#austrianmetal — Public Fediverse posts

True Crime has had its moment in the mainstream, with more than a fair share of content having been generated, particularly in the first half of this decade. But rather than bingeing on Ryan Murphy’s questionable Monster series,1 I instead suggest you take Monument of Misanthropy’s discography for a spin. Washington State Charm is the Austrians’ third successive LP tackling the exploits of a notorious serial killer—this time, Ted Bundy—and it’s bags more fun and significantly less disrespectful than your average makeup-and-true-crime YouTube video2 or Netflix dramatization. It’s also a showcase for some pretty great tech-death. As has become their trademark, Monument of Misanthropy evolve once again, tweaking their style to fit their despicable protagonist whilst remaining satisfyingly heavy. Are they still getting away with the gimmick, or is it time to hang up the hacksaw?

One thing’s clear at least: Washington State Charm is entertaining, and it interestingly suits its subject matter. Pivoting away slightly from the grind and brutality of Vile Postmortem Irrumatio and towards melody, hookiness, and groove, the album taps into a different form of Monument of Misanthropy’s signature snappiness. With guest appearances from Johnny Ciardullo (Angelmaker), Mendel bij de Leij (ex-Aborted), Gabe Mangold (Enterprise Earth), Hal Microutsicos (Engulf), and Jean-Jacques Moréac (Misanthrope), the record is scattered with riff-centric deathcore influence. For the most part, this really works. Intentional or not, there’s a parallel between this catchier, more accessible sound and Bundy’s status as one of the most well-known serial killers in modern history, who was also infamously “charming,” “handsome,” and otherwise palatable to society. If the previous album sounded, as I said at the time, “like Cattle Decapitation had a baby with Aborted,” then Washington State Charm is that baby growing into a teenager and experimenting, funnily enough, resembling their parent Aborted quite markedly, but with a bit of Cytotoxin by way of Dying Fetus thrown in for good measure.

Washington State Charm’s key strength is how Monument of Misanthropy twisted each aspect of their sound to make the whole infectiously catchy and memorable. Melody floods in with effervescent lead arpeggios (“Neath Tacoma Asphalt,” “A Hunger Unstilled,” “Colorado Murder”). Speed is used smartly in tandem with punchy syncopation (title track), and is met with a fairer dose of slower, circular swing (“The 1974 PNW Spree,” “The Hacksaw Blade”). The band’s mastery of rhythm to emphasize their punchlines (“The 1974…,” “Colorado Murder”), amp up the energy (“Neath Tacoma Asphalt,” “Colorado Murder”), and create an irresistible groove (“Suwannee Hog Shed”) has markedly improved.3 Together, this makes for highlights like the twin-guitar soloing on “Neath Tacoma Asphalt,” the drop-tuned uptempo groove on “Colorado Murder,” the call-and-response snarls and beats on “Chi Omega Blood Rage,” and the wonderful seesawing slide on “Strapped to the Throne.” There’s no way you’re listening to this without a savage grin plastered on your face.

It’s the album’s structure that lets down what might otherwise be a knock-out success. Humming with adrenaline from the literal high note of “Neath Tacoma Asphalt”‘s final riff, the inexplicably instrumental “A Hunger Unstilled” hits a little strangely. It’s a great piece in isolation, with a churning progression of melody and pace that calls to mind some hybrid of Aborted and Hath. But it’s most charitably taken as an extended intro to “The 1974…—which instantly kicks things back into murderous gear—and that feels wasteful. Monument of Misanthropy again add interview samples as miniature tracks, but their placement is similarly wonky, clustered around the start and end. It’s also hard not to compare them unfavorably to the drama-enhancing atmospheric examples on VPI. One could argue—not without justification—that these quirks are an intended reflection of their subject’s “career”: long periods without arrest, and an escape and ensuing murder spree once he was finally caught the first time. That would be fair, though it wouldn’t totally iron out flaws in the album’s flow. Less understandable, though less egregious, is the recurrence of a classic death metal cover at the close—Nile’s “Eye of Ra.” It’s a decent cover, but I don’t fully see its relevance.4

Washington State Charm achieves what it sets out to do: narrate the grisly story of a serial killer through slick, crushing death metal. It even goes one further, improving on the production—non-sample tracks averaging a DR of 5.5. Naysayers might bemoan the perceived slide towards accessibility, but really, the sheer gleeful energy of Washington State Charm is a testament to Monument of Misanthropy’s ever-increasing mastery of their craft.

Rating: Very Good
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Listenable Records
Websites: Bandcamp | Facebook
Releases Worldwide: June 26th, 2026

Hurtling into the new year with his heart on his sleeve (and bones on his shirt), Ellende’s one-man maestro L.G. bids to set a high bar for 2026. Zerfall, the band’s first new material since 2022,1 continues where Ellenbogengesellschaft left off, further polishing the allure of classically infused black metal. Conjuring comparisons to compatriots Harakiri for the Sky and Weltenbrandt,2 Austria’s Ellende lives somewhere between post and depressive black metal, unapologetically tackling poignant themes with passionate performances and crisp clarity. Translating to ‘decay,’ Zerfall examines the agony of a life fractured by loss and the painstaking endeavor to reclaim inner peace afterwards. Does Ellende’s latest prevail in capturing the haunting sting of tragedy and the catharsis of acceptance, or does it Zerfall short?

The aural evolution from Ellenbogengesellschaft to Zerfall flows like a frosty stream, with stirring strings and restrained piano evoking a sophisticated grace alongside Ellende’s more traditional blackened wrath. In many ways, the mettle that pushed Ellenbogengesellschaft to new heights shines even brighter here, packing more texture and ideas into Zerfall’s composition. In particular, the dedication to vocal variety begets a more nuanced performance and adds enticing wrinkles to an already dense soundscape. Choirs, whispers, and rasps swirl together in an eddy of sonic splendor, and as I revisit past Ellende albums, this dimension more than any other stands as a testament to how L.G. continues to find ways to refine and enrich his project’s musical identity.

Zerfall by Ellende

Performances across Zerfall dazzle, with the overarching imperative to buoy emotional impact before all else. While there’s little here to sate those who obsess over technical wizardry, I’ve rarely been so in tune with the spirit of music without understanding any of the words.3 Ellende’s central narrative on Zerfall follows a rollercoaster of emotional states, ranging from intense passion (“Wahrheit Teil I,” Wahrheit Teil II”) to sullen contemplation (“Übertritt”) and adventurous perspective-seeking (“Reise”). The music bolsters these themes, as resonant bass plucks support moments of introspection while anger and pain manifest in blackened wails (“Ode ans Licht”). Ellende’s fusion of feeling into melody sparkles with vitality, where even the two bonus tracks preserve (if not outright enhance) Zerfall’s tender luster. Throughout, dreamily sustained chords entwine with buzzing tremolos, drenching the album with atmosphere, while soulful guitar leads emerge with megadoses of seasoning to ensure proceedings are never bland (“Wahrheit Teil I,” “Zerfall”). Instrumentally, Zerfall presents a lush experience that rewards multiple listens to unravel and appreciate its complex flavors.

Besides Ellende’s lyrical and musical cohesion, Zerfall offers an organic production and boasts a track list that wards off weak songs as well as standout moments. The bright production and mix allow the intricate web of instrumentation to breathe, from the sharp percussive click of a pick on acoustic guitar to the slight warble of a bow’s stroke across a violin. No track is dispensable, either—opener “Nur” is closest, yet it effectively establishes Zerfall’s mood at the outset. What’s most telling as I examine my time with Zerfall is the consistency with which I’ve listened to it, both actively and passively. Every track has the same number of plays, and when I reflect on why, it’s clear that while no track should be skipped, no individual moment galvanizes me to spin it again outside of its surrounding context. For an album so steeped in impassioned expressionism, Zerfall never quite attains the zenith of drama needed to fully achieve a euphoric climax of mounting tension and emotion, and this missing ingredient holds it back from greatness.

In his review of Ellenbogengesellschaft, Doomy observed that each release hones Ellende’s songwriting. Zerfall is no exception, taking what worked on prior albums to cultivate a more mature iteration. What began as L.G.’s outlet for introverted misanthropy has developed into a layered project that wields pathos like a knife, cutting to your emotional core with a deft flick of the wrist. Musically, I remember 2025 getting off to a slow start, and Ellende excites me for what 2026 has in store. Even if the coming year doesn’t live up to expectations, Zerfall establishes a surefire safety net of quality and feels.

Rating: Very Good!!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: AOP Records
Websites: Bandcamp | Facebook
Releases Worldwide: January 2nd, 2026

https://www.europesays.com/ie/217881/ Pillars of Cacophony – Paralipomena [Things You Might Have Missed 2025] #2025 #AustrianMetal #DeathMetal #Éire #Entertainment #IE #Ireland #Meshuggah #Music #Necrophagist #Paralipomena #PillarsOfCacophony #TechnicalDeathMetal #TeratogenRecords #TheFaceless #ThingsYouMightHaveMissed2025 #TYMHM #Ulcerate

Pillars of Cacophony – Paralipomena [Things You Might Have Missed 2025]

By Owlswald

Amidst the routine of our daily lives, it’s easy to overlook the hidden, complex universe that exists just outside our normal gaze. It only takes a bit of magnification to reveal it: a place where cells shift and collide, forming the invisible architecture of existence. Capturing the awe of this biological machinery is a tall order. Yet, Dominik, multi-instrumentalist and mastermind of Pillars of Cacophony, has created a soundscape with second LP, Paralipomena, that does exactly that, exploring the building blocks of life through sound. Though tackling the topic of bioscience through the lens of disso and technical death metal may be a volatile experiment, this Austrian knows exactly how to harness the power of biology to bridge the divide. You see, Dominik is a bioscientist by trade, literally mining his own PhD thesis to drive the chaos that is Pillars of Cacophony. This academic authenticity is what sets Paralipomena apart, resulting in a rare fusion of intellect and brutality that you simply can’t afford to miss.

The genome of Paralipomena is an unstable body of technical and dissonant death metal, forged in the chaotic intersection of Ulcerate and The Faceless. The album’s kinetic energy flows freely across synapses, connecting a skin of hooky riffs, tremolo surges, and punishing down-picking. Intelligent songwriting and flash-fire percussion surgically underpin this to create an unsettling cacophony of sonic friction. While tracks like “The Cradle,” “The Discord,” and “Retina” demonstrate Pillars of Cacophony’s hyper-speed technicality, cuts like “Cachexia,” “Mitosis,” and the Meshuggahian “Landscapes of Permanence” twist the formula, venturing into unpredictability with jazzy permutations and calm, contemplative sections (“Maps of Disintegration”). This is the soundtrack to inter-cellular warfare—a torrent of fast-twitch riffing and searing discordance, punctuated by pressurized blast beats, static-laced roars, and the acidic twang of bass, transporting one into a world seen only through a high-powered scope.

Paralipomena is rife with entropy, yet its multi-layered cytoskeleton maintains homeostasis. Pillars of Cacophony’s layered guitars clash and coordinate simultaneously—one flooding the airwaves with raw, unsettling dissonance, while the other focuses on calculated technicality and micro-precision picking. “Of Plagues and Fibrils” immediately delivers Paralipomena’s chemistry of chaos and precise equilibrium in its moving, shifting main palm-muted riff, infecting the listener’s brain like a disease with its immediate, powerful hooks. The drums’ complex cymbal flares and tom rolls only enhance the track’s memorability, providing badass atmosphere and tasteful technicality in equal measure. Pillars of Cacophony showcases this same momentum again in “Retina,” which pushes a Necrophagist-like tempo—particularly during its groovy double-bass sections and unidirectional picking—and “The Cradle,” where the rhythm section anchors the frenetic guitar work and furious tremolodic leads.

Ever since it dropped earlier this year, Paralipomena continues to grip me. It succeeds by concentrating sonic violence to create the ultimate soundtrack to a hidden world—one that feels as technically layered as it is immediately catchy. Pillars of Cacophony has forged an album that pairs an extreme and dystopian soundscape with the surgical authority of empirical sciences, carving a bespoke path outside the predictable confines of death metal. If you’re a fan of disso or tech-death and somehow missed Paralipomena, consider this your diagnosis and remedy that malady immediately.

Tracks to Check Out: “Of Plagues and Fibrils,” “The Cradle,” “Retina,” “The Discord.”

#2025 #AustrianMetal #DeathMetal #Meshuggah #Necrophagist #Paralipomena #PillarsOfCacophony #TechnicalDeathMetal #TeratogenRecords #TheFaceless #ThingsYouMightHaveMissed2025 #TYMHM #Ulcerate

Pillars of Cacophony – Paralipomena [Things You Might Have Missed 2025]

By Owlswald

Amidst the routine of our daily lives, it’s easy to overlook the hidden, complex universe that exists just outside our normal gaze. It only takes a bit of magnification to reveal it: a place where cells shift and collide, forming the invisible architecture of existence. Capturing the awe of this biological machinery is a tall order. Yet, Dominik, multi-instrumentalist and mastermind of Pillars of Cacophony, has created a soundscape with second LP, Paralipomena, that does exactly that, exploring the building blocks of life through sound. Though tackling the topic of bioscience through the lens of disso and technical death metal may be a volatile experiment, this Austrian knows exactly how to harness the power of biology to bridge the divide. You see, Dominik is a bioscientist by trade, literally mining his own PhD thesis to drive the chaos that is Pillars of Cacophony. This academic authenticity is what sets Paralipomena apart, resulting in a rare fusion of intellect and brutality that you simply can’t afford to miss.

The genome of Paralipomena is an unstable body of technical and dissonant death metal, forged in the chaotic intersection of Ulcerate and The Faceless. The album’s kinetic energy flows freely across synapses, connecting a skin of hooky riffs, tremolo surges, and punishing down-picking. Intelligent songwriting and flash-fire percussion surgically underpin this to create an unsettling cacophony of sonic friction. While tracks like “The Cradle,” “The Discord,” and “Retina” demonstrate Pillars of Cacophony’s hyper-speed technicality, cuts like “Cachexia,” “Mitosis,” and the Meshuggahian “Landscapes of Permanence” twist the formula, venturing into unpredictability with jazzy permutations and calm, contemplative sections (“Maps of Disintegration”). This is the soundtrack to inter-cellular warfare—a torrent of fast-twitch riffing and searing discordance, punctuated by pressurized blast beats, static-laced roars, and the acidic twang of bass, transporting one into a world seen only through a high-powered scope.

Paralipomena is rife with entropy, yet its multi-layered cytoskeleton maintains homeostasis. Pillars of Cacophony’s layered guitars clash and coordinate simultaneously—one flooding the airwaves with raw, unsettling dissonance, while the other focuses on calculated technicality and micro-precision picking. “Of Plagues and Fibrils” immediately delivers Paralipomena’s chemistry of chaos and precise equilibrium in its moving, shifting main palm-muted riff, infecting the listener’s brain like a disease with its immediate, powerful hooks. The drums’ complex cymbal flares and tom rolls only enhance the track’s memorability, providing badass atmosphere and tasteful technicality in equal measure. Pillars of Cacophony showcases this same momentum again in “Retina,” which pushes a Necrophagist-like tempo—particularly during its groovy double-bass sections and unidirectional picking—and “The Cradle,” where the rhythm section anchors the frenetic guitar work and furious tremolodic leads.

Ever since it dropped earlier this year, Paralipomena continues to grip me. It succeeds by concentrating sonic violence to create the ultimate soundtrack to a hidden world—one that feels as technically layered as it is immediately catchy. Pillars of Cacophony has forged an album that pairs an extreme and dystopian soundscape with the surgical authority of empirical sciences, carving a bespoke path outside the predictable confines of death metal. If you’re a fan of disso or tech-death and somehow missed Paralipomena, consider this your diagnosis and remedy that malady immediately.

Tracks to Check Out: “Of Plagues and Fibrils,” “The Cradle,” “Retina,” “The Discord.”

#2025 #AustrianMetal #DeathMetal #Meshuggah #Necrophagist #Paralipomena #PillarsOfCacophony #TechnicalDeathMetal #TeratogenRecords #TheFaceless #ThingsYouMightHaveMissed2025 #TYMHM #Ulcerate

Pillars of Cacophony – Paralipomena [Things You Might Have Missed 2025]

By Owlswald

Amidst the routine of our daily lives, it’s easy to overlook the hidden, complex universe that exists just outside our normal gaze. It only takes a bit of magnification to reveal it: a place where cells shift and collide, forming the invisible architecture of existence. Capturing the awe of this biological machinery is a tall order. Yet, Dominik, multi-instrumentalist and mastermind of Pillars of Cacophony, has created a soundscape with second LP, Paralipomena, that does exactly that, exploring the building blocks of life through sound. Though tackling the topic of bioscience through the lens of disso and technical death metal may be a volatile experiment, this Austrian knows exactly how to harness the power of biology to bridge the divide. You see, Dominik is a bioscientist by trade, literally mining his own PhD thesis to drive the chaos that is Pillars of Cacophony. This academic authenticity is what sets Paralipomena apart, resulting in a rare fusion of intellect and brutality that you simply can’t afford to miss.

The genome of Paralipomena is an unstable body of technical and dissonant death metal, forged in the chaotic intersection of Ulcerate and The Faceless. The album’s kinetic energy flows freely across synapses, connecting a skin of hooky riffs, tremolo surges, and punishing down-picking. Intelligent songwriting and flash-fire percussion surgically underpin this to create an unsettling cacophony of sonic friction. While tracks like “The Cradle,” “The Discord,” and “Retina” demonstrate Pillars of Cacophony’s hyper-speed technicality, cuts like “Cachexia,” “Mitosis,” and the Meshuggahian “Landscapes of Permanence” twist the formula, venturing into unpredictability with jazzy permutations and calm, contemplative sections (“Maps of Disintegration”). This is the soundtrack to inter-cellular warfare—a torrent of fast-twitch riffing and searing discordance, punctuated by pressurized blast beats, static-laced roars, and the acidic twang of bass, transporting one into a world seen only through a high-powered scope.

Paralipomena is rife with entropy, yet its multi-layered cytoskeleton maintains homeostasis. Pillars of Cacophony’s layered guitars clash and coordinate simultaneously—one flooding the airwaves with raw, unsettling dissonance, while the other focuses on calculated technicality and micro-precision picking. “Of Plagues and Fibrils” immediately delivers Paralipomena’s chemistry of chaos and precise equilibrium in its moving, shifting main palm-muted riff, infecting the listener’s brain like a disease with its immediate, powerful hooks. The drums’ complex cymbal flares and tom rolls only enhance the track’s memorability, providing badass atmosphere and tasteful technicality in equal measure. Pillars of Cacophony showcases this same momentum again in “Retina,” which pushes a Necrophagist-like tempo—particularly during its groovy double-bass sections and unidirectional picking—and “The Cradle,” where the rhythm section anchors the frenetic guitar work and furious tremolodic leads.

Ever since it dropped earlier this year, Paralipomena continues to grip me. It succeeds by concentrating sonic violence to create the ultimate soundtrack to a hidden world—one that feels as technically layered as it is immediately catchy. Pillars of Cacophony has forged an album that pairs an extreme and dystopian soundscape with the surgical authority of empirical sciences, carving a bespoke path outside the predictable confines of death metal. If you’re a fan of disso or tech-death and somehow missed Paralipomena, consider this your diagnosis and remedy that malady immediately.

Tracks to Check Out: “Of Plagues and Fibrils,” “The Cradle,” “Retina,” “The Discord.”

#2025 #AustrianMetal #DeathMetal #Meshuggah #Necrophagist #Paralipomena #PillarsOfCacophony #TechnicalDeathMetal #TeratogenRecords #TheFaceless #ThingsYouMightHaveMissed2025 #TYMHM #Ulcerate

Pillars of Cacophony – Paralipomena [Things You Might Have Missed 2025]

By Owlswald

Amidst the routine of our daily lives, it’s easy to overlook the hidden, complex universe that exists just outside our normal gaze. It only takes a bit of magnification to reveal it: a place where cells shift and collide, forming the invisible architecture of existence. Capturing the awe of this biological machinery is a tall order. Yet, Dominik, multi-instrumentalist and mastermind of Pillars of Cacophony, has created a soundscape with second LP, Paralipomena, that does exactly that, exploring the building blocks of life through sound. Though tackling the topic of bioscience through the lens of disso and technical death metal may be a volatile experiment, this Austrian knows exactly how to harness the power of biology to bridge the divide. You see, Dominik is a bioscientist by trade, literally mining his own PhD thesis to drive the chaos that is Pillars of Cacophony. This academic authenticity is what sets Paralipomena apart, resulting in a rare fusion of intellect and brutality that you simply can’t afford to miss.

The genome of Paralipomena is an unstable body of technical and dissonant death metal, forged in the chaotic intersection of Ulcerate and The Faceless. The album’s kinetic energy flows freely across synapses, connecting a skin of hooky riffs, tremolo surges, and punishing down-picking. Intelligent songwriting and flash-fire percussion surgically underpin this to create an unsettling cacophony of sonic friction. While tracks like “The Cradle,” “The Discord,” and “Retina” demonstrate Pillars of Cacophony’s hyper-speed technicality, cuts like “Cachexia,” “Mitosis,” and the Meshuggahian “Landscapes of Permanence” twist the formula, venturing into unpredictability with jazzy permutations and calm, contemplative sections (“Maps of Disintegration”). This is the soundtrack to inter-cellular warfare—a torrent of fast-twitch riffing and searing discordance, punctuated by pressurized blast beats, static-laced roars, and the acidic twang of bass, transporting one into a world seen only through a high-powered scope.

Paralipomena is rife with entropy, yet its multi-layered cytoskeleton maintains homeostasis. Pillars of Cacophony’s layered guitars clash and coordinate simultaneously—one flooding the airwaves with raw, unsettling dissonance, while the other focuses on calculated technicality and micro-precision picking. “Of Plagues and Fibrils” immediately delivers Paralipomena’s chemistry of chaos and precise equilibrium in its moving, shifting main palm-muted riff, infecting the listener’s brain like a disease with its immediate, powerful hooks. The drums’ complex cymbal flares and tom rolls only enhance the track’s memorability, providing badass atmosphere and tasteful technicality in equal measure. Pillars of Cacophony showcases this same momentum again in “Retina,” which pushes a Necrophagist-like tempo—particularly during its groovy double-bass sections and unidirectional picking—and “The Cradle,” where the rhythm section anchors the frenetic guitar work and furious tremolodic leads.

Ever since it dropped earlier this year, Paralipomena continues to grip me. It succeeds by concentrating sonic violence to create the ultimate soundtrack to a hidden world—one that feels as technically layered as it is immediately catchy. Pillars of Cacophony has forged an album that pairs an extreme and dystopian soundscape with the surgical authority of empirical sciences, carving a bespoke path outside the predictable confines of death metal. If you’re a fan of disso or tech-death and somehow missed Paralipomena, consider this your diagnosis and remedy that malady immediately.

Tracks to Check Out: “Of Plagues and Fibrils,” “The Cradle,” “Retina,” “The Discord.”

#2025 #AustrianMetal #DeathMetal #Meshuggah #Necrophagist #Paralipomena #PillarsOfCacophony #TechnicalDeathMetal #TeratogenRecords #TheFaceless #ThingsYouMightHaveMissed2025 #TYMHM #Ulcerate

Pillars of Cacophony – Paralipomena [Things You Might Have Missed 2025]

By Owlswald

Amidst the routine of our daily lives, it’s easy to overlook the hidden, complex universe that exists just outside our normal gaze. It only takes a bit of magnification to reveal it: a place where cells shift and collide, forming the invisible architecture of existence. Capturing the awe of this biological machinery is a tall order. Yet, Dominik, multi-instrumentalist and mastermind of Pillars of Cacophony, has created a soundscape with second LP, Paralipomena, that does exactly that, exploring the building blocks of life through sound. Though tackling the topic of bioscience through the lens of disso and technical death metal may be a volatile experiment, this Austrian knows exactly how to harness the power of biology to bridge the divide. You see, Dominik is a bioscientist by trade, literally mining his own PhD thesis to drive the chaos that is Pillars of Cacophony. This academic authenticity is what sets Paralipomena apart, resulting in a rare fusion of intellect and brutality that you simply can’t afford to miss.

The genome of Paralipomena is an unstable body of technical and dissonant death metal, forged in the chaotic intersection of Ulcerate and The Faceless. The album’s kinetic energy flows freely across synapses, connecting a skin of hooky riffs, tremolo surges, and punishing down-picking. Intelligent songwriting and flash-fire percussion surgically underpin this to create an unsettling cacophony of sonic friction. While tracks like “The Cradle,” “The Discord,” and “Retina” demonstrate Pillars of Cacophony’s hyper-speed technicality, cuts like “Cachexia,” “Mitosis,” and the Meshuggahian “Landscapes of Permanence” twist the formula, venturing into unpredictability with jazzy permutations and calm, contemplative sections (“Maps of Disintegration”). This is the soundtrack to inter-cellular warfare—a torrent of fast-twitch riffing and searing discordance, punctuated by pressurized blast beats, static-laced roars, and the acidic twang of bass, transporting one into a world seen only through a high-powered scope.

Paralipomena is rife with entropy, yet its multi-layered cytoskeleton maintains homeostasis. Pillars of Cacophony’s layered guitars clash and coordinate simultaneously—one flooding the airwaves with raw, unsettling dissonance, while the other focuses on calculated technicality and micro-precision picking. “Of Plagues and Fibrils” immediately delivers Paralipomena’s chemistry of chaos and precise equilibrium in its moving, shifting main palm-muted riff, infecting the listener’s brain like a disease with its immediate, powerful hooks. The drums’ complex cymbal flares and tom rolls only enhance the track’s memorability, providing badass atmosphere and tasteful technicality in equal measure. Pillars of Cacophony showcases this same momentum again in “Retina,” which pushes a Necrophagist-like tempo—particularly during its groovy double-bass sections and unidirectional picking—and “The Cradle,” where the rhythm section anchors the frenetic guitar work and furious tremolodic leads.

Ever since it dropped earlier this year, Paralipomena continues to grip me. It succeeds by concentrating sonic violence to create the ultimate soundtrack to a hidden world—one that feels as technically layered as it is immediately catchy. Pillars of Cacophony has forged an album that pairs an extreme and dystopian soundscape with the surgical authority of empirical sciences, carving a bespoke path outside the predictable confines of death metal. If you’re a fan of disso or tech-death and somehow missed Paralipomena, consider this your diagnosis and remedy that malady immediately.

Tracks to Check Out: “Of Plagues and Fibrils,” “The Cradle,” “Retina,” “The Discord.”

#2025 #AustrianMetal #DeathMetal #Meshuggah #Necrophagist #Paralipomena #PillarsOfCacophony #TechnicalDeathMetal #TeratogenRecords #TheFaceless #ThingsYouMightHaveMissed2025 #TYMHM #Ulcerate

Endonomos – Endonomos II – Enlightenment Review

By Steel Druhm

There’s something extra satisfying about gambling on a completely unknown act in the promo sump and being handsomely rewarded for the biscuit risk. Austria’s Endonomos describe themselves as “epic doom” and on their sophomore outing, Endonomos II – Enlightenment, they unveil a shockingly mature and intoxicating blend of classic doom, post-metal, and death that’s powerful, emotional, and captivating. Part Solitude Aeturnus, part Fvneral Fvkk, part Ghost Brigade and Darkest Era, Endonomos II marries doom’s past with the present in ways that feel organic and unforced, natural and logical. Cobbling together so many successful doom tropes from across multiple genre variants isn’t easy, but Endonomos forge long songs that flow effortlessly, shifting moods and textures as influences intertwine and coalesce into beautiful sadness and elegant despair. Enlightenment indeed!

You won’t wait long to be impressed either. 9-minute opener “Inversion” is a massive mission statement by Endonomos, delivering everything a doom fancier could ask for and MOAR. Beginning in classic doom style with big riffs and forlorn noodling with hints of prime Katatonia, things shift toward post-rock melodoom akin to Ghost Brigade with chillingly plaintive clean vocals scarring your soul before shifting into booming low register death roars that shake the foundations of burden. The guitars trill funerary lines and weep openly around whatever gravesite your mind manufactures and everything feels so sweetly morose. The song’s half over before you realize it, and you won’t want it to end, such is its depressive allure. Doom perfection. “Atheon Anarkhon” is darker and more dissonant with harsh edges protruding at every turn and death croaks leading the charge until despondent Patrick Walker-esque wailing vocals join the fray. This is more death doom than doom-death and it feels massive and crippling. The last few minutes truly blossom with the achingly forlorn cleans coming forward to spread grief as epic guitar lines borrow from While Heaven Wept to push the song to that next level of awesome.

My first thought upon hearing “Resolve” was that it could be a lost track from Fvneral Fvkk’s masterpiece Carnal Confessions. The way the vocals play off the despairing harmonies is very much the same and the vocals themselves are very reminiscent of the brilliant performance by Simon Schorneck (Cantor Cinedicus). Certain moments remind me of vintage Solitude Aeturnus as well and the guitar work is stunning and beautiful throughout. Ahab’s Daniel Droste provides guest vocals on “Hostile” and the mix of traditional Candlemass / Solitude Aeturnus style doom and modern flavors like Khemmis and Swallow the Sun is expertly realized for another major triumph of the broken heart. All six tracks deliver the rich, anguished goods and depression hasn’t sounded this good to me in a while. At no point do the songs feel bloated or in need of trimming though three of the six push well past 8 minutes. The album’s 48-plus minutes seem to vanish in a blip, making you feel like you lost time somewhere. That’s a sign of high-quality writing.

I’m very taken with the vocals by Lukas Haidinger. He channels a lot of genre heavyweights like Rob Lowe (Solitude Aeturnus), Krum (Darkest Era), Patrick Walker (40 Watt Sun, Warning) and Mikko Kotamäki (Swallow the Sun) and that’s fine company to find oneself in. His ability to sound despondent is a rare gift and his death vocals are top-shelf. He sells the songs like they’re sketchy junkers at a disreputable used car lot and you’ll buy in, with or without complementary undercoating. His bass work is also excellent, providing an ever-present and essential low-end rumble to the proceedings. Philipp Forster and Christoph Steinlechner bring a wealth of doom worship and technical acumen to the album, moving through the years to borrow the best bits from the biggest champions. You hear morose strumming from the Katatonia / Rapture schools sitting next to classic crunching and post-metal/post-rock minimalist wallowing and it all fuses seamlessly. Their riffs are crushing when they should be and the solos are poignant, elegant, and bewitching.

Endonomos find that elusive sweet spot between heavy and melodic and craft a collection of songs that allows them to punch far above their weight. Endonomos II – Enlightenment is easily one of the best doom albums of 2024 and one of the best of the last few years. If 2024 has yet to deliver the doom your masochistic heart longs for, this is it. Don’t miss the Endorama.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 319 kbps mp3
Label: Argonauta
Websites: endonomos.bandcamp.com | facebook.com/endonomos | instagram.com/endonomos
Releases Worldwide: September 27th, 2024

#2024 #40 #ArgonautaRecords #AustrianMetal #DarkestEra #DoomMetal #Endonomos #EndonomosIIEnlightenment #FvneralFvkk #GhostBrigade #Katatonia #Rapture #Review #Reviews #SolitudeAeturnus #SwallowTheSun #Votum

Endonomos – Endonomos II – Enlightenment Review

By Steel Druhm

There’s something extra satisfying about gambling on a completely unknown act in the promo sump and being handsomely rewarded for the biscuit risk. Austria’s Endonomos describe themselves as “epic doom” and on their sophomore outing, Endonomos II – Enlightenment, they unveil a shockingly mature and intoxicating blend of classic doom, post-metal, and death that’s powerful, emotional, and captivating. Part Solitude Aeturnus, part Fvneral Fvkk, part Ghost Brigade and Darkest Era, Endonomos II marries doom’s past with the present in ways that feel organic and unforced, natural and logical. Cobbling together so many successful doom tropes from across multiple genre variants isn’t easy, but Endonomos forge long songs that flow effortlessly, shifting moods and textures as influences intertwine and coalesce into beautiful sadness and elegant despair. Enlightenment indeed!

You won’t wait long to be impressed either. 9-minute opener “Inversion” is a massive mission statement by Endonomos, delivering everything a doom fancier could ask for and MOAR. Beginning in classic doom style with big riffs and forlorn noodling with hints of prime Katatonia, things shift toward post-rock melodoom akin to Ghost Brigade with chillingly plaintive clean vocals scarring your soul before shifting into booming low register death roars that shake the foundations of burden. The guitars trill funerary lines and weep openly around whatever gravesite your mind manufactures and everything feels so sweetly morose. The song’s half over before you realize it, and you won’t want it to end, such is its depressive allure. Doom perfection. “Atheon Anarkhon” is darker and more dissonant with harsh edges protruding at every turn and death croaks leading the charge until despondent Patrick Walker-esque wailing vocals join the fray. This is more death doom than doom-death and it feels massive and crippling. The last few minutes truly blossom with the achingly forlorn cleans coming forward to spread grief as epic guitar lines borrow from While Heaven Wept to push the song to that next level of awesome.

My first thought upon hearing “Resolve” was that it could be a lost track from Fvneral Fvkk’s masterpiece Carnal Confessions. The way the vocals play off the despairing harmonies is very much the same and the vocals themselves are very reminiscent of the brilliant performance by Simon Schorneck (Cantor Cinedicus). Certain moments remind me of vintage Solitude Aeturnus as well and the guitar work is stunning and beautiful throughout. Ahab’s Daniel Droste provides guest vocals on “Hostile” and the mix of traditional Candlemass / Solitude Aeturnus style doom and modern flavors like Khemmis and Swallow the Sun is expertly realized for another major triumph of the broken heart. All six tracks deliver the rich, anguished goods and depression hasn’t sounded this good to me in a while. At no point do the songs feel bloated or in need of trimming though three of the six push well past 8 minutes. The album’s 48-plus minutes seem to vanish in a blip, making you feel like you lost time somewhere. That’s a sign of high-quality writing.

I’m very taken with the vocals by Lukas Haidinger. He channels a lot of genre heavyweights like Rob Lowe (Solitude Aeturnus), Krum (Darkest Era), Patrick Walker (40 Watt Sun, Warning) and Mikko Kotamäki (Swallow the Sun) and that’s fine company to find oneself in. His ability to sound despondent is a rare gift and his death vocals are top-shelf. He sells the songs like they’re sketchy junkers at a disreputable used car lot and you’ll buy in, with or without complementary undercoating. His bass work is also excellent, providing an ever-present and essential low-end rumble to the proceedings. Philipp Forster and Christoph Steinlechner bring a wealth of doom worship and technical acumen to the album, moving through the years to borrow the best bits from the biggest champions. You hear morose strumming from the Katatonia / Rapture schools sitting next to classic crunching and post-metal/post-rock minimalist wallowing and it all fuses seamlessly. Their riffs are crushing when they should be and the solos are poignant, elegant, and bewitching.

Endonomos find that elusive sweet spot between heavy and melodic and craft a collection of songs that allows them to punch far above their weight. Endonomos II – Enlightenment is easily one of the best doom albums of 2024 and one of the best of the last few years. If 2024 has yet to deliver the doom your masochistic heart longs for, this is it. Don’t miss the Endorama.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 319 kbps mp3
Label: Argonauta
Websites: endonomos.bandcamp.com | facebook.com/endonomos | instagram.com/endonomos
Releases Worldwide: September 27th, 2024

#2024 #40 #ArgonautaRecords #AustrianMetal #DarkestEra #DoomMetal #Endonomos #EndonomosIIEnlightenment #FvneralFvkk #GhostBrigade #Katatonia #Rapture #Review #Reviews #SolitudeAeturnus #SwallowTheSun #Votum

Endonomos – Endonomos II – Enlightenment Review

By Steel Druhm

There’s something extra satisfying about gambling on a completely unknown act in the promo sump and being handsomely rewarded for the biscuit risk. Austria’s Endonomos describe themselves as “epic doom” and on their sophomore outing, Endonomos II – Enlightenment, they unveil a shockingly mature and intoxicating blend of classic doom, post-metal, and death that’s powerful, emotional, and captivating. Part Solitude Aeturnus, part Fvneral Fvkk, part Ghost Brigade and Darkest Era, Endonomos II marries doom’s past with the present in ways that feel organic and unforced, natural and logical. Cobbling together so many successful doom tropes from across multiple genre variants isn’t easy, but Endonomos forge long songs that flow effortlessly, shifting moods and textures as influences intertwine and coalesce into beautiful sadness and elegant despair. Enlightenment indeed!

You won’t wait long to be impressed either. 9-minute opener “Inversion” is a massive mission statement by Endonomos, delivering everything a doom fancier could ask for and MOAR. Beginning in classic doom style with big riffs and forlorn noodling with hints of prime Katatonia, things shift toward post-rock melodoom akin to Ghost Brigade with chillingly plaintive clean vocals scarring your soul before shifting into booming low register death roars that shake the foundations of burden. The guitars trill funerary lines and weep openly around whatever gravesite your mind manufactures and everything feels so sweetly morose. The song’s half over before you realize it, and you won’t want it to end, such is its depressive allure. Doom perfection. “Atheon Anarkhon” is darker and more dissonant with harsh edges protruding at every turn and death croaks leading the charge until despondent Patrick Walker-esque wailing vocals join the fray. This is more death doom than doom-death and it feels massive and crippling. The last few minutes truly blossom with the achingly forlorn cleans coming forward to spread grief as epic guitar lines borrow from While Heaven Wept to push the song to that next level of awesome.

My first thought upon hearing “Resolve” was that it could be a lost track from Fvneral Fvkk’s masterpiece Carnal Confessions. The way the vocals play off the despairing harmonies is very much the same and the vocals themselves are very reminiscent of the brilliant performance by Simon Schorneck (Cantor Cinedicus). Certain moments remind me of vintage Solitude Aeturnus as well and the guitar work is stunning and beautiful throughout. Ahab’s Daniel Droste provides guest vocals on “Hostile” and the mix of traditional Candlemass / Solitude Aeturnus style doom and modern flavors like Khemmis and Swallow the Sun is expertly realized for another major triumph of the broken heart. All six tracks deliver the rich, anguished goods and depression hasn’t sounded this good to me in a while. At no point do the songs feel bloated or in need of trimming though three of the six push well past 8 minutes. The album’s 48-plus minutes seem to vanish in a blip, making you feel like you lost time somewhere. That’s a sign of high-quality writing.

I’m very taken with the vocals by Lukas Haidinger. He channels a lot of genre heavyweights like Rob Lowe (Solitude Aeturnus), Krum (Darkest Era), Patrick Walker (40 Watt Sun, Warning) and Mikko Kotamäki (Swallow the Sun) and that’s fine company to find oneself in. His ability to sound despondent is a rare gift and his death vocals are top-shelf. He sells the songs like they’re sketchy junkers at a disreputable used car lot and you’ll buy in, with or without complementary undercoating. His bass work is also excellent, providing an ever-present and essential low-end rumble to the proceedings. Philipp Forster and Christoph Steinlechner bring a wealth of doom worship and technical acumen to the album, moving through the years to borrow the best bits from the biggest champions. You hear morose strumming from the Katatonia / Rapture schools sitting next to classic crunching and post-metal/post-rock minimalist wallowing and it all fuses seamlessly. Their riffs are crushing when they should be and the solos are poignant, elegant, and bewitching.

Endonomos find that elusive sweet spot between heavy and melodic and craft a collection of songs that allows them to punch far above their weight. Endonomos II – Enlightenment is easily one of the best doom albums of 2024 and one of the best of the last few years. If 2024 has yet to deliver the doom your masochistic heart longs for, this is it. Don’t miss the Endorama.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 319 kbps mp3
Label: Argonauta
Websites: endonomos.bandcamp.com | facebook.com/endonomos | instagram.com/endonomos
Releases Worldwide: September 27th, 2024

#2024 #40 #ArgonautaRecords #AustrianMetal #DarkestEra #DoomMetal #Endonomos #EndonomosIIEnlightenment #FvneralFvkk #GhostBrigade #Katatonia #Rapture #Review #Reviews #SolitudeAeturnus #SwallowTheSun #Votum