a 2025 year-end honorable mention, as I haven’t been able to stop spinning it or the band’s prior releases.4 Though I’m still in the honeymoon phase, I expect this platter to live on in my listening, and recommend you not miss this GTK killer like I almost did.
Thus Spoke’s Random Revelations
The Algorithm // Recursive Infinity [November 21st, 2025 – Self Released]
I’ve been a fan of The Algorithm since the early days, back when their electronica-djent was almost twee in its experimental joy, spliced with light-hearted samples. Over the years, Rémi Gallego has tuned his flair for mesmeric, playful compositions to develop a richer, more streamlined sound. Recursive Infinity continues the recent upward trend Data Renaissance began. With riffs and rhythms the slickest since Brute Force, and melodies the brightest and most colourful since equally-prettily adorned Polymorphic Code, it’s a cyberpunk tour-de-force. The wildness is trained, chunky heaviness grounding magnetic melodies (“Race Condition,” “Mutex,” “By Design”), dense chugging transitioning seamlessly into techno (“Advanced Iteration Technique,” “Hollowing,” “Graceful Degradation), and adding bite to bubbly, candy-coloured soundscapes (“Rainbow Table,”). The skittering of breakbeats tempers synthwave (“Endless Iteration), and bright pulses wrap cascading electro-core (“Race Condition,” “Mutex”) and orchestral melodrama (“Recursive Infinity”). It’s often strongly reminiscent of some point in The Algorithm’s history, but everything is upgraded from charming to entrancing. This provides a new way to interpret Recursive Infinity: not just a reference to an endless loop in general, but to Boucle Infinie (Infinite Loop)—Remi’s other musical project—and by extension, The Algorithm themselves. Yet he is still experimenting, including vocoder vocals (“Endless Iteration,” “By Design”) for a surprisingly successful dark-Daft Punk vibe in slower, moodier moments. With nostalgic throwbacks transformed so beautifully, and the continued evolution, there’s simply no way I can ignore The Algorithm now. And neither should you.
Recursive Infinity by The Algorithm
Owlswald’s Holiday Scraps
Sun of the Suns // Entanglement [December 12th, 2025 – Scarlet Records]
Bands and labels take heed—We reserve December for two things: Listurnalia and celebrating another trip around the sun. It is not for releasing new music. Yet this blunder persists, ensuring we inevitably miss gems like Sun of the Suns’ sophomore effort, Entanglement.5 The record dropped just as the world was tuning out for the year, and it deserves much better. Building on the foundation of their 2021 debut, TIIT, the Italian trio has significantly beefed up their progressive death formula. Mixing tech-death articulation with deathcore brutality, Entanglement ensures fans of Fallujah will feel right at home with its effervescent clean melodies and crystalline textures. Francesca Paoli (Fleshgod Apocalypse) returns to provide another masterclass behind the kit with rapid-fire double-bass, blasts, and tom fills, while guitarists Marco Righetti and Ludovico Cioffi deliver cosmic shredding and radiant solos that are both technical and deliberate. While the early tracks lean into Fallujahian songcraft and Tesseract-style arpeggios, the album shines brightest late when the group largely sheds its stylistic orbit. “Please, Blackout My Eyes” pivots toward a majestic Aeternam vibe with ethereal tech-death incisiveness, while “One With the Sun” and “The Void Where Sound Ends Its Path” hit like a sledgehammer with Xenobiotic’s deathcore grooves. Though Luca Dave Scarlatti’s vocals lack differentiation, the sheer quality of the compositions carries the weight, proving Sun of the Suns are much more than mere clones.
Entanglement by Sun Of The Suns
#2025 #Aeternam #AngelMaker #Annihilator #Archspire #Bach #BangTheHeadRecords #BloodRedThrone #Brainblast #CannibalCorpse #ColombianMetal #ColossusSuprema #DaftPunk #DeathMetal #Deathcore #Dec25 #Djent #Entanglement #EscapeTheWonderland #ExperimentalMetal #Fallujah #FirstFragment #FleshgodApocalypse #FolkMetal #GermanMetal #GodsOfGaia #GotsuTotsuKotsu #HeavyMetal #HoundsOfBayanay #Hypocrisy #Immortality #ItalianMetal #JapaneseMetal #Krisiun #MelodicDeathMetal #NorwegianMetal #Nov25 #OldManSChild #Panzerchrist #ProgressiveDeathMetal #ProgressiveMetal #RecursiveInfinity #Review #Reviews #ScarletRecords #SelfRelease #SelfReleased #Sentenced #SepticFlesh #Siltskin #SoulsellerRecords #StuckInTheFilter #StuckInTheFilter2025 #SunOfTheSuns #SymphonicDeathMetal #SymphonicMetal #Synthwave #TechnicalDeathMetal #TenggerCavalry #TesseracT #TheAlgorithm #TheHu #ThisUsedToBeHeaven #Vader #Vmbrella #Xenobiotic #КЭМ -
Stuck in the Filter: November/December 2025’s Angry Misses By KenstrosityBrutal cold envelops the building as my minions scrape through ice and filthy slush to find even the smallest shard of metallic glimmer. With extensive budget cuts demanded by my exorbitant bonus schedule—as is my right as CEO of this filtration service—there was no room to purchase adequate gear and equipment for these harsher weathers. However, I did take up crocheting recently so each of my “employees” received a nice soft hat.
Hopefully, that will be enough to tide them over until the inclement weather passes and we return to normal temps. Until then, they have these rare finds to keep them warm, and so do you! REJOICE!
Kenstrosity’s Knightly Nightmare
AngelMaker // This Used to Be Heaven [November 20th, 2025 – Self Released]
I’ve been a fan of AngelMaker’s since their 2015 debut Dissentient. The grossly underrated and underappreciated Vancouver septet are a highly specialized deathcore infantry, with their lineup expanding steadily over their career in concert with their ever-increasing songwriting sophistication. Unlike the brutish and belligerent debut and follow-up AngelMaker, 2022’s Sanctum and new outing This Used to Be Heaven indulge in rich layering, near-neoclassical melodies, and dramatic atmosphere to complement AngelMaker’s trademark sense of swaggering groove. With early entries “Rich in Anguish” and “Haunter” establishing the strength of both sides of their sound, it always surprises me how AngelMaker successfully twist and gnarl their sound into shapes—whether it be hardcore, blackened, or melodic—I wasn’t anticipating (“Silken Hands,” “Relinquished,” “Nothing Left”). A rock-solid back half launched by the epic “The Omen” two-part suite brings these deviations from the expected into unity with the deathcore foundation I know AngelMaker so well for (“Malevolence Reigns,” “Altare Mortis”), and in doing so secure their status as one of the most reliably creative deathcore acts in the scene. Nothing here is going to change the minds of the fiercer deathcore detractors, but if your heart is open even just a crack, there’s a good chance This Used to Be Heaven will force themselves into it, if not entirely rip the whole thing asunder. My advice is simply to let it.
This Used To Be Heaven by AngelMaker
ClarkKent’s Sonic Symphonics
Brainblast // Colossus Suprema [November 11th, 2025 – Vmbrella]
A debut album five years in the making from a band formed in 2015, Colossus Suprema is the brainchild of Bogotá, Colombia’s Edd Jiménez. Jiménez turned his passion for and training in classical composition towards his symphonic progressive act, Brainblast. With Bach as an inspiration, Brainblast’s brand of technical death metal has the grandeur of Fleshgod Apocalypse, the speed of Archspire, and the virtuosity of concert musicians. Jiménez’s classical training shows — the compositions have an orchestral feel, only played at insane energy levels. The speed, the depth, and the breadth of the instrumentation are sure to leave you breathless. Nicholas Le Fou Wells (First Fragment) lays down relentless kitwork with jaw-dropping velocity, while Eetu Hernesmaa provides technical fretwork that’ll similarly leave you awestruck. He delivers sublime riffs on “Relentless Rise” and a surprising melodic lead that steals the show on “Unchain Your Soul.” Perhaps most prominent is the virtuoso play of the bass from Rich Gray (Annihilator) and Dominic Forest Lapointe (First Fragment) that is omnipresent and funky on each and every song. To top it all off is the piano (perhaps from Jiménez), giving the music some gravitas with the technical, concert-style playing. This record is just plain bonkers and tons of fun. Given this is the debut from a young musician, the idea that Brainblast has room to grow is plenty exciting.
COLOSSUS SUPREMA by BRAINBLAST
Gods of Gaia // Escape the Wonderland [November 28th, 2025 – Self Released]
If you’ve been eagerly awaiting the next SepticFlesh release, Germany’s Gods of Gaia have got you covered. Founded in 2023 by Kevin Sierra Eifert, Gods of Gaia is made up of an anonymous collective from around the world, contributing to a dark, heavy, and aggressive form of symphonic metal. Their sophomore album, Escape the Wonderland, features a collection of death metal songs with plenty of orchestral arrangements that add a dramatic flair. Along with crushing riffs and thunderous blast beats, you’ll hear choral chants (“Escape the Wonderland,” “Burn for Me”), bits of piano (“What It Takes”), and plenty of cinematic symphonics. SepticFlesh is the obvious influence, but the grandiosity of Fleshgod Apocalypse flares up on cuts like the dramatic “Rise Up.” The front half is largely aggressive, with “What It Takes” taking the energy to thrash levels. The back half dials down the energy, even creeping to near doom on “Krieg in Mir,” but never pulls back on the heaviness. Cool as the symphonic elements are, the riffs, blast beats, and brutal vocal delivery are just as impressive. Make no mistake, this is melodic death metal above all else, with symphonic seasonings that elevate it a notch. Just the opposite of what the record title suggests, this is one wonderland you won’t want to escape.
Escape the Wonderland by Gods of Gaia
Grin Reaper’s Frozen Feast
Hounds of Bayanay // КЭМ [November 15, 2025 – Self Released]
Two-and-a-half years after dropping debut Legends of the North, Hounds of Bayanay returns with КЭМ to sate your eternal lust for folk metal.1 Blending heavy metal with folk instrumentation, specifically kyrympa2 and khomus,3 as well as throat singing, Hounds of Bayanay might sound like a Tengger Cavalry or The Hu knockoff, but you’ll do yourself a disservice by writing them off. Boldly enunciated, clarion cleans belt out in confident proclamations while grittier refrains and overtones resonate beneath, proffering assorted and engaging vocal stylings. Rather than dwelling overlong in strings and tribal chanting, the deft fusion of folk instruments with traditional metal defines Hounds’ sound and feels cohesively integrated on КЭМ, providing an intimate yet heavy backdrop to a hook-laden and alluringly replayable thirty-nine minutes. In addition to the eclectic folk influence, there’s a satisfying variety of songwriting from track to track, with “Ardaq,” “Cɯsqa:n,” and “Dɔʃɔrum” exemplifying the enticing synthesis of styles. More than anything else, Hounds of Bayanay embodies heart and fun, warming my chilly days with a well-executed platter of Eastern-influenced folk metal. Don’t skip this one, or the decision could hound you.
Blood Red Throne // Siltskin [December 05, 2025 – Soulseller Records]
I’m shoving up against the deadline to wedge this one in, but Blood Red Throne’s latest deserves a mention, and bulldozing is just the sort of thing you should do while listening to BRT’s brand of bludgeoning, pit-stomping romp. Back in December, the venerable Norwegian death metal act dropped twelfth album Siltskin, maintaining their prolific and consistent release schedule. In addition to their dependable output, BRT stays the course with pummeling, brutish pomp. In his coverage of Nonagon and Imperial Congregation, Doc Grier drums up comparisons to Old Man’s Child, Panzerchrist, and Hypocrisy, and while I’m not inclined to disagree on those points, I’ll add that Siltskin also harkens to Kill-era Cannibal Corpse in its slick coalition of mid-paced slammers, warp-speed blitzes, and fat ‘n’ frolicking bass. Add to that the sly, sticky melody from the likes of Sentenced’s North from Here (“Vestigial Remnants”), and you’ve got a recipe for a righteous forty-five-minute smash-a-thon. Blood Red Throne’s last few records have been among their best, which is an incredible feat for a band this far into their career. While Siltskin doesn’t surpass BRT’s high-water mark, it keeps up, and if you’re hungry for an aural beatdown, then Blood Red Throne would like to throw their crown into the ring for consideration.
Gotsu-Totsu-Kotsu // Immortality [December 17, 2025 – Bang the Head Records]
I am woefully late to the charms of Gotsu-Totsu-Kotsu, a Japanese death metal outfit prominently featuring slap ‘n’ pop bass. Had it not been for our trusty Flippered Friend, I might have continued this grievous injustice of ignorance, but thankfully, this is not the timeline to which I’m doomed. Immortality is Gotsu-Totsu-Kotsu’s seventh album, and those who enjoy the band’s previous work should remain satisfied. For new acolytes, Gotsu-Totsu-Kotsu grasps the rabid intensity of Vader and Krisiun and imbues it with a funky edge. Meaty bass rumbles and sprightly slapped accents, provided by bassist/vocalist Haruhisa Takahata, merge with Kouki Akita’s kit obliteration to establish a thunderous, unrelenting rhythm section. Atop the lower end’s heft, Keiichi Enjouji shreds and squeals with thrashy vigor and a keen understanding of melody. First proper track “Anima Immortalis” even includes gang intonations that work so well, I wish they were more prevalent across the album. The sum total of Gotsu-Totsu-Kotsu’s atmosphere is one of plucky exuberance that strikes with the force of a roundhouse kick to the dome. Had I discovered it sooner, Immortality would have qualified for a 2025 year-end honorable mention, as I haven’t been able to stop spinning it or the band’s prior releases.4 Though I’m still in the honeymoon phase, I expect this platter to live on in my listening, and recommend you not miss this GTK killer like I almost did.
Thus Spoke’s Random Revelations
The Algorithm // Recursive Infinity [November 21st, 2025 – Self Released]
I’ve been a fan of The Algorithm since the early days, back when their electronica-djent was almost twee in its experimental joy, spliced with light-hearted samples. Over the years, Rémi Gallego has tuned his flair for mesmeric, playful compositions to develop a richer, more streamlined sound. Recursive Infinity continues the recent upward trend Data Renaissance began. With riffs and rhythms the slickest since Brute Force, and melodies the brightest and most colourful since equally-prettily adorned Polymorphic Code, it’s a cyberpunk tour-de-force. The wildness is trained, chunky heaviness grounding magnetic melodies (“Race Condition,” “Mutex,” “By Design”), dense chugging transitioning seamlessly into techno (“Advanced Iteration Technique,” “Hollowing,” “Graceful Degradation), and adding bite to bubbly, candy-coloured soundscapes (“Rainbow Table,”). The skittering of breakbeats tempers synthwave (“Endless Iteration), and bright pulses wrap cascading electro-core (“Race Condition,” “Mutex”) and orchestral melodrama (“Recursive Infinity”). It’s often strongly reminiscent of some point in The Algorithm’s history, but everything is upgraded from charming to entrancing. This provides a new way to interpret Recursive Infinity: not just a reference to an endless loop in general, but to Boucle Infinie (Infinite Loop)—Remi’s other musical project—and by extension, The Algorithm themselves. Yet he is still experimenting, including vocoder vocals (“Endless Iteration,” “By Design”) for a surprisingly successful dark-Daft Punk vibe in slower, moodier moments. With nostalgic throwbacks transformed so beautifully, and the continued evolution, there’s simply no way I can ignore The Algorithm now. And neither should you.
Recursive Infinity by The Algorithm
Owlswald’s Holiday Scraps
Sun of the Suns // Entanglement [December 12th, 2025 – Scarlet Records]
Bands and labels take heed—We reserve December for two things: Listurnalia and celebrating another trip around the sun. It is not for releasing new music. Yet this blunder persists, ensuring we inevitably miss gems like Sun of the Suns’ sophomore effort, Entanglement.5 The record dropped just as the world was tuning out for the year, and it deserves much better. Building on the foundation of their 2021 debut, TIIT, the Italian trio has significantly beefed up their progressive death formula. Mixing tech-death articulation with deathcore brutality, Entanglement ensures fans of Fallujah will feel right at home with its effervescent clean melodies and crystalline textures. Francesca Paoli (Fleshgod Apocalypse) returns to provide another masterclass behind the kit with rapid-fire double-bass, blasts, and tom fills, while guitarists Marco Righetti and Ludovico Cioffi deliver cosmic shredding and radiant solos that are both technical and deliberate. While the early tracks lean into Fallujahian songcraft and Tesseract-style arpeggios, the album shines brightest late when the group largely sheds its stylistic orbit. “Please, Blackout My Eyes” pivots toward a majestic Aeternam vibe with ethereal tech-death incisiveness, while “One With the Sun” and “The Void Where Sound Ends Its Path” hit like a sledgehammer with Xenobiotic’s deathcore grooves. Though Luca Dave Scarlatti’s vocals lack differentiation, the sheer quality of the compositions carries the weight, proving Sun of the Suns are much more than mere clones.
Entanglement by Sun Of The Suns
#2025 #Aeternam #AngelMaker #Annihilator #Archspire #Bach #BangTheHeadRecords #BloodRedThrone #Brainblast #CannibalCorpse #ColombianMetal #ColossusSuprema #DaftPunk #DeathMetal #Deathcore #Dec25 #Djent #Entanglement #EscapeTheWonderland #ExperimentalMetal #Fallujah #FirstFragment #FleshgodApocalypse #FolkMetal #GermanMetal #GodsOfGaia #GotsuTotsuKotsu #HeavyMetal #HoundsOfBayanay #Hypocrisy #Immortality #ItalianMetal #JapaneseMetal #Krisiun #MelodicDeathMetal #NorwegianMetal #Nov25 #OldManSChild #Panzerchrist #ProgressiveDeathMetal #ProgressiveMetal #RecursiveInfinity #Review #Reviews #ScarletRecords #SelfRelease #SelfReleased #Sentenced #SepticFlesh #Siltskin #SoulsellerRecords #StuckInTheFilter #StuckInTheFilter2025 #SunOfTheSuns #SymphonicDeathMetal #SymphonicMetal #Synthwave #TechnicalDeathMetal #TenggerCavalry #TesseracT #TheAlgorithm #TheHu #ThisUsedToBeHeaven #Vader #Vmbrella #Xenobiotic #КЭМ -
By Grin Reaper
Defigurement’s debut album Endbryo is classified as experimental deathgrind, and though that’s accurate, it doesn’t fully capture what’s on tap. Endbryo is an album in constant flux, never content to lock into one vibe for too long. While experimental, Defigurement still adheres to grindcore’s brutal core tenets: short songs and unfettered aggression. Their sound isn’t limited to just these things, though, as Defigurement adopts crackerjack technicality that contrasts with the blunt drubbing associated with much of the subgenre. Varied paces and some unconventional instrumentation further heighten Endbryo’s unorthodox approach. Dissonant bleats, melodic leads, blast beats, and key-heavy interludes create an engaging atmosphere. Yet it takes more than a wide-ranging assortment of sounds and ideas to fashion an album.
With so many ingredients to unite, you may wonder what Defigurement actually sounds like. Gridlink’s Coronet Juniper, Full of Hell’s Coagulated Bliss, and Beaten to Death’s Sunrise over Rigor Mortis provide apt reference points. These albums imbue deceptively melodic hooks into grindcore’s caustic backdrop, a convention perpetuated on Endbryo. Gridlink’s own Takafumi Matsubara even appears on “Wounded Landscape,” imparting gorgeously malicious riffs. In addition to grindcore influences, Defigurement pays homage to System of a Down via the “Suite Pee”-tinged intro of “Shogun of Sorrow” and the Slayer “Rain in Blood” gallop heard in “Wounded Landscape.” Rather than aping these acts, though, Defigurement forges a stank all their own. Chaos is the name of the game, but not all of it is funneled through uniform, full-tilt abuse. Endbryo’s half-hour pumps blood and rhythm through sixteen tracks, featuring constant shifts in tempos and moods that make the music feel alive and unpredictable. The album is jam-packed with so many morsels that even after dozens of listens, I’m still discovering new details.
Conceiving such a diverse and layered soundscape requires heaps of vitality and musicianship, and Defigurement steps up to answer the challenge. From Mike Heller’s (Changeling, Azure Emote, ex-Fear Factory) atom-blasting drums to Kevin Fetus’s snaking leads and D.M.T.’s gritty bass, Endbryo brims with relentless vigor. Heller’s drum performance in particular elevates Defigurement’s character. Juggling blast beats, disco hi-hat frills (“Open Veins, Visceral Tapestry”), and jazzy phrasing (“We Are the Worst”) shouldn’t be this seamless, yet Heller’s nimble work provides the engine for the album’s mélange of styles. Rounding out the rhythm section, D.M.T.’s meaty bass grumbles and grooves in support, and a couple of intros even throw the spotlight on his throaty purr (“Wounded Landscape,” “Godtopsy”). Guitars attack from every direction, utilizing trem-picked blitzes (“Burnt by the Truth”), plaintive wails (“We Are the Worst”), and glossy shredding (“Godtopsy”). Matthias Joyce’s vocals are capable and versatile, sitting far enough back in the mix that they mesh smoothly with the music rather than overpowering it. Besides Matsubara, several other guests pop in, including Brian Hopp (Cephalic Carnage) and Leon Del Muerte (Impaled, ex-Nails). Endbryo boasts a potpourri of talent, and this bouquet reeks of grind beef.
Endbryo sounds great, even though some moments don’t effortlessly converge. Subgenres like grindcore don’t need much auditory contrast to be effective, but Endbryo boasts a DR7 anyway, benefiting the complex structure of its tracks. The finely-tuned mix allows listeners to appreciate the nuances of the performances within, notably the drumming; a lesser production could have obfuscated Heller’s unhinged sticksmanship. My only complaint is that with such a dense album, Defigurement doesn’t quite achieve the cohesion needed to stitch all of Endbryo’s fragments together. Piano-only interlude “Eternal Dusk” is a beautiful instrumental featured about halfway through. It allows you to take a breath before re-entering the maelstrom, but foreshadowing the melody earlier or including piano elsewhere would have strengthened its inclusion. Similarly, “Left in a Cold Rain” contains slowly swirling synths played under a distorted voice-over. Once again, this skillfully navigates the album’s pacing, but without more tethers to other tracks, it feels isolated from its surroundings. Despite these small shortcomings, Endbryo scores a resounding success.
Defigurement pulls no punches on Endbryo, hewing a slab of great experimental deathgrind. Their ferocity is bruising and their vision unyielding, and it’s rare I encounter music that demands so many repeated spins. This platter is captivating, and each time I think I have Endbryo figured out, the next listen corrects that notion. So many ideas loaded into thirty minutes might seem daunting, but Defigurement expertly balances intrigue and digestibility. Assuming Endbryo is only the beginning, I’ll wait on the edge of my seat to hear how the band’s sound develops.
Rating: Great
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Nefarious Industries
Websites: Bandcamp | Facebook
Releases Worldwide: October 17th, 2025#2025 #40 #BeatenToDeath #DeathGrind #DeathMetal #Deathgrind #Defigurement #Endbryo #ExperimentalDeathMetal #ExperimentalDeathgrind #FullOfHell #Gridlink #Grind #NefariousIndustries #Oct25 #Review #Reviews #Slayer #SystemOfADown #USMetal
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By Grin Reaper
Defigurement’s debut album Endbryo is classified as experimental deathgrind, and though that’s accurate, it doesn’t fully capture what’s on tap. Endbryo is an album in constant flux, never content to lock into one vibe for too long. While experimental, Defigurement still adheres to grindcore’s brutal core tenets: short songs and unfettered aggression. Their sound isn’t limited to just these things, though, as Defigurement adopts crackerjack technicality that contrasts with the blunt drubbing associated with much of the subgenre. Varied paces and some unconventional instrumentation further heighten Endbryo’s unorthodox approach. Dissonant bleats, melodic leads, blast beats, and key-heavy interludes create an engaging atmosphere. Yet it takes more than a wide-ranging assortment of sounds and ideas to fashion an album.
With so many ingredients to unite, you may wonder what Defigurement actually sounds like. Gridlink’s Coronet Juniper, Full of Hell’s Coagulated Bliss, and Beaten to Death’s Sunrise over Rigor Mortis provide apt reference points. These albums imbue deceptively melodic hooks into grindcore’s caustic backdrop, a convention perpetuated on Endbryo. Gridlink’s own Takafumi Matsubara even appears on “Wounded Landscape,” imparting gorgeously malicious riffs. In addition to grindcore influences, Defigurement pays homage to System of a Down via the “Suite Pee”-tinged intro of “Shogun of Sorrow” and the Slayer “Rain in Blood” gallop heard in “Wounded Landscape.” Rather than aping these acts, though, Defigurement forges a stank all their own. Chaos is the name of the game, but not all of it is funneled through uniform, full-tilt abuse. Endbryo’s half-hour pumps blood and rhythm through sixteen tracks, featuring constant shifts in tempos and moods that make the music feel alive and unpredictable. The album is jam-packed with so many morsels that even after dozens of listens, I’m still discovering new details.
Conceiving such a diverse and layered soundscape requires heaps of vitality and musicianship, and Defigurement steps up to answer the challenge. From Mike Heller’s (Changeling, Azure Emote, ex-Fear Factory) atom-blasting drums to Kevin Fetus’s snaking leads and D.M.T.’s gritty bass, Endbryo brims with relentless vigor. Heller’s drum performance in particular elevates Defigurement’s character. Juggling blast beats, disco hi-hat frills (“Open Veins, Visceral Tapestry”), and jazzy phrasing (“We Are the Worst”) shouldn’t be this seamless, yet Heller’s nimble work provides the engine for the album’s mélange of styles. Rounding out the rhythm section, D.M.T.’s meaty bass grumbles and grooves in support, and a couple of intros even throw the spotlight on his throaty purr (“Wounded Landscape,” “Godtopsy”). Guitars attack from every direction, utilizing trem-picked blitzes (“Burnt by the Truth”), plaintive wails (“We Are the Worst”), and glossy shredding (“Godtopsy”). Matthias Joyce’s vocals are capable and versatile, sitting far enough back in the mix that they mesh smoothly with the music rather than overpowering it. Besides Matsubara, several other guests pop in, including Brian Hopp (Cephalic Carnage) and Leon Del Muerte (Impaled, ex-Nails). Endbryo boasts a potpourri of talent, and this bouquet reeks of grind beef.
Endbryo sounds great, even though some moments don’t effortlessly converge. Subgenres like grindcore don’t need much auditory contrast to be effective, but Endbryo boasts a DR7 anyway, benefiting the complex structure of its tracks. The finely-tuned mix allows listeners to appreciate the nuances of the performances within, notably the drumming; a lesser production could have obfuscated Heller’s unhinged sticksmanship. My only complaint is that with such a dense album, Defigurement doesn’t quite achieve the cohesion needed to stitch all of Endbryo’s fragments together. Piano-only interlude “Eternal Dusk” is a beautiful instrumental featured about halfway through. It allows you to take a breath before re-entering the maelstrom, but foreshadowing the melody earlier or including piano elsewhere would have strengthened its inclusion. Similarly, “Left in a Cold Rain” contains slowly swirling synths played under a distorted voice-over. Once again, this skillfully navigates the album’s pacing, but without more tethers to other tracks, it feels isolated from its surroundings. Despite these small shortcomings, Endbryo scores a resounding success.
Defigurement pulls no punches on Endbryo, hewing a slab of great experimental deathgrind. Their ferocity is bruising and their vision unyielding, and it’s rare I encounter music that demands so many repeated spins. This platter is captivating, and each time I think I have Endbryo figured out, the next listen corrects that notion. So many ideas loaded into thirty minutes might seem daunting, but Defigurement expertly balances intrigue and digestibility. Assuming Endbryo is only the beginning, I’ll wait on the edge of my seat to hear how the band’s sound develops.
Rating: Great
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Nefarious Industries
Websites: Bandcamp | Facebook
Releases Worldwide: October 17th, 2025#2025 #40 #BeatenToDeath #DeathGrind #DeathMetal #Deathgrind #Defigurement #Endbryo #ExperimentalDeathMetal #ExperimentalDeathgrind #FullOfHell #Gridlink #Grind #NefariousIndustries #Oct25 #Review #Reviews #Slayer #SystemOfADown #USMetal
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By Grin Reaper
Defigurement’s debut album Endbryo is classified as experimental deathgrind, and though that’s accurate, it doesn’t fully capture what’s on tap. Endbryo is an album in constant flux, never content to lock into one vibe for too long. While experimental, Defigurement still adheres to grindcore’s brutal core tenets: short songs and unfettered aggression. Their sound isn’t limited to just these things, though, as Defigurement adopts crackerjack technicality that contrasts with the blunt drubbing associated with much of the subgenre. Varied paces and some unconventional instrumentation further heighten Endbryo’s unorthodox approach. Dissonant bleats, melodic leads, blast beats, and key-heavy interludes create an engaging atmosphere. Yet it takes more than a wide-ranging assortment of sounds and ideas to fashion an album.
With so many ingredients to unite, you may wonder what Defigurement actually sounds like. Gridlink’s Coronet Juniper, Full of Hell’s Coagulated Bliss, and Beaten to Death’s Sunrise over Rigor Mortis provide apt reference points. These albums imbue deceptively melodic hooks into grindcore’s caustic backdrop, a convention perpetuated on Endbryo. Gridlink’s own Takafumi Matsubara even appears on “Wounded Landscape,” imparting gorgeously malicious riffs. In addition to grindcore influences, Defigurement pays homage to System of a Down via the “Suite Pee”-tinged intro of “Shogun of Sorrow” and the Slayer “Rain in Blood” gallop heard in “Wounded Landscape.” Rather than aping these acts, though, Defigurement forges a stank all their own. Chaos is the name of the game, but not all of it is funneled through uniform, full-tilt abuse. Endbryo’s half-hour pumps blood and rhythm through sixteen tracks, featuring constant shifts in tempos and moods that make the music feel alive and unpredictable. The album is jam-packed with so many morsels that even after dozens of listens, I’m still discovering new details.
Conceiving such a diverse and layered soundscape requires heaps of vitality and musicianship, and Defigurement steps up to answer the challenge. From Mike Heller’s (Changeling, Azure Emote, ex-Fear Factory) atom-blasting drums to Kevin Fetus’s snaking leads and D.M.T.’s gritty bass, Endbryo brims with relentless vigor. Heller’s drum performance in particular elevates Defigurement’s character. Juggling blast beats, disco hi-hat frills (“Open Veins, Visceral Tapestry”), and jazzy phrasing (“We Are the Worst”) shouldn’t be this seamless, yet Heller’s nimble work provides the engine for the album’s mélange of styles. Rounding out the rhythm section, D.M.T.’s meaty bass grumbles and grooves in support, and a couple of intros even throw the spotlight on his throaty purr (“Wounded Landscape,” “Godtopsy”). Guitars attack from every direction, utilizing trem-picked blitzes (“Burnt by the Truth”), plaintive wails (“We Are the Worst”), and glossy shredding (“Godtopsy”). Matthias Joyce’s vocals are capable and versatile, sitting far enough back in the mix that they mesh smoothly with the music rather than overpowering it. Besides Matsubara, several other guests pop in, including Brian Hopp (Cephalic Carnage) and Leon Del Muerte (Impaled, ex-Nails). Endbryo boasts a potpourri of talent, and this bouquet reeks of grind beef.
Endbryo sounds great, even though some moments don’t effortlessly converge. Subgenres like grindcore don’t need much auditory contrast to be effective, but Endbryo boasts a DR7 anyway, benefiting the complex structure of its tracks. The finely-tuned mix allows listeners to appreciate the nuances of the performances within, notably the drumming; a lesser production could have obfuscated Heller’s unhinged sticksmanship. My only complaint is that with such a dense album, Defigurement doesn’t quite achieve the cohesion needed to stitch all of Endbryo’s fragments together. Piano-only interlude “Eternal Dusk” is a beautiful instrumental featured about halfway through. It allows you to take a breath before re-entering the maelstrom, but foreshadowing the melody earlier or including piano elsewhere would have strengthened its inclusion. Similarly, “Left in a Cold Rain” contains slowly swirling synths played under a distorted voice-over. Once again, this skillfully navigates the album’s pacing, but without more tethers to other tracks, it feels isolated from its surroundings. Despite these small shortcomings, Endbryo scores a resounding success.
Defigurement pulls no punches on Endbryo, hewing a slab of great experimental deathgrind. Their ferocity is bruising and their vision unyielding, and it’s rare I encounter music that demands so many repeated spins. This platter is captivating, and each time I think I have Endbryo figured out, the next listen corrects that notion. So many ideas loaded into thirty minutes might seem daunting, but Defigurement expertly balances intrigue and digestibility. Assuming Endbryo is only the beginning, I’ll wait on the edge of my seat to hear how the band’s sound develops.
Rating: Great
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Nefarious Industries
Websites: Bandcamp | Facebook
Releases Worldwide: October 17th, 2025#2025 #40 #BeatenToDeath #DeathGrind #DeathMetal #Deathgrind #Defigurement #Endbryo #ExperimentalDeathMetal #ExperimentalDeathgrind #FullOfHell #Gridlink #Grind #NefariousIndustries #Oct25 #Review #Reviews #Slayer #SystemOfADown #USMetal
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By Grin Reaper
Defigurement’s debut album Endbryo is classified as experimental deathgrind, and though that’s accurate, it doesn’t fully capture what’s on tap. Endbryo is an album in constant flux, never content to lock into one vibe for too long. While experimental, Defigurement still adheres to grindcore’s brutal core tenets: short songs and unfettered aggression. Their sound isn’t limited to just these things, though, as Defigurement adopts crackerjack technicality that contrasts with the blunt drubbing associated with much of the subgenre. Varied paces and some unconventional instrumentation further heighten Endbryo’s unorthodox approach. Dissonant bleats, melodic leads, blast beats, and key-heavy interludes create an engaging atmosphere. Yet it takes more than a wide-ranging assortment of sounds and ideas to fashion an album.
With so many ingredients to unite, you may wonder what Defigurement actually sounds like. Gridlink’s Coronet Juniper, Full of Hell’s Coagulated Bliss, and Beaten to Death’s Sunrise over Rigor Mortis provide apt reference points. These albums imbue deceptively melodic hooks into grindcore’s caustic backdrop, a convention perpetuated on Endbryo. Gridlink’s own Takafumi Matsubara even appears on “Wounded Landscape,” imparting gorgeously malicious riffs. In addition to grindcore influences, Defigurement pays homage to System of a Down via the “Suite Pee”-tinged intro of “Shogun of Sorrow” and the Slayer “Rain in Blood” gallop heard in “Wounded Landscape.” Rather than aping these acts, though, Defigurement forges a stank all their own. Chaos is the name of the game, but not all of it is funneled through uniform, full-tilt abuse. Endbryo’s half-hour pumps blood and rhythm through sixteen tracks, featuring constant shifts in tempos and moods that make the music feel alive and unpredictable. The album is jam-packed with so many morsels that even after dozens of listens, I’m still discovering new details.
Conceiving such a diverse and layered soundscape requires heaps of vitality and musicianship, and Defigurement steps up to answer the challenge. From Mike Heller’s (Changeling, Azure Emote, ex-Fear Factory) atom-blasting drums to Kevin Fetus’s snaking leads and D.M.T.’s gritty bass, Endbryo brims with relentless vigor. Heller’s drum performance in particular elevates Defigurement’s character. Juggling blast beats, disco hi-hat frills (“Open Veins, Visceral Tapestry”), and jazzy phrasing (“We Are the Worst”) shouldn’t be this seamless, yet Heller’s nimble work provides the engine for the album’s mélange of styles. Rounding out the rhythm section, D.M.T.’s meaty bass grumbles and grooves in support, and a couple of intros even throw the spotlight on his throaty purr (“Wounded Landscape,” “Godtopsy”). Guitars attack from every direction, utilizing trem-picked blitzes (“Burnt by the Truth”), plaintive wails (“We Are the Worst”), and glossy shredding (“Godtopsy”). Matthias Joyce’s vocals are capable and versatile, sitting far enough back in the mix that they mesh smoothly with the music rather than overpowering it. Besides Matsubara, several other guests pop in, including Brian Hopp (Cephalic Carnage) and Leon Del Muerte (Impaled, ex-Nails). Endbryo boasts a potpourri of talent, and this bouquet reeks of grind beef.
Endbryo sounds great, even though some moments don’t effortlessly converge. Subgenres like grindcore don’t need much auditory contrast to be effective, but Endbryo boasts a DR7 anyway, benefiting the complex structure of its tracks. The finely-tuned mix allows listeners to appreciate the nuances of the performances within, notably the drumming; a lesser production could have obfuscated Heller’s unhinged sticksmanship. My only complaint is that with such a dense album, Defigurement doesn’t quite achieve the cohesion needed to stitch all of Endbryo’s fragments together. Piano-only interlude “Eternal Dusk” is a beautiful instrumental featured about halfway through. It allows you to take a breath before re-entering the maelstrom, but foreshadowing the melody earlier or including piano elsewhere would have strengthened its inclusion. Similarly, “Left in a Cold Rain” contains slowly swirling synths played under a distorted voice-over. Once again, this skillfully navigates the album’s pacing, but without more tethers to other tracks, it feels isolated from its surroundings. Despite these small shortcomings, Endbryo scores a resounding success.
Defigurement pulls no punches on Endbryo, hewing a slab of great experimental deathgrind. Their ferocity is bruising and their vision unyielding, and it’s rare I encounter music that demands so many repeated spins. This platter is captivating, and each time I think I have Endbryo figured out, the next listen corrects that notion. So many ideas loaded into thirty minutes might seem daunting, but Defigurement expertly balances intrigue and digestibility. Assuming Endbryo is only the beginning, I’ll wait on the edge of my seat to hear how the band’s sound develops.
Rating: Great
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Nefarious Industries
Websites: Bandcamp | Facebook
Releases Worldwide: October 17th, 2025#2025 #40 #BeatenToDeath #DeathGrind #DeathMetal #Deathgrind #Defigurement #Endbryo #ExperimentalDeathMetal #ExperimentalDeathgrind #FullOfHell #Gridlink #Grind #NefariousIndustries #Oct25 #Review #Reviews #Slayer #SystemOfADown #USMetal
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Juzgados ordenan 129 medidas de protección por día a favor de víctimas de violencia doméstica
Este año se cumplen 30 años desde la entrada en vigor de la Ley contra la Violencia Doméstica y es difícil imaginar la vida de las mujeres en situaciones de violencia antes de esta ley.
La entrada Juzgados ordenan 129 medidas de protección por día a favor de víctimas de viol [...]#Agresión #Género #Juzgado #Mujeres. #OrdenesDeProteccion #País #PoderJudicial #ViolenciaDmestica
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Krishnamurti on How Not to Be Born Again
Jiddu Krishnamurti viewed the idea of being “born again” (reincarnation) as a continuity of the “me”—the bundle of memories, conditioning, and thought-based self-interest. He argued that true freedom is not about manipulating future lives, but about ending the continuity of this self in the present moment.
Here is how Krishnamurti described not being “born again,” which he called “real incarnation” or dying while living:
- Die to the Past Daily
Krishnamurti taught that “death” is the ending of everything accumulated, such as wounds, pains, and memories.
Ending the “Me”: Reincarnation is the continuation of thought-based consciousness. To not be born again is to stop this continuity.
Dying Now: You must “die” to your attachments, conditioning, and personality every day. “Die to everything of yesterday, so that your mind is always fresh, young, innocent, full of vigour and passion”.
Total Negation: The mind must strip itself of all knowledge and conditioning.
- End Conflict in the Present
Krishnamurti maintained that the future is built by the present, so changing the future depends entirely on “what is” today.
Immediate Action: “Incarnate today, afresh – not in the next life!”.
No Postponement: Hoping for a better next life is a postponement of tackling one’s inner chaos.
Remaining with “What Is”: Conflict ends when you observe your greed or jealousy as a fact without trying to change it into its opposite (like non-violence).
- Dissolve the “Self”
The “self” is a bundle of memories and thoughts, which creates a center that perpetuates itself.
No Center: When the mind is free from the center (the “I”), it is free from the limitations of time and memory.
Total Observation: When you observe the self-centered activity of the mind with total attention, that observation brings its own ending.
- Empty the Mind
For something totally new to emerge, the mind must be silent, which is only possible when it is empty of the known.
Silence of the Mind: “A mind that has understood the whole movement of thought becomes extraordinarily quiet, absolutely silent. That silence is the beginning of the new”.
No Method: You cannot use a method, system, or discipline to achieve this, as those are tools of thought that strengthen the self.
In summary, Krishnamurti’s way of not being born again is to live with such total attention and awareness that the “me” dies completely in each moment, leaving the mind fresh, silent, and new, without the burden of the past.
https://www.youtube.com/watch?v=P4dnj0M8T2o
#Conflict #Consciousness #DyingNow #DyingToTheMe #DyingToThePast #I #IMeMine #InnerQuiet #JKrishnamurti #LifeAfterDeath #Meditation #Mind #Mindfulness #NextLife #Philosophy #Rebirth #Reincarnation #SilenceofTheMind #Spirituality #ThePast #WhatIs - Die to the Past Daily
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Krishnamurti on How Not to Be Born Again
Jiddu Krishnamurti viewed the idea of being “born again” (reincarnation) as a continuity of the “me”—the bundle of memories, conditioning, and thought-based self-interest. He argued that true freedom is not about manipulating future lives, but about ending the continuity of this self in the present moment.
Here is how Krishnamurti described not being “born again,” which he called “real incarnation” or dying while living:
- Die to the Past Daily
Krishnamurti taught that “death” is the ending of everything accumulated, such as wounds, pains, and memories.
Ending the “Me”: Reincarnation is the continuation of thought-based consciousness. To not be born again is to stop this continuity.
Dying Now: You must “die” to your attachments, conditioning, and personality every day. “Die to everything of yesterday, so that your mind is always fresh, young, innocent, full of vigour and passion”.
Total Negation: The mind must strip itself of all knowledge and conditioning.
- End Conflict in the Present
Krishnamurti maintained that the future is built by the present, so changing the future depends entirely on “what is” today.
Immediate Action: “Incarnate today, afresh – not in the next life!”.
No Postponement: Hoping for a better next life is a postponement of tackling one’s inner chaos.
Remaining with “What Is”: Conflict ends when you observe your greed or jealousy as a fact without trying to change it into its opposite (like non-violence).
- Dissolve the “Self”
The “self” is a bundle of memories and thoughts, which creates a center that perpetuates itself.
No Center: When the mind is free from the center (the “I”), it is free from the limitations of time and memory.
Total Observation: When you observe the self-centered activity of the mind with total attention, that observation brings its own ending.
- Empty the Mind
For something totally new to emerge, the mind must be silent, which is only possible when it is empty of the known.
Silence of the Mind: “A mind that has understood the whole movement of thought becomes extraordinarily quiet, absolutely silent. That silence is the beginning of the new”.
No Method: You cannot use a method, system, or discipline to achieve this, as those are tools of thought that strengthen the self.
In summary, Krishnamurti’s way of not being born again is to live with such total attention and awareness that the “me” dies completely in each moment, leaving the mind fresh, silent, and new, without the burden of the past.
https://www.youtube.com/watch?v=P4dnj0M8T2o
#Conflict #Consciousness #DyingNow #DyingToTheMe #DyingToThePast #I #IMeMine #InnerQuiet #JKrishnamurti #LifeAfterDeath #Meditation #Mind #Mindfulness #NextLife #Philosophy #Rebirth #Reincarnation #SilenceofTheMind #Spirituality #ThePast #WhatIs - Die to the Past Daily
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Krishnamurti on How Not to Be Born Again
Jiddu Krishnamurti viewed the idea of being “born again” (reincarnation) as a continuity of the “me”—the bundle of memories, conditioning, and thought-based self-interest. He argued that true freedom is not about manipulating future lives, but about ending the continuity of this self in the present moment.
Here is how Krishnamurti described not being “born again,” which he called “real incarnation” or dying while living:
- Die to the Past Daily
Krishnamurti taught that “death” is the ending of everything accumulated, such as wounds, pains, and memories.
Ending the “Me”: Reincarnation is the continuation of thought-based consciousness. To not be born again is to stop this continuity.
Dying Now: You must “die” to your attachments, conditioning, and personality every day. “Die to everything of yesterday, so that your mind is always fresh, young, innocent, full of vigour and passion”.
Total Negation: The mind must strip itself of all knowledge and conditioning.
- End Conflict in the Present
Krishnamurti maintained that the future is built by the present, so changing the future depends entirely on “what is” today.
Immediate Action: “Incarnate today, afresh – not in the next life!”.
No Postponement: Hoping for a better next life is a postponement of tackling one’s inner chaos.
Remaining with “What Is”: Conflict ends when you observe your greed or jealousy as a fact without trying to change it into its opposite (like non-violence).
- Dissolve the “Self”
The “self” is a bundle of memories and thoughts, which creates a center that perpetuates itself.
No Center: When the mind is free from the center (the “I”), it is free from the limitations of time and memory.
Total Observation: When you observe the self-centered activity of the mind with total attention, that observation brings its own ending.
- Empty the Mind
For something totally new to emerge, the mind must be silent, which is only possible when it is empty of the known.
Silence of the Mind: “A mind that has understood the whole movement of thought becomes extraordinarily quiet, absolutely silent. That silence is the beginning of the new”.
No Method: You cannot use a method, system, or discipline to achieve this, as those are tools of thought that strengthen the self.
In summary, Krishnamurti’s way of not being born again is to live with such total attention and awareness that the “me” dies completely in each moment, leaving the mind fresh, silent, and new, without the burden of the past.
https://www.youtube.com/watch?v=P4dnj0M8T2o
#Conflict #Consciousness #DyingNow #DyingToTheMe #DyingToThePast #I #IMeMine #InnerQuiet #JKrishnamurti #LifeAfterDeath #Meditation #Mind #Mindfulness #NextLife #Philosophy #Rebirth #Reincarnation #SilenceofTheMind #Spirituality #ThePast #WhatIs - Die to the Past Daily
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Krishnamurti on How Not to Be Born Again
Jiddu Krishnamurti viewed the idea of being “born again” (reincarnation) as a continuity of the “me”—the bundle of memories, conditioning, and thought-based self-interest. He argued that true freedom is not about manipulating future lives, but about ending the continuity of this self in the present moment.
Here is how Krishnamurti described not being “born again,” which he called “real incarnation” or dying while living:
- Die to the Past Daily
Krishnamurti taught that “death” is the ending of everything accumulated, such as wounds, pains, and memories.
Ending the “Me”: Reincarnation is the continuation of thought-based consciousness. To not be born again is to stop this continuity.
Dying Now: You must “die” to your attachments, conditioning, and personality every day. “Die to everything of yesterday, so that your mind is always fresh, young, innocent, full of vigour and passion”.
Total Negation: The mind must strip itself of all knowledge and conditioning.
- End Conflict in the Present
Krishnamurti maintained that the future is built by the present, so changing the future depends entirely on “what is” today.
Immediate Action: “Incarnate today, afresh – not in the next life!”.
No Postponement: Hoping for a better next life is a postponement of tackling one’s inner chaos.
Remaining with “What Is”: Conflict ends when you observe your greed or jealousy as a fact without trying to change it into its opposite (like non-violence).
- Dissolve the “Self”
The “self” is a bundle of memories and thoughts, which creates a center that perpetuates itself.
No Center: When the mind is free from the center (the “I”), it is free from the limitations of time and memory.
Total Observation: When you observe the self-centered activity of the mind with total attention, that observation brings its own ending.
- Empty the Mind
For something totally new to emerge, the mind must be silent, which is only possible when it is empty of the known.
Silence of the Mind: “A mind that has understood the whole movement of thought becomes extraordinarily quiet, absolutely silent. That silence is the beginning of the new”.
No Method: You cannot use a method, system, or discipline to achieve this, as those are tools of thought that strengthen the self.
In summary, Krishnamurti’s way of not being born again is to live with such total attention and awareness that the “me” dies completely in each moment, leaving the mind fresh, silent, and new, without the burden of the past.
https://www.youtube.com/watch?v=P4dnj0M8T2o
#Conflict #Consciousness #DyingNow #DyingToTheMe #DyingToThePast #I #IMeMine #InnerQuiet #JKrishnamurti #LifeAfterDeath #Meditation #Mind #Mindfulness #NextLife #Philosophy #Rebirth #Reincarnation #SilenceofTheMind #Spirituality #ThePast #WhatIs - Die to the Past Daily
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Krishnamurti on How Not to Be Born Again
Jiddu Krishnamurti viewed the idea of being “born again” (reincarnation) as a continuity of the “me”—the bundle of memories, conditioning, and thought-based self-interest. He argued that true freedom is not about manipulating future lives, but about ending the continuity of this self in the present moment.
Here is how Krishnamurti described not being “born again,” which he called “real incarnation” or dying while living:
- Die to the Past Daily
Krishnamurti taught that “death” is the ending of everything accumulated, such as wounds, pains, and memories.
Ending the “Me”: Reincarnation is the continuation of thought-based consciousness. To not be born again is to stop this continuity.
Dying Now: You must “die” to your attachments, conditioning, and personality every day. “Die to everything of yesterday, so that your mind is always fresh, young, innocent, full of vigour and passion”.
Total Negation: The mind must strip itself of all knowledge and conditioning.
- End Conflict in the Present
Krishnamurti maintained that the future is built by the present, so changing the future depends entirely on “what is” today.
Immediate Action: “Incarnate today, afresh – not in the next life!”.
No Postponement: Hoping for a better next life is a postponement of tackling one’s inner chaos.
Remaining with “What Is”: Conflict ends when you observe your greed or jealousy as a fact without trying to change it into its opposite (like non-violence).
- Dissolve the “Self”
The “self” is a bundle of memories and thoughts, which creates a center that perpetuates itself.
No Center: When the mind is free from the center (the “I”), it is free from the limitations of time and memory.
Total Observation: When you observe the self-centered activity of the mind with total attention, that observation brings its own ending.
- Empty the Mind
For something totally new to emerge, the mind must be silent, which is only possible when it is empty of the known.
Silence of the Mind: “A mind that has understood the whole movement of thought becomes extraordinarily quiet, absolutely silent. That silence is the beginning of the new”.
No Method: You cannot use a method, system, or discipline to achieve this, as those are tools of thought that strengthen the self.
In summary, Krishnamurti’s way of not being born again is to live with such total attention and awareness that the “me” dies completely in each moment, leaving the mind fresh, silent, and new, without the burden of the past.
https://www.youtube.com/watch?v=P4dnj0M8T2o
#Conflict #Consciousness #DyingNow #DyingToTheMe #DyingToThePast #I #IMeMine #InnerQuiet #JKrishnamurti #LifeAfterDeath #Meditation #Mind #Mindfulness #NextLife #Philosophy #Rebirth #Reincarnation #SilenceofTheMind #Spirituality #ThePast #WhatIs - Die to the Past Daily
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Dear sire, and offspring worthy of your fire!
We bards are dupes to what ourselves admire.
Would I be brief — I grow confused and coarse;
Who aims at smoothness, fails in fire and force;
In him who soars aloft, bombast is found;
Who fears to face the tempest, crawls aground.
Who courts variety and fain would ring
A thousand changes on the self-same string,
Will paint, as ’twere in fancy’s wildest mood
Boars in the wave and dolphins in the wood.
Thus even error, shun’d without address,
Breeds error, diff’rent in its kind, not less.
[Maxima pars vatum, pater et iuvenes patre digni,
decipimur specie recti: brevis esse laboro,
obscurus fio; sectantem levia nervi
deficiunt animique; professus grandia turget;
serpit humi tutus nimium timidusque procellae:
qui variare cupit rem prodigialiter unam,
delphinum silvis adpingit, fluctibus aprum:
in vitium ducit culpae fuga, si caret arte.]Horace (65–8 BC) Roman poet, satirist, soldier, politician [Quintus Horatius Flaccus]
Epistles [Epistularum, Letters], Book 2, ep. 3 “Art of Poetry [Ars Poetica; To the Pisos],” l. 24ff (2.3.24-31) (19 BC) [tr. Howes (1845)]More about (and translations of) this quote: wist.info/horace/14582/
#quote #quotes #quotation #qotd #horace #arspoetica #poet #bombast #brevity #brief #caution #clarity #criticism #edit #error #explanation #extremes #faults #force #mistake #obscurity #overcompensation #overcorrection #poetry #smoothness #strangeness #style #succinctness #talent #timidity #tryingtoohard #unintelligibility #variety #vigor #writing
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Plan Estatal de Vivienda 2026-2030: 7.000 M€ (x3), en vigor por Real Decreto tras el BOE; vivienda pública blindada. 40% a vivienda protegida, 30% rehabilitación y 30% ayudas. https://aidoo.news/noticia/r1vZm5
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Plan Estatal de Vivienda 2026-2030: 7.000 M€ (x3), en vigor por Real Decreto tras el BOE; vivienda pública blindada. 40% a vivienda protegida, 30% rehabilitación y 30% ayudas. https://aidoo.news/noticia/r1vZm5
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CW: Viernes de Mitología Griega (romana, esta vez) sobre el origen de las Lupercales. Se menciona una violación.
Durante las Lupercales, unos sacerdotes adolescentes se convertían en "lobos" e iban cubiertos de pieles de cabra y lobos, con máscaras y medio en bolas. Debían ser adolescentes porque a esa edad se asociaba el mayor vigor. Para purificarse, se sacrificaba una cabra (que luego se comía en el festín) y con su piel se hacían unas tiras para azotar a mujeres que lo deseaban. Este ritual tan BDSM se asociaba a la fertilidad y se decía que las mujeres que hubieran sido "bendecidas" por estos sacerdotes iban a tener muchos nenes sanotes.
John Flader, doctor en derecho canónico, investigó que tiempo después de incorporó en el #ImperioRomano otro curioso ritual de fertilidad. Se metían los nombres de las muchachas en una urna, los muchachos sacaban una papeleta y se emparejaban con ella para celebrar la fertilidad de la manera que imagináis.
En #Lupercalia recordamos que la Tierra vuelve a abrirse poco a poco hacia la primavera, la fertilidad. No es sólo una fiesta sobre amor y sexo, sino que se honra la capacidad de supervivencia, como también Rómulo y Remo sobrevivieron a una muerte segura. Mírate tú, que has llegado hasta aquí y puedes celebrar #SanValentín si quieres. O las #Lupercales. O lo que te apetezca.
Espero que os haya gustado este especial #ViernesDeMitologíaGriega, pero que es romana en un sábado. Si me queréis enviar bombones y flores, lo podéis hacer aquí:
https://ko-fi.com/lauralunamodel -
El polémico acuerdo comercial UE-Mercosur entra en vigor provisionalmente #acuerdo #Acuerdo_comercial #agricultores #comercial #entra #Mercosur #polémico #provisionalmente #UEMercosur #Unión_Europea #vigor #zona_de_libre_comercio #ButterWord #Spanish_News Comenta tu opinión 👇
https://butterword.com/el-polemico-acuerdo-comercial-ue-mercosur-entra-en-vigor-provisionalmente/?feed_id=79851&_unique_id=69f57b3fe3f32 -
A quotation from Teddy Roosevelt
There were all kinds of things of which I was afraid at first, from grizzly bears to “mean” horses and gunfighters, but by acting as if I was not afraid, I gradually ceased to be afraid.
Theodore Roosevelt (1858–1919) American politician, statesman, conservationist, writer, US President (1901–1909)
Autobiography, ch. 2 “The Vigor of Life” (1913)More about this quote: wist.info/roosevelt-theodore/1…
#quote #quotes #quotation #qotd #teddyroosevelt #theodoreroosevelt #acting #afraid #bravery #courage #fear #fearlessness #habit #pretending #pretense #scare #selfcontrol #selfdiscipline
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https://www.europesays.com/es/316645/ El precio de la luz cambia el 1 de enero con la nueva tarifa que entra en vigor en 2026: las horas más baratas para encender los electrodomésticos #2026 #baratas #Business #cambia #Economía #Economy #electrodomesticos #encender #enero #entra #ES #España #horas #luz #nueva #precio #Spain #Tarifa #vigor
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Sancionada na última sexta-feira (11), a Lei da Reciprocidade Comercial entrou em vigor nesta segunda-feira (14) após ser publicada no Diário Oficial da União.
A legislação autoriza o governo brasileiro a adotar medidas comerciais contra países e blocos que imponham barreiras unilaterais aos produtos do Brasil no mercado global. A informação foi confirmada pelo Palácio do Planalto.
O texto foi aprovado pelo Congresso Nacional no início do mês e sancionado na semana passada, sem vetos, pelo presidente Luiz Inácio Lula da Silva.
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Sancionada na última sexta-feira (11), a Lei da Reciprocidade Comercial entrou em vigor nesta segunda-feira (14) após ser publicada no Diário Oficial da União.
A legislação autoriza o governo brasileiro a adotar medidas comerciais contra países e blocos que imponham barreiras unilaterais aos produtos do Brasil no mercado global. A informação foi confirmada pelo Palácio do Planalto.
O texto foi aprovado pelo Congresso Nacional no início do mês e sancionado na semana passada, sem vetos, pelo presidente Luiz Inácio Lula da Silva.
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Sancionada na última sexta-feira (11), a Lei da Reciprocidade Comercial entrou em vigor nesta segunda-feira (14) após ser publicada no Diário Oficial da União.
A legislação autoriza o governo brasileiro a adotar medidas comerciais contra países e blocos que imponham barreiras unilaterais aos produtos do Brasil no mercado global. A informação foi confirmada pelo Palácio do Planalto.
O texto foi aprovado pelo Congresso Nacional no início do mês e sancionado na semana passada, sem vetos, pelo presidente Luiz Inácio Lula da Silva.
-
Sancionada na última sexta-feira (11), a Lei da Reciprocidade Comercial entrou em vigor nesta segunda-feira (14) após ser publicada no Diário Oficial da União.
A legislação autoriza o governo brasileiro a adotar medidas comerciais contra países e blocos que imponham barreiras unilaterais aos produtos do Brasil no mercado global. A informação foi confirmada pelo Palácio do Planalto.
O texto foi aprovado pelo Congresso Nacional no início do mês e sancionado na semana passada, sem vetos, pelo presidente Luiz Inácio Lula da Silva.
-
Sancionada na última sexta-feira (11), a Lei da Reciprocidade Comercial entrou em vigor nesta segunda-feira (14) após ser publicada no Diário Oficial da União.
A legislação autoriza o governo brasileiro a adotar medidas comerciais contra países e blocos que imponham barreiras unilaterais aos produtos do Brasil no mercado global. A informação foi confirmada pelo Palácio do Planalto.
O texto foi aprovado pelo Congresso Nacional no início do mês e sancionado na semana passada, sem vetos, pelo presidente Luiz Inácio Lula da Silva.
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Opinión | Que no le digan… | Censura y desmemoria
Una de las acepciones sobre censura: “es el control que se ejerce sobre la información y las ideas que circulan en una sociedad, con fines políticos, ideológicos, religiosos o morales”.
Por Mario A. Medina
El tema se ha vuelto a tocar en estos días a raíz de que, en Puebla, el congreso local aprobó la llamada “Ley de Ciberseguridad” que entró en vigor el 14 de junio pasado; penaliza insultos, injurias ofensas, agravios y vejaciones en redes sociales; su violación significaría penas de hasta tres años de prisión y multas de casi 40 mil pesos.
Tanto la secretaria de Gobernación, Rosa Icela Rodríguez, como la presidentA Claudia Sheinbaum, propusieron que dicha normatividad se revise y ambas externaron su convicción en contra de la censura.
Alejandro Armenta Mier, gobernador del estado declaró que la ley “no busca coartar la libertad de expresión, sino sancionar los ciberdelitos en Puebla; proteger a mujeres, niños y a las familias enteras; proteger a los niños, a mujeres; proteger la identidad”.
Un asunto que, sin lugar a duda, debe revisarse para evitar que un tema que efectivamente es un reclamo pueda ser utilizado por los gobernadores y políticos paraquerer castigar el trabajo periodístico, artístico, intelectual, etcétera.
Alejandro ArmentaEs grave, desde luego lo ocurrido en Campeche, donde la juez Guadalupe Martínez Taboada vinculó a proceso al periodista Jorge González Valdez por presuntos delitos de incitación al odio y a la violencia en agravio de la gobernadora de Campeche, Layda Sansores San Román; Le ha prohibido ejercer su profesión por dos años y ordenó cerrar la edición digital del periódico «TRIBUNA» por ese mismo lapso; fue sentenciado a pagar una indemnización de dos millones de pesos al director estatal de Comunicación Social Walther Patrón Bacab por presunto daño moral. Un asunto, insisto, de preocupación y de suma gravedad.
El periodista “habría difundido publicaciones que constituyen ataques sistemáticos hacia la mandataria estatal, incluyendo expresiones que de acuerdo con la queja apelan a su condición de mujer”.
Una cosa es cierta, la mayoría de los políticos del signo que usted quiera tienen la piel muy delgada, son intolerantes a que se les descubran sus desaciertos, errores, groserías y, desde luego, sus corruptelas; son intransigentes a la crítica.
Quien hoy en día se mete a la política debe saber y entender que debe tener la piel muy gruesa, pues va a ser objeto de todo tipo de críticas, de adentro y de afuera. El ex presidente Andrés Manuel López Obrador se enfrentó, como ningún mandatario, a los medios de comunicación, a periodistas y analistas. Muy a su estilo se defendió de los ataques con o sin razón; los enfrentó de frente con nombres y apellidos. Nos pudieron gustar o no las formas, pero dio la cara, pues de aquellos enfrentó una guerra mediática y se defendió, mas nunca dio la orden de cerrar un medio o se le corriera a alguno de sus críticos, como sucedía antes. Como nunca hubo libertad plena de informar y opinar hasta el insulto.
Andrés Manuel López ObradorNuevamente la oposición recurre al mismo discurso ya gastado, baladí. Es una “estrategia para acabar con la democracia en México”; “un sello de la izquierda”, ha señalado la diputada local en la Cdmx, América Rangel, que, supone, va a asustar a la población con el “uy, ahí vine el lobo”: “México con Morena, va a ser igual que Cuba, Venezuela, Corea del Norte, que la URSS” (sí, que la URSS, país que ya no existe).
La desmemoria de la oposición política y mediática es preocupante, o mejor dicho convenenciera.
Olvidan, a propósito. “el día que los medios de comunicación callaron ante la violencia del sexenio de Felipe Calderón”.El 24 de marzo de 2011, 715 medios aceptaron la censura de Calderón para que no informaran de los asesinatos producto de su guerra contra el narcotráfico. «Ser parte de su estrategia» y así poder «autorregular» sus contenidos. (Proceso).
¿Se les olvida cuando Calderón “ordenó despedir a Aristegui por lo de su ebriedad? No salga ahora con sermones puritanos. No tenemos amnesia, escribió en su Twitter, la periodista Dolia Estévez. (@DoliaEstevez) el 26 de agosto de 2002.
Hablando de perfiles autoritarios. “¿Recuerdas lo que hiciste con Carmen Aristegui cuando en su programa hablaron del estado en el que permanentemente te encuentras?) anotó en la misma red social el corresponsal en Washington Jesús Esquivel (@JJesusEsquivel), dirigiéndose a Felipe Calderón.
MensajeDaniel Lizárraga le recordó a Calderón cuando “el equipo de comunicación presidencial ordenó que la revista Proceso no cubriera las giras del exmandatario; las portadas del semanario que documentaba la “guerra contra el narco”. Se les olvida de las advertencias a José Gutiérrez Vivó por serle incómodo al panista.
La escritora y periodista argentina Olga Wornat, en entrevista con Julio Hernández, le dijo: “En aquel momento con García Luna y sus sicarios y con el conocimiento de Felipe Calderón, lo digo con todas las letras, Felipe Calderón sabía que yo estaba amenazada de muerte por García Luna, que ahora se haga el tonto y que haga silencio, él nunca sabe nada, pero por supuesto que sabía”.
En el gobierno de Enrique Peña Nieto también se cocieron habas. El 21 abril 2029, el portal SinEmbargo publicó: “entre 2012 y 2018, el Gobierno federal en México recurrió en decenas de ocasiones a Google, Twitter y Facebook para pedir la remoción de contenidos publicados por usuarios. De acuerdo con el informe anual de Artículo 19, “estas solicitudes se generaron mediante procedimientos opacos y sinapego a la Ley, lo que pudoderivar en censura”.
Artículo 19, destacó que el gobierno priísta solicitó decenas de remociones de contenido en Google y otras plataformas digitales con base en (presuntos) daños por difamación, uso no autorizado de propiedad intelectual, acoso e incluso por motivos de seguridad nacional, con un solo propósito: censurar.
Enrique Peña Nieto | @SociedadN_En un trabajo de investigación documental de un grupo de estudiantes de la Green Hills School, “La Censura… perdona a los curvos”, demostraron que tanto el gobierno de Calderón como el de Peña Nieto, usaron la censura como “una herramienta para cubrir la corrupción con el objetivo de apaciguar la reacción de un pueblo que no tiene suficiente análisis crítico”; uno y otro pretendieron controlar los contenidos de la red(es) a través de las leyes secundarias, como la “polémica Reforma de las Telecomunicaciones”. La propuesta -dice el texto- “parece extraída de un manual totalitario”.
La desmemoria que padece la oposición cuando afirma que el gobierno de Sheinbaum censura y que vamos al totalitarismo, es tramposa. Por ejemplo, la conductora del noticiario en MVS-Radio, Pamela Cerdeira, al entrevistar a Pedro Cárdenas de Artículo 19, afirmó un tanto escandalizada: “México vive un momento crítico para la libertad de prensa”. Lo dijo en los mismos micrófonos de donde se le corrió a Carmen Aristegui por preguntar por la salud etílica de Calderón.
Sí, lamentable lo de Campeche y de otros estados, donde efectivamente morenistas, panistas y priístas, buscan censurar para callar plumas para que no los toquen, pero es doloso afirmar que lo de Campeche, Puebla o el tribunal electoral de Tamaulipas parta de una convicción del gobierno federal. No. Nada tiene que ver en esto el gobierno federal.
La censura, en buena parte, y lo saben los periodistas y los políticos, ha sido producto de los convenios de publicidad (“No te pago para que me pegues”: José López Portillo) y de la orden de Los Pinos (PRI y PAN) que ordenaban callar y, claro, de lo grueso o delgado del sobre amarillo.
Que no le cuenten…
“México el país con mayor avance contra la pobreza entre sus miembros”: OCDE. Otro dato del mismo organismo: “En México prevalece la alta confianza de la ciudadanía sobre su gobierno y su capacidad para enfrentar los problemas entre generaciones”.
*Periodista: @MarioA_Medina
Columna anterior: Aristegui Noticias y Lorenzo Meyer
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A quotation from Teddy Roosevelt
There were all kinds of things of which I was afraid at first, from grizzly bears to “mean” horses and gunfighters, but by acting as if I was not afraid, I gradually ceased to be afraid.
Theodore Roosevelt (1858–1919) American politician, statesman, conservationist, writer, US President (1901–1909)
Autobiography, ch. 2 “The Vigor of Life” (1913)More about this quote: wist.info/roosevelt-theodore/1…
#quote #quotes #quotation #qotd #teddyroosevelt #theodoreroosevelt #acting #afraid #bravery #courage #fear #fearlessness #habit #pretending #pretense #scare #selfcontrol #selfdiscipline
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A quotation from Teddy Roosevelt
There were all kinds of things of which I was afraid at first, from grizzly bears to “mean” horses and gunfighters, but by acting as if I was not afraid, I gradually ceased to be afraid.
Theodore Roosevelt (1858–1919) American politician, statesman, conservationist, writer, US President (1901–1909)
Autobiography, ch. 2 “The Vigor of Life” (1913)More about this quote: wist.info/roosevelt-theodore/1…
#quote #quotes #quotation #qotd #teddyroosevelt #theodoreroosevelt #acting #afraid #bravery #courage #fear #fearlessness #habit #pretending #pretense #scare #selfcontrol #selfdiscipline
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A quotation from Teddy Roosevelt
There were all kinds of things of which I was afraid at first, from grizzly bears to “mean” horses and gunfighters, but by acting as if I was not afraid, I gradually ceased to be afraid.
Theodore Roosevelt (1858–1919) American politician, statesman, conservationist, writer, US President (1901–1909)
Autobiography, ch. 2 “The Vigor of Life” (1913)More about this quote: wist.info/roosevelt-theodore/1…
#quote #quotes #quotation #qotd #teddyroosevelt #theodoreroosevelt #acting #afraid #bravery #courage #fear #fearlessness #habit #pretending #pretense #scare #selfcontrol #selfdiscipline