#asystole — Public Fediverse posts

Boy’s heart stops for 16 minutes after tube comes loose in Hong Kong hospital

A probe has been launched into a serious medical incident in which a six‑year‑old boy’s heart stopped for…
#NewsBeep #News #Healthcare #asystole #AU #Australia #breathingtube #endotrachealtube #Health #heartbeats #HongKongChildren’sHospital #medicalblunder #paediatricintensivecareunit #RareDiseases #SinNgai‑chuen
https://www.newsbeep.com/au/584267/

Boy’s heart stops for 16 minutes after tube comes loose in Hong Kong hospital

A probe has been launched into a serious medical incident in which a six‑year‑old boy’s heart stopped for…
#NewsBeep #News #Healthcare #asystole #AU #Australia #breathingtube #endotrachealtube #Health #heartbeats #HongKongChildren’sHospital #medicalblunder #paediatricintensivecareunit #RareDiseases #SinNgai‑chuen
https://www.newsbeep.com/au/584267/

Evilyn – Mondestrunken Review

By Dear Hollow

At first glance, it appears that international death metal act Evilyn only has your demise and destruction in mind. Mondestrunken is uncompromisingly heavy, riffs pushed to their shimmering limits like oil from the collapsing god machine, hellish growls from beyond the stars, and drums funneled through warp speed directly into the collapsing horror of a black hole. It feels like a background of cosmic noise, lifeless, unfriendly, and directionless, but patience yields results: obelisks emerge into the view. Not that they were ever absent, but that our eyes could not behold them. Beneath the fray of entropy, the eyeless stars, and the unending weight of time, patterns emerge. Lifelessness itself resurrects. The dead shall rise again. We were never alone, and that should make us more terrified than ever.

Evilyn was originally founded by Coma Cluster Void’s Jeanne Comateuse, attempting to make cosmic-themed old school death metal with a substantial hit of dissonance. With debut EP Inside Shells, the template was set: devastating death metal with shifting nebulae of tempos and time signatures alongside ruthless discordance. Evilyn’s lineup has shifted,1 its sole remaining member, guitarist/vocalist Anthony Lipari of Thoren, now including bassist Alex Weber of Malignancy and drummer Robin Stone of Norse and Ashen Horde, but the emphasis is as uncompromising as ever. First full-length Mondestrunken (German for “moon-drunk”) is as punishing as it is puzzling, a relentless bombast of death metal insanity fractured and splattered across the face of infinity.

Across thirty-seven minutes, Evilyn creates an OSDM template that is splintered through the fractured light of an alien prism, the result just as chaotic and alienating as you would expect – dissonance is relentless, the tempos and rhythms are constantly shifting, and Lipari’s vocals remain in deep growl mode. Initially overwhelming in terms of utter saturation, repeated listens unearth more and more. Contrary to the dissonance-for-dissonance’s-sake screeching of Mithridatum or Scarcity, or the improvised assaults of Acausal Intrusion or Ar’lyxkq’wr, Evilyn’s palette emerges in the form of motifs. While initially an apparent clusterfuck of discordance and chugs, blastbeats, and aggressing plodding, the motif gradually reveals itself and the song suddenly makes sense – these take several forms. While the off-kilter morphogenetic riffs of “Dread,” “Limits,” “Penance,” and “Slithering” ground their respective sounds like a traditional Morbid Angel blueprint, the pinch harmonics of “Omission” and “Forgotten” are a flaying reminder of pain. “Forgotten” and “Eat the Elite” explore their riffs with careful precision, each rendition more warped and rusted than the last.

The most tantalizing tracks aboard Mondestrunken are the ones with whom only a framework or structure becomes the motif, Evilyn soaring in mood and madness. The album title is most apparent in “Forgotten,” which truly feels like a cosmic drunken dissodeath passage, deepening in intricacy as it continues – its pinch harmonics nearly a misdirect to the approaching doom – while “Interwoven” lives up to its name with a dynamic structure of growing dissonance with each worming riff. “Bloviate” approaches its sound with a “traditional” proto-chorus, a midsection of contemplative open strums that add greater monolithic weight to the obliteration surrounding it. Resounding highlights are centerpieces “Penance” and “Vacuous,” their mercilessly mechanical sound achieving a hypnotic effect. The clockwork guitar plucking in the former collapses to dizzying shredding and animalistic blastbeats that rend planets, while the dissonance achieves a distinctly dying warble. The latter’s constant shifting between 6/8 and 4/4 enacts a cosmic pendulum, swaying between destruction and creation, the clarity of its cohesive conclusion feeling more punishing than the chaos surrounding it. Overall, Mondestrunken’s viciousness is palpable, the breadth organic – continuous and relentless hiss against the breath of life – each instrument organic and audible through the alien shimmering. Evilyn embraces experimentation with just a kernel of a tenet that keeps the mind secured to mortal realms.

Don’t be surprised if you hate Evilyn’s brand of bombastic saturation off the bat. Its dissonance is unending, its vocals one-dimensional, and shifting passages feel like cosmic whiplash again and again. However, it’s a surefire slow burn in spite of its relentless attack, its revelations feeling like the solution of a difficult cosmic puzzle and the kernel of accessibility blooming into monolithic significance. Its audience is limited, but fans of Fractal Generator, Artificial Brain, Aseitas, and Asystole – rejoice! For those willing to ride Evilyn’s warped spiral of the abstract and maddening, Mondestrunken’s secrets are revealed with tantalizing fulfillment.

Rating: 4.0/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Transcending Obscurity Records
Websites: evilyndm.bandcamp.com | facebook.com/evilyndeath
Releases Worldwide: August 16th, 2024

#2024 #40 #AcausalIntrusion #ArLyxkqWr #ArtificialBrain #Aseitas #AshenHorde #Asystole #Aug24 #AvantGardeDeathMetal #ComaClusterVoid #DeathMetal #DissonantDeathMetal #Evilyn #FractalGenerator #InternationalMetal #Malignancy #Mithridatum #Mondestrunken #MorbidAngel #Norse #OldSchoolDeathMetal #OSDM #Review #Reviews #Scarcity #TechnicalDeathMetal #Thoren #TranscendingObscurityRecords

Evilyn – Mondestrunken Review

By Dear Hollow

At first glance, it appears that international death metal act Evilyn only has your demise and destruction in mind. Mondestrunken is uncompromisingly heavy, riffs pushed to their shimmering limits like oil from the collapsing god machine, hellish growls from beyond the stars, and drums funneled through warp speed directly into the collapsing horror of a black hole. It feels like a background of cosmic noise, lifeless, unfriendly, and directionless, but patience yields results: obelisks emerge into the view. Not that they were ever absent, but that our eyes could not behold them. Beneath the fray of entropy, the eyeless stars, and the unending weight of time, patterns emerge. Lifelessness itself resurrects. The dead shall rise again. We were never alone, and that should make us more terrified than ever.

Evilyn was originally founded by Coma Cluster Void’s Jeanne Comateuse, attempting to make cosmic-themed old school death metal with a substantial hit of dissonance. With debut EP Inside Shells, the template was set: devastating death metal with shifting nebulae of tempos and time signatures alongside ruthless discordance. Evilyn’s lineup has shifted,1 its sole remaining member, guitarist/vocalist Anthony Lipari of Thoren, now including bassist Alex Weber of Malignancy and drummer Robin Stone of Norse and Ashen Horde, but the emphasis is as uncompromising as ever. First full-length Mondestrunken (German for “moon-drunk”) is as punishing as it is puzzling, a relentless bombast of death metal insanity fractured and splattered across the face of infinity.

Across thirty-seven minutes, Evilyn creates an OSDM template that is splintered through the fractured light of an alien prism, the result just as chaotic and alienating as you would expect – dissonance is relentless, the tempos and rhythms are constantly shifting, and Lipari’s vocals remain in deep growl mode. Initially overwhelming in terms of utter saturation, repeated listens unearth more and more. Contrary to the dissonance-for-dissonance’s-sake screeching of Mithridatum or Scarcity, or the improvised assaults of Acausal Intrusion or Ar’lyxkq’wr, Evilyn’s palette emerges in the form of motifs. While initially an apparent clusterfuck of discordance and chugs, blastbeats, and aggressing plodding, the motif gradually reveals itself and the song suddenly makes sense – these take several forms. While the off-kilter morphogenetic riffs of “Dread,” “Limits,” “Penance,” and “Slithering” ground their respective sounds like a traditional Morbid Angel blueprint, the pinch harmonics of “Omission” and “Forgotten” are a flaying reminder of pain. “Forgotten” and “Eat the Elite” explore their riffs with careful precision, each rendition more warped and rusted than the last.

The most tantalizing tracks aboard Mondestrunken are the ones with whom only a framework or structure becomes the motif, Evilyn soaring in mood and madness. The album title is most apparent in “Forgotten,” which truly feels like a cosmic drunken dissodeath passage, deepening in intricacy as it continues – its pinch harmonics nearly a misdirect to the approaching doom – while “Interwoven” lives up to its name with a dynamic structure of growing dissonance with each worming riff. “Bloviate” approaches its sound with a “traditional” proto-chorus, a midsection of contemplative open strums that add greater monolithic weight to the obliteration surrounding it. Resounding highlights are centerpieces “Penance” and “Vacuous,” their mercilessly mechanical sound achieving a hypnotic effect. The clockwork guitar plucking in the former collapses to dizzying shredding and animalistic blastbeats that rend planets, while the dissonance achieves a distinctly dying warble. The latter’s constant shifting between 6/8 and 4/4 enacts a cosmic pendulum, swaying between destruction and creation, the clarity of its cohesive conclusion feeling more punishing than the chaos surrounding it. Overall, Mondestrunken’s viciousness is palpable, the breadth organic – continuous and relentless hiss against the breath of life – each instrument organic and audible through the alien shimmering. Evilyn embraces experimentation with just a kernel of a tenet that keeps the mind secured to mortal realms.

Don’t be surprised if you hate Evilyn’s brand of bombastic saturation off the bat. Its dissonance is unending, its vocals one-dimensional, and shifting passages feel like cosmic whiplash again and again. However, it’s a surefire slow burn in spite of its relentless attack, its revelations feeling like the solution of a difficult cosmic puzzle and the kernel of accessibility blooming into monolithic significance. Its audience is limited, but fans of Fractal Generator, Artificial Brain, Aseitas, and Asystole – rejoice! For those willing to ride Evilyn’s warped spiral of the abstract and maddening, Mondestrunken’s secrets are revealed with tantalizing fulfillment.

Rating: 4.0/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Transcending Obscurity Records
Websites: evilyndm.bandcamp.com | facebook.com/evilyndeath
Releases Worldwide: August 16th, 2024

#2024 #40 #AcausalIntrusion #ArLyxkqWr #ArtificialBrain #Aseitas #AshenHorde #Asystole #Aug24 #AvantGardeDeathMetal #ComaClusterVoid #DeathMetal #DissonantDeathMetal #Evilyn #FractalGenerator #InternationalMetal #Malignancy #Mithridatum #Mondestrunken #MorbidAngel #Norse #OldSchoolDeathMetal #OSDM #Review #Reviews #Scarcity #TechnicalDeathMetal #Thoren #TranscendingObscurityRecords

Evilyn – Mondestrunken Review

By Dear Hollow

At first glance, it appears that international death metal act Evilyn only has your demise and destruction in mind. Mondestrunken is uncompromisingly heavy, riffs pushed to their shimmering limits like oil from the collapsing god machine, hellish growls from beyond the stars, and drums funneled through warp speed directly into the collapsing horror of a black hole. It feels like a background of cosmic noise, lifeless, unfriendly, and directionless, but patience yields results: obelisks emerge into the view. Not that they were ever absent, but that our eyes could not behold them. Beneath the fray of entropy, the eyeless stars, and the unending weight of time, patterns emerge. Lifelessness itself resurrects. The dead shall rise again. We were never alone, and that should make us more terrified than ever.

Evilyn was originally founded by Coma Cluster Void’s Jeanne Comateuse, attempting to make cosmic-themed old school death metal with a substantial hit of dissonance. With debut EP Inside Shells, the template was set: devastating death metal with shifting nebulae of tempos and time signatures alongside ruthless discordance. Evilyn’s lineup has shifted,1 its sole remaining member, guitarist/vocalist Anthony Lipari of Thoren, now including bassist Alex Weber of Malignancy and drummer Robin Stone of Norse and Ashen Horde, but the emphasis is as uncompromising as ever. First full-length Mondestrunken (German for “moon-drunk”) is as punishing as it is puzzling, a relentless bombast of death metal insanity fractured and splattered across the face of infinity.

Across thirty-seven minutes, Evilyn creates an OSDM template that is splintered through the fractured light of an alien prism, the result just as chaotic and alienating as you would expect – dissonance is relentless, the tempos and rhythms are constantly shifting, and Lipari’s vocals remain in deep growl mode. Initially overwhelming in terms of utter saturation, repeated listens unearth more and more. Contrary to the dissonance-for-dissonance’s-sake screeching of Mithridatum or Scarcity, or the improvised assaults of Acausal Intrusion or Ar’lyxkq’wr, Evilyn’s palette emerges in the form of motifs. While initially an apparent clusterfuck of discordance and chugs, blastbeats, and aggressing plodding, the motif gradually reveals itself and the song suddenly makes sense – these take several forms. While the off-kilter morphogenetic riffs of “Dread,” “Limits,” “Penance,” and “Slithering” ground their respective sounds like a traditional Morbid Angel blueprint, the pinch harmonics of “Omission” and “Forgotten” are a flaying reminder of pain. “Forgotten” and “Eat the Elite” explore their riffs with careful precision, each rendition more warped and rusted than the last.

The most tantalizing tracks aboard Mondestrunken are the ones with whom only a framework or structure becomes the motif, Evilyn soaring in mood and madness. The album title is most apparent in “Forgotten,” which truly feels like a cosmic drunken dissodeath passage, deepening in intricacy as it continues – its pinch harmonics nearly a misdirect to the approaching doom – while “Interwoven” lives up to its name with a dynamic structure of growing dissonance with each worming riff. “Bloviate” approaches its sound with a “traditional” proto-chorus, a midsection of contemplative open strums that add greater monolithic weight to the obliteration surrounding it. Resounding highlights are centerpieces “Penance” and “Vacuous,” their mercilessly mechanical sound achieving a hypnotic effect. The clockwork guitar plucking in the former collapses to dizzying shredding and animalistic blastbeats that rend planets, while the dissonance achieves a distinctly dying warble. The latter’s constant shifting between 6/8 and 4/4 enacts a cosmic pendulum, swaying between destruction and creation, the clarity of its cohesive conclusion feeling more punishing than the chaos surrounding it. Overall, Mondestrunken’s viciousness is palpable, the breadth organic – continuous and relentless hiss against the breath of life – each instrument organic and audible through the alien shimmering. Evilyn embraces experimentation with just a kernel of a tenet that keeps the mind secured to mortal realms.

Don’t be surprised if you hate Evilyn’s brand of bombastic saturation off the bat. Its dissonance is unending, its vocals one-dimensional, and shifting passages feel like cosmic whiplash again and again. However, it’s a surefire slow burn in spite of its relentless attack, its revelations feeling like the solution of a difficult cosmic puzzle and the kernel of accessibility blooming into monolithic significance. Its audience is limited, but fans of Fractal Generator, Artificial Brain, Aseitas, and Asystole – rejoice! For those willing to ride Evilyn’s warped spiral of the abstract and maddening, Mondestrunken’s secrets are revealed with tantalizing fulfillment.

Rating: 4.0/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Transcending Obscurity Records
Websites: evilyndm.bandcamp.com | facebook.com/evilyndeath
Releases Worldwide: August 16th, 2024

#2024 #40 #AcausalIntrusion #ArLyxkqWr #ArtificialBrain #Aseitas #AshenHorde #Asystole #Aug24 #AvantGardeDeathMetal #ComaClusterVoid #DeathMetal #DissonantDeathMetal #Evilyn #FractalGenerator #InternationalMetal #Malignancy #Mithridatum #Mondestrunken #MorbidAngel #Norse #OldSchoolDeathMetal #OSDM #Review #Reviews #Scarcity #TechnicalDeathMetal #Thoren #TranscendingObscurityRecords

Slimelord – Chytridiomycosis Relinquished Review

By Thus Spoke

Everything about Chytridiomycosis Relinquished is like an acid trip. The name is not only a fun one to pronounce, it refers to a fungal infection affecting amphibians with a mortality rate of up to 100%, a key player in the decline of species worldwide.1 Then you look at the art, courtesy of Brad Moore, and the dial moves another hundred notches into hallucinatory madness. But it’s when you hit ‘play’ on opener “The Beckoning Bell” that the fun really begins. Those of you familiar with Slimelord’s prior EPs have a reference point in gross, grimy death-doom, but Chytridiomycosis Relinquished moves things in a still more weird and wonky direction, playing fast and loose with song structures, melody, and your own lucidity.

Slimelord employ a twisty, sticky kind of death metal, fusing the hallucinogenic swampiness of Worm or Tomb Mold, with the colder more surgical brutality of acts like Replicant or Asystole. Whether it drags itself along like a primordial monster or comes at you with flailing, slimy limbs at breakneck speed, Chytridiomycosis Relinquished is consistently bonkers and brutal. Only closing instrumental “Heroic Demise” is somewhat straightforward, with a tuneful, chilled-out melody of harmonized guitars, until its final section anyway. But did I mention the geese (“The Beckoning Bell”)? The frogs (“Gut-Brain Axis”)? The viscerally clear bubbling of goodness-knows-what (“Splayed Mudscape”)? These field samples are almost distracting, but in the end, they aren’t, instead adding still more flair and flavour to the vibrantly-coloured concoction. In fact, my favorite part of the whole album might be that atmospheric pause in “Gut-Brain Axis” when a chorus of frogs “ribbet” their way across the echo before a tremolo climbs its way upwards.

These little additions aside, the most striking characteristic of the music is its elasticity. Compositions are strikingly dynamic, flowing gymnastically from breathy, stalking death-doom (“The Hissing Moor”) into chaotic cavernous assaults (“The Beckoning Bell,” “Tidal Slaughtermarsh”), to shrill, spine-tingling guitar wailing (“Gut-Brain Axis,” “The Hissing Moor”) in the blink of an eye. Liquid fretless bass meanders up and down very audibly, drawling in your ears around the clanging guitar chords and deep rumbling growls (especially on “Splayed Mudscape,” “Batrachomorpha Resurrections Chamber,” and “Tidal Slaughtermarsh”). This bass omnipresence makes the whole experience feel kind of warm and hazy, which makes for a smooth, even pleasant listening experience on the more melodic end (“Gut-Brain Axis,” “Heroic Demise”), whilst providing an excellent backdrop of stomach-knotting lows for the piercing, sharp-edged highs of dissonant, angular guitar riffing (“The Beckoning Bell,” “Splayed Mudscape”). We obviously can’t talk about the dynamism of this thing without mentioning the rabid work going on behind the kit too, tumbling down in cascades (“The Hissing Moor”), spilling out into backflipping rolls (“Batrachomorpha…”) and slamming in rhythmic solidarity with stabbing riffs (“Splayed Mudscape”).

The loose, slightly unhinged nature of things threatens to overwhelm. This is why, to my ears at least, “Gut-Brain Axis” stands out so powerfully. Opening with a sinister refrain that bubbles up into a squealing, fluttering guitar solo, it manages to pack in all the mad dissonance, the erraticism of shifting tempos, and atmospheric oddities (see my above comment about the frogs) whilst remaining compelling through its continued, subtly mournful theme. “Heroic Demise” goes all-in on the palatable melodicism, but feels too safe and bland beside its companions, while on the other hand, tracks such as “Tidal Slaughtermarsh” feel too tangled and clamorous. In sections, these latter two, and all songs proper on the album, do strike that fragile and brilliant balance between confrontational discordance and wild beauty, but perseverance can be required to wring it out.

Chytridiomycosis Relinquished is, however bizarre it might sound, quite a subtle record. Perplexing at first glance, it gets better on every listen, as more little intricacies reveal themselves. In a world where bands can no longer sell their sound on simply “being brutal” if they want to stand out, I will always have time for those who bend and stretch the boundaries of what we call death metal. Slimelord, as one such band, have my support, and they should have yours too if your death metal cup of tea tends to be one made with mushrooms, rather than your average breakfast blend. Get some Chytridiomycosis in your system and enjoy the ride.

Rating: Very Good
DR: 7 | Format Reviewed: 320 kbps
Label: 20 Buck Spin
Websites: Bandcamp | Facebook
Releases Worldwide: March 8th, 2024

#20BuckSpin #2024 #35 #Asystole #BritishMetal #ChytridiomycosisRelinquished #DeathMetal #DissonantDeathMetal #ExperimentalDeathMetal #Mar24 #Replicant #Review #Reviews #Slimelord #TombMold #Worm

Slimelord – Chytridiomycosis Relinquished Review

By Thus Spoke

Everything about Chytridiomycosis Relinquished is like an acid trip. The name is not only a fun one to pronounce, it refers to a fungal infection affecting amphibians with a mortality rate of up to 100%, a key player in the decline of species worldwide.1 Then you look at the art, courtesy of Brad Moore, and the dial moves another hundred notches into hallucinatory madness. But it’s when you hit ‘play’ on opener “The Beckoning Bell” that the fun really begins. Those of you familiar with Slimelord’s prior EPs have a reference point in gross, grimy death-doom, but Chytridiomycosis Relinquished moves things in a still more weird and wonky direction, playing fast and loose with song structures, melody, and your own lucidity.

Slimelord employ a twisty, sticky kind of death metal, fusing the hallucinogenic swampiness of Worm or Tomb Mold, with the colder more surgical brutality of acts like Replicant or Asystole. Whether it drags itself along like a primordial monster or comes at you with flailing, slimy limbs at breakneck speed, Chytridiomycosis Relinquished is consistently bonkers and brutal. Only closing instrumental “Heroic Demise” is somewhat straightforward, with a tuneful, chilled-out melody of harmonized guitars, until its final section anyway. But did I mention the geese (“The Beckoning Bell”)? The frogs (“Gut-Brain Axis”)? The viscerally clear bubbling of goodness-knows-what (“Splayed Mudscape”)? These field samples are almost distracting, but in the end, they aren’t, instead adding still more flair and flavour to the vibrantly-coloured concoction. In fact, my favorite part of the whole album might be that atmospheric pause in “Gut-Brain Axis” when a chorus of frogs “ribbet” their way across the echo before a tremolo climbs its way upwards.

These little additions aside, the most striking characteristic of the music is its elasticity. Compositions are strikingly dynamic, flowing gymnastically from breathy, stalking death-doom (“The Hissing Moor”) into chaotic cavernous assaults (“The Beckoning Bell,” “Tidal Slaughtermarsh”), to shrill, spine-tingling guitar wailing (“Gut-Brain Axis,” “The Hissing Moor”) in the blink of an eye. Liquid fretless bass meanders up and down very audibly, drawling in your ears around the clanging guitar chords and deep rumbling growls (especially on “Splayed Mudscape,” “Batrachomorpha Resurrections Chamber,” and “Tidal Slaughtermarsh”). This bass omnipresence makes the whole experience feel kind of warm and hazy, which makes for a smooth, even pleasant listening experience on the more melodic end (“Gut-Brain Axis,” “Heroic Demise”), whilst providing an excellent backdrop of stomach-knotting lows for the piercing, sharp-edged highs of dissonant, angular guitar riffing (“The Beckoning Bell,” “Splayed Mudscape”). We obviously can’t talk about the dynamism of this thing without mentioning the rabid work going on behind the kit too, tumbling down in cascades (“The Hissing Moor”), spilling out into backflipping rolls (“Batrachomorpha…”) and slamming in rhythmic solidarity with stabbing riffs (“Splayed Mudscape”).

The loose, slightly unhinged nature of things threatens to overwhelm. This is why, to my ears at least, “Gut-Brain Axis” stands out so powerfully. Opening with a sinister refrain that bubbles up into a squealing, fluttering guitar solo, it manages to pack in all the mad dissonance, the erraticism of shifting tempos, and atmospheric oddities (see my above comment about the frogs) whilst remaining compelling through its continued, subtly mournful theme. “Heroic Demise” goes all-in on the palatable melodicism, but feels too safe and bland beside its companions, while on the other hand, tracks such as “Tidal Slaughtermarsh” feel too tangled and clamorous. In sections, these latter two, and all songs proper on the album, do strike that fragile and brilliant balance between confrontational discordance and wild beauty, but perseverance can be required to wring it out.

Chytridiomycosis Relinquished is, however bizarre it might sound, quite a subtle record. Perplexing at first glance, it gets better on every listen, as more little intricacies reveal themselves. In a world where bands can no longer sell their sound on simply “being brutal” if they want to stand out, I will always have time for those who bend and stretch the boundaries of what we call death metal. Slimelord, as one such band, have my support, and they should have yours too if your death metal cup of tea tends to be one made with mushrooms, rather than your average breakfast blend. Get some Chytridiomycosis in your system and enjoy the ride.

Rating: Very Good
DR: 7 | Format Reviewed: 320 kbps
Label: 20 Buck Spin
Websites: Bandcamp | Facebook
Releases Worldwide: March 8th, 2024

#20BuckSpin #2024 #35 #Asystole #BritishMetal #ChytridiomycosisRelinquished #DeathMetal #DissonantDeathMetal #ExperimentalDeathMetal #Mar24 #Replicant #Review #Reviews #Slimelord #TombMold #Worm

Dear Hollow’s Mathcore Madness [Things You Might Have Missed 2023]

By Dear Hollow

Y’all ready to skronk? Cuz it’s ’bout to get skronky. I had a realization about midway this year that all I was doing was contributing mathcore releases to Kenstrocity‘s Stuck in the Filter pieces. So instead of painting myself as a one-trick pony who can only do math three times a month, I decided to reveal my cards as a mathcore sellout by the end of 2023. I have been given an incurably bad taste this year, and a spotlight under which I stand alone while commenters and colleagues alike chuck tomatoes and copies of Mercyful Fate’s Dead Again and Saxon’s Rock the Nations at me (saying, and I quote, “get some culture, you sellout”). See, when the inimitable Kronos left, he took with him the taste for the mathy skronk. I suppose Dolphin Whisperer has some math love built into him, but we’re too busy squabbling over details most of the time.1

Thus, I have compiled a list of some mathcore releases you might, uh, tolerate! Because I have filtered and expressed opinions over acts like See You Next Tuesday, Sleepsculptor, Soulkeeper, and Squid Pisser (I’m not sure why I picked all mathcore acts that start with S, but here we are) you can go find ’em yourself if you’re soooo upset why I didn’t include them. Without further ado, let’s get skronky (another S!).

Better Lovers // God Made Me an Animal – Look, I get it’s an EP, but when your band consists of the instrumental section of the defunct Every Time I Die, the guitarist of Fit for an Autopsy and End, and the vocalist of the legendary The Dillinger Escape Plan, we can make some exceptions. Charisma and sleaze drip through the southern-fried leads of these four songs, while Greg Puciato’s unmistakably charismatic vocals rip across, formidable cleans gracing melodic noodling with a catchiness that contrasts with the dense groove. Speaking of the groove, they hit at just the right moments, recalling I Am Hollywood-era He is Legend in “Sacrificial Participant,” while punk speed graces “30 Under 13” with a franticness, while the riff in the title track is absolutely mammoth. Quite the lineup, and while the sound is what you’d largely expect from its ranks, the five-piece makes its debut EP just damn good mathcore.

Chamber // A Love to Kill For – Nashville’s Chamber enters the fray with a sound that weaponizes mathcore for maximum punishment, a tad like Frontierer meeting late-era The Tony Danza Tapdance Extravaganza in a knife-fight behind the old Kmart: down-tuned thuggishness, chunky and bruising rhythms, noodly riffs, and squealing leads.2 Vocalist Jacob Lilly offers a vicious performance, his roars and fry vocals dripping with vitriol, while the cutthroat axework collapses and crushes around him, and drummer Taylor Carpenter hits the kit balancing rock-solid anchoring and pure mania. A Love to Kill For is a relentless metalcore attack barbed with hardcore punk, mathcore, and hints of deathcore: carefully calculated, intensely brutish, and worth every concussion Chamber can muster.

Euclid C Finder // The Mirror, My Weapon, I Love You – A balanced affair unafraid of the noisemaking, Baltimore’s Euclid C Finder (presumably named after the Fallout weapon) releases a grind-tinged math attack of viciousness and oddity in equal measure. Nineteen minutes of wonky rhythms, blasting percussion, manic dissonance, panic chords aplenty, and insane vocals greet the ears with the subtlety of a five-car pileup. It would be easy to dismiss The Mirror… as just another Dillinger– or Converge– worshiper, but then the groove hits. The trio balances its treble trouble with a chunky hit of downtuned intensity and gruff barks that gives respite to the million-miles-per-hour of noodly technicality. It’s a toothy and intense affair that never takes itself too seriously (i.e. “Jonathan Davis 10000 BC”) and never overstays its welcome.

Telos // Delude – What makes Copenhagen’s Telos unique is its blackened and noisy take on mathcore. Or, if you please, a mathy take on blackened hardcore – whatever floats your boat. A bit like if Hexis (with whom they released a split this year) and Botch had a scary-looking baby. Misanthropy oozes from every orifice and hostile noise fills negative space, ominous leads and dissonant plucking wearing haunting grooves into the brain. Tracks like “Bastion,” “I’ve Been Gone for So Long,” and “As Atlas Stumbled” are full-on assaults of intense proportions, while the more subdued ritualism and atmosphere in “I Accept / I Receive” and “Throne” show the depths of Telos’ lurching and rumbling depravity. Fans of mathcore and blackened hardcore would do well to do a headlong dive into this particular abyss.

Thin // Dusk – Mathcore gone grind. Reveling in tight descending patterns of insanity, with a fearlessness of skull-caving death metal, New York City’s Thin will beat you senseless with every weapon in its arsenal. A wall of noisy noodling, panic chords, and squalid feedback is erected with every attack, collapsing for death metal-inspired weight and dissonant plucking throughout that feels like homage to this year’s Asystole. Screamo orientation fuels the fire and brevity is the name of the game, but toss in formidable performances from all forces involved, with howling screeches giving way to gravelly gurgles, groovy riffs giving way to frantic tremolo, and the rhythm section cutting through the darkness. As the cheery acoustic strums of closer “Mangrove” sound in final respite, Thin revels in its sonic and lyrical pairing of nostalgia and trauma – a dark night of the soul.

Dead Soma // Pathos – A more rhythmic and atmospherically spidery but nonetheless viciously punishing take on mathcore. Best described as Loathe covering Converge songs, the sepia-toned and mysterious Deftones influence is unmistakable, but Sweden’s Dead Soma is unafraid to embrace the intensity. Hinting upon djent not unlike countrymen Vildhjarta and weighty rhythms like Car Bomb, the grooves are palpable and punishing, guided by the dead hands of electronic glitches and pinch harmonics and dragged by manic barks and screeches. Chino Moreno-esque whispery cleans and subdued mumbles add to the glitching and warm synthwork in the more laid-back tracks, which add further dynamic to the relentlessly fat riffs and mathy noodling (see: “Life and Limb” to “Error Blemish”). Warmly atmospheric, it carries a vintage tone by the vocals and synth, but is ultimately uncompromising in its brutality.

MouthBreather // Self-Tape – This one is less mathcore by sound and more by name. The Boston collective’s debut LP I’m Sorry Mr. Salesman (another filter cleaning I contributed to) was Coalesce-meets-Converge-core through and through in a groovy take on mathcore, but after a come-to-metalcore-Jesus moment they go straight for the jugular with a nu-infested, groove-infected -core sound for Self-Tape. The viciousness is front and center, with aggression and fury spewing from every chug and growl, with its storied mathcore history offering its energetic bite. Now featuring more deathcore weight and nu-metal influence to slam into your sorry-ass ears alongside the ghosts of Christmas skronk, Self-Tape reflects a descent into madness through its very reasonable twenty-three minutes of film references. Maybe you’ll think it’s just metalcore with no mathcore in sight, and you’d be right, but (a) that’s why it’s at the end of this piece and (b) your head will be bobbing so hard you won’t care.

#2023 #ALoveToKillFor #AmericanMetal #Asystole #BetterLovers #BlackenedHardcore #Botch #CarBomb #Chamber #Coalesce #Converge #DanishMetal #DeadSoma #Deathcore #Deftones #Delude #Dusk #End #EuclidCFinder #EveryTimeIDie #FitForAnAutopsy #Frontierer #Gideon #GodMadeMeAnAnimal #Grindcore #HardcorePunk #HeIsLegend #Hexis #Loathe #Mathcore #Metalcore #NuMetal #Pathos #SwedishMetal #Telos #TheAcaciaStrain #TheDillingerEscapePlan #TheMirrorMyWeaponILoveYou #TheTonyDanzaTapdanceExtravaganza #Thin #ThingsYouMightHaveMissed2023 #Vildhjarta

Dear Hollow’s Mathcore Madness [Things You Might Have Missed 2023]

By Dear Hollow

Y’all ready to skronk? Cuz it’s ’bout to get skronky. I had a realization about midway this year that all I was doing was contributing mathcore releases to Kenstrocity‘s Stuck in the Filter pieces. So instead of painting myself as a one-trick pony who can only do math three times a month, I decided to reveal my cards as a mathcore sellout by the end of 2023. I have been given an incurably bad taste this year, and a spotlight under which I stand alone while commenters and colleagues alike chuck tomatoes and copies of Mercyful Fate’s Dead Again and Saxon’s Rock the Nations at me (saying, and I quote, “get some culture, you sellout”). See, when the inimitable Kronos left, he took with him the taste for the mathy skronk. I suppose Dolphin Whisperer has some math love built into him, but we’re too busy squabbling over details most of the time.1

Thus, I have compiled a list of some mathcore releases you might, uh, tolerate! Because I have filtered and expressed opinions over acts like See You Next Tuesday, Sleepsculptor, Soulkeeper, and Squid Pisser (I’m not sure why I picked all mathcore acts that start with S, but here we are) you can go find ’em yourself if you’re soooo upset why I didn’t include them. Without further ado, let’s get skronky (another S!).

Better Lovers // God Made Me an Animal – Look, I get it’s an EP, but when your band consists of the instrumental section of the defunct Every Time I Die, the guitarist of Fit for an Autopsy and End, and the vocalist of the legendary The Dillinger Escape Plan, we can make some exceptions. Charisma and sleaze drip through the southern-fried leads of these four songs, while Greg Puciato’s unmistakably charismatic vocals rip across, formidable cleans gracing melodic noodling with a catchiness that contrasts with the dense groove. Speaking of the groove, they hit at just the right moments, recalling I Am Hollywood-era He is Legend in “Sacrificial Participant,” while punk speed graces “30 Under 13” with a franticness, while the riff in the title track is absolutely mammoth. Quite the lineup, and while the sound is what you’d largely expect from its ranks, the five-piece makes its debut EP just damn good mathcore.

Chamber // A Love to Kill For – Nashville’s Chamber enters the fray with a sound that weaponizes mathcore for maximum punishment, a tad like Frontierer meeting late-era The Tony Danza Tapdance Extravaganza in a knife-fight behind the old Kmart: down-tuned thuggishness, chunky and bruising rhythms, noodly riffs, and squealing leads.2 Vocalist Jacob Lilly offers a vicious performance, his roars and fry vocals dripping with vitriol, while the cutthroat axework collapses and crushes around him, and drummer Taylor Carpenter hits the kit balancing rock-solid anchoring and pure mania. A Love to Kill For is a relentless metalcore attack barbed with hardcore punk, mathcore, and hints of deathcore: carefully calculated, intensely brutish, and worth every concussion Chamber can muster.

Euclid C Finder // The Mirror, My Weapon, I Love You – A balanced affair unafraid of the noisemaking, Baltimore’s Euclid C Finder (presumably named after the Fallout weapon) releases a grind-tinged math attack of viciousness and oddity in equal measure. Nineteen minutes of wonky rhythms, blasting percussion, manic dissonance, panic chords aplenty, and insane vocals greet the ears with the subtlety of a five-car pileup. It would be easy to dismiss The Mirror… as just another Dillinger– or Converge– worshiper, but then the groove hits. The trio balances its treble trouble with a chunky hit of downtuned intensity and gruff barks that gives respite to the million-miles-per-hour of noodly technicality. It’s a toothy and intense affair that never takes itself too seriously (i.e. “Jonathan Davis 10000 BC”) and never overstays its welcome.

Telos // Delude – What makes Copenhagen’s Telos unique is its blackened and noisy take on mathcore. Or, if you please, a mathy take on blackened hardcore – whatever floats your boat. A bit like if Hexis (with whom they released a split this year) and Botch had a scary-looking baby. Misanthropy oozes from every orifice and hostile noise fills negative space, ominous leads and dissonant plucking wearing haunting grooves into the brain. Tracks like “Bastion,” “I’ve Been Gone for So Long,” and “As Atlas Stumbled” are full-on assaults of intense proportions, while the more subdued ritualism and atmosphere in “I Accept / I Receive” and “Throne” show the depths of Telos’ lurching and rumbling depravity. Fans of mathcore and blackened hardcore would do well to do a headlong dive into this particular abyss.

Thin // Dusk – Mathcore gone grind. Reveling in tight descending patterns of insanity, with a fearlessness of skull-caving death metal, New York City’s Thin will beat you senseless with every weapon in its arsenal. A wall of noisy noodling, panic chords, and squalid feedback is erected with every attack, collapsing for death metal-inspired weight and dissonant plucking throughout that feels like homage to this year’s Asystole. Screamo orientation fuels the fire and brevity is the name of the game, but toss in formidable performances from all forces involved, with howling screeches giving way to gravelly gurgles, groovy riffs giving way to frantic tremolo, and the rhythm section cutting through the darkness. As the cheery acoustic strums of closer “Mangrove” sound in final respite, Thin revels in its sonic and lyrical pairing of nostalgia and trauma – a dark night of the soul.

Dead Soma // Pathos – A more rhythmic and atmospherically spidery but nonetheless viciously punishing take on mathcore. Best described as Loathe covering Converge songs, the sepia-toned and mysterious Deftones influence is unmistakable, but Sweden’s Dead Soma is unafraid to embrace the intensity. Hinting upon djent not unlike countrymen Vildhjarta and weighty rhythms like Car Bomb, the grooves are palpable and punishing, guided by the dead hands of electronic glitches and pinch harmonics and dragged by manic barks and screeches. Chino Moreno-esque whispery cleans and subdued mumbles add to the glitching and warm synthwork in the more laid-back tracks, which add further dynamic to the relentlessly fat riffs and mathy noodling (see: “Life and Limb” to “Error Blemish”). Warmly atmospheric, it carries a vintage tone by the vocals and synth, but is ultimately uncompromising in its brutality.

MouthBreather // Self-Tape – This one is less mathcore by sound and more by name. The Boston collective’s debut LP I’m Sorry Mr. Salesman (another filter cleaning I contributed to) was Coalesce-meets-Converge-core through and through in a groovy take on mathcore, but after a come-to-metalcore-Jesus moment they go straight for the jugular with a nu-infested, groove-infected -core sound for Self-Tape. The viciousness is front and center, with aggression and fury spewing from every chug and growl, with its storied mathcore history offering its energetic bite. Now featuring more deathcore weight and nu-metal influence to slam into your sorry-ass ears alongside the ghosts of Christmas skronk, Self-Tape reflects a descent into madness through its very reasonable twenty-three minutes of film references. Maybe you’ll think it’s just metalcore with no mathcore in sight, and you’d be right, but (a) that’s why it’s at the end of this piece and (b) your head will be bobbing so hard you won’t care.

#2023 #ALoveToKillFor #AmericanMetal #Asystole #BetterLovers #BlackenedHardcore #Botch #CarBomb #Chamber #Coalesce #Converge #DanishMetal #DeadSoma #Deathcore #Deftones #Delude #Dusk #End #EuclidCFinder #EveryTimeIDie #FitForAnAutopsy #Frontierer #Gideon #GodMadeMeAnAnimal #Grindcore #HardcorePunk #HeIsLegend #Hexis #Loathe #Mathcore #Metalcore #NuMetal #Pathos #SwedishMetal #Telos #TheAcaciaStrain #TheDillingerEscapePlan #TheMirrorMyWeaponILoveYou #TheTonyDanzaTapdanceExtravaganza #Thin #ThingsYouMightHaveMissed2023 #Vildhjarta