#autopsy — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #autopsy, aggregated by home.social.
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Britské Listy:
"obchodování s lidskými orgány Palestinců ze strany Izraele" -- "více než tři desetiletí důkazů o tom, že izraelští lékaři odebírají orgány Palestincům v přímém rozporu s mezinárodním právem" -- "také k prodeji a zisku" -- "lékařští odborníci našli důkazy o krádežích orgánů" -- "rohovek, jakož i dalších životně důležitých orgánů, jako jsou játra, ledviny a srdce" -- "(IOF) byla viděna, jak odváží desítky těl z hrobů a ulic v okolí lékařského komplexu Al-Shifa a indonéské nemocnice v severní části pásma Gazy" -- "Obavy z krádeží orgánů z mrtvol vznesl Euro-Med Monitor" -- "americká antropoložka a aktivistka Nancy Scheper-Hughes rozhodla prošetřit to, co nazvala „rozvojem organizovaných transplantních zájezdů provozovaných podsvětními zprostředkovateli“ " -- "otevřeně přiznal, že při pitvách odebíral z těl kůži, kosti, srdeční chlopně, rohovky a další lidské tkáně, a uvedl, že rodiny s pitvami souhlasily, ale o těchto krádežích nebyly informovány." -- "se chlubil tím, co dělal" -- "Orgány se prodávaly komukoli"
#organharvesting #israel #palestine #genocide #gaza #apartheid #organtrafficking #illegalorganharvesting #organtransplant #organtransplants #contempt #illegalorgantransplant #illegalorgantransplants #corpse
#organ #organs #blisty #britskelisty #britskélisty #organmarket #iof #idf #doctors #evidence #theft #organtheft #organrobbery #transplantation #transplant #cornea #liver #kidney #heart #grave #graves #massgrave #massgraves #alshifa #indonesianhospital #graverobbery #organizedcrime #autopsy #skin #bones #heartvalve #humantissue -
Britské Listy:
"obchodování s lidskými orgány Palestinců ze strany Izraele" -- "více než tři desetiletí důkazů o tom, že izraelští lékaři odebírají orgány Palestincům v přímém rozporu s mezinárodním právem" -- "také k prodeji a zisku" -- "lékařští odborníci našli důkazy o krádežích orgánů" -- "rohovek, jakož i dalších životně důležitých orgánů, jako jsou játra, ledviny a srdce" -- "(IOF) byla viděna, jak odváží desítky těl z hrobů a ulic v okolí lékařského komplexu Al-Shifa a indonéské nemocnice v severní části pásma Gazy" -- "Obavy z krádeží orgánů z mrtvol vznesl Euro-Med Monitor" -- "americká antropoložka a aktivistka Nancy Scheper-Hughes rozhodla prošetřit to, co nazvala „rozvojem organizovaných transplantních zájezdů provozovaných podsvětními zprostředkovateli“ " -- "otevřeně přiznal, že při pitvách odebíral z těl kůži, kosti, srdeční chlopně, rohovky a další lidské tkáně, a uvedl, že rodiny s pitvami souhlasily, ale o těchto krádežích nebyly informovány." -- "se chlubil tím, co dělal" -- "Orgány se prodávaly komukoli"
#organharvesting #israel #palestine #genocide #gaza #apartheid #organtrafficking #illegalorganharvesting #organtransplant #organtransplants #contempt #illegalorgantransplant #illegalorgantransplants #corpse
#organ #organs #blisty #britskelisty #britskélisty #organmarket #iof #idf #doctors #evidence #theft #organtheft #organrobbery #transplantation #transplant #cornea #liver #kidney #heart #grave #graves #massgrave #massgraves #alshifa #indonesianhospital #graverobbery #organizedcrime #autopsy #skin #bones #heartvalve #humantissue -
Britské Listy:
"obchodování s lidskými orgány Palestinců ze strany Izraele" -- "více než tři desetiletí důkazů o tom, že izraelští lékaři odebírají orgány Palestincům v přímém rozporu s mezinárodním právem" -- "také k prodeji a zisku" -- "lékařští odborníci našli důkazy o krádežích orgánů" -- "rohovek, jakož i dalších životně důležitých orgánů, jako jsou játra, ledviny a srdce" -- "(IOF) byla viděna, jak odváží desítky těl z hrobů a ulic v okolí lékařského komplexu Al-Shifa a indonéské nemocnice v severní části pásma Gazy" -- "Obavy z krádeží orgánů z mrtvol vznesl Euro-Med Monitor" -- "americká antropoložka a aktivistka Nancy Scheper-Hughes rozhodla prošetřit to, co nazvala „rozvojem organizovaných transplantních zájezdů provozovaných podsvětními zprostředkovateli“ " -- "otevřeně přiznal, že při pitvách odebíral z těl kůži, kosti, srdeční chlopně, rohovky a další lidské tkáně, a uvedl, že rodiny s pitvami souhlasily, ale o těchto krádežích nebyly informovány." -- "se chlubil tím, co dělal" -- "Orgány se prodávaly komukoli"
#organharvesting #israel #palestine #genocide #gaza #apartheid #organtrafficking #illegalorganharvesting #organtransplant #organtransplants #contempt #illegalorgantransplant #illegalorgantransplants #corpse
#organ #organs #blisty #britskelisty #britskélisty #organmarket #iof #idf #doctors #evidence #theft #organtheft #organrobbery #transplantation #transplant #cornea #liver #kidney #heart #grave #graves #massgrave #massgraves #alshifa #indonesianhospital #graverobbery #organizedcrime #autopsy #skin #bones #heartvalve #humantissue -
Britské Listy:
"obchodování s lidskými orgány Palestinců ze strany Izraele" -- "více než tři desetiletí důkazů o tom, že izraelští lékaři odebírají orgány Palestincům v přímém rozporu s mezinárodním právem" -- "také k prodeji a zisku" -- "lékařští odborníci našli důkazy o krádežích orgánů" -- "rohovek, jakož i dalších životně důležitých orgánů, jako jsou játra, ledviny a srdce" -- "(IOF) byla viděna, jak odváží desítky těl z hrobů a ulic v okolí lékařského komplexu Al-Shifa a indonéské nemocnice v severní části pásma Gazy" -- "Obavy z krádeží orgánů z mrtvol vznesl Euro-Med Monitor" -- "americká antropoložka a aktivistka Nancy Scheper-Hughes rozhodla prošetřit to, co nazvala „rozvojem organizovaných transplantních zájezdů provozovaných podsvětními zprostředkovateli“ " -- "otevřeně přiznal, že při pitvách odebíral z těl kůži, kosti, srdeční chlopně, rohovky a další lidské tkáně, a uvedl, že rodiny s pitvami souhlasily, ale o těchto krádežích nebyly informovány." -- "se chlubil tím, co dělal" -- "Orgány se prodávaly komukoli"
#organharvesting #israel #palestine #genocide #gaza #apartheid #organtrafficking #illegalorganharvesting #organtransplant #organtransplants #contempt #illegalorgantransplant #illegalorgantransplants #corpse
#organ #organs #blisty #britskelisty #britskélisty #organmarket #iof #idf #doctors #evidence #theft #organtheft #organrobbery #transplantation #transplant #cornea #liver #kidney #heart #grave #graves #massgrave #massgraves #alshifa #indonesianhospital #graverobbery #organizedcrime #autopsy #skin #bones #heartvalve #humantissue -
Britské Listy:
"obchodování s lidskými orgány Palestinců ze strany Izraele" -- "více než tři desetiletí důkazů o tom, že izraelští lékaři odebírají orgány Palestincům v přímém rozporu s mezinárodním právem" -- "také k prodeji a zisku" -- "lékařští odborníci našli důkazy o krádežích orgánů" -- "rohovek, jakož i dalších životně důležitých orgánů, jako jsou játra, ledviny a srdce" -- "(IOF) byla viděna, jak odváží desítky těl z hrobů a ulic v okolí lékařského komplexu Al-Shifa a indonéské nemocnice v severní části pásma Gazy" -- "Obavy z krádeží orgánů z mrtvol vznesl Euro-Med Monitor" -- "americká antropoložka a aktivistka Nancy Scheper-Hughes rozhodla prošetřit to, co nazvala „rozvojem organizovaných transplantních zájezdů provozovaných podsvětními zprostředkovateli“ " -- "otevřeně přiznal, že při pitvách odebíral z těl kůži, kosti, srdeční chlopně, rohovky a další lidské tkáně, a uvedl, že rodiny s pitvami souhlasily, ale o těchto krádežích nebyly informovány." -- "se chlubil tím, co dělal" -- "Orgány se prodávaly komukoli"
#organharvesting #israel #palestine #genocide #gaza #apartheid #organtrafficking #illegalorganharvesting #organtransplant #organtransplants #contempt #illegalorgantransplant #illegalorgantransplants #corpse
#organ #organs #blisty #britskelisty #britskélisty #organmarket #iof #idf #doctors #evidence #theft #organtheft #organrobbery #transplantation #transplant #cornea #liver #kidney #heart #grave #graves #massgrave #massgraves #alshifa #indonesianhospital #graverobbery #organizedcrime #autopsy #skin #bones #heartvalve #humantissue -
Viogression – Thaumaturgic Veil Review
By Angry Metal Guy
By: Nameless_n00b_602
For every well-known, successful band, countless similar acts haven’t caught the same break or enjoyed the same recognition.1 For every Thou, there’s an Indian; every Abigail Williams, a Crepuscle; and every Obituary, a Viogression. One of the original but unsung stalwarts of death metal’s earliest days, Viogression formed in 1988 and released a well-received debut, Expound & Exhort, in 1991. The 1992 follow-up, Passage, failed to meet expectations, leading the band to take a three-decade hiatus. Their third full-length, 2022’s 3rd Stage of Decay, was praised for its old-school core and modern flair. Three years and a major lineup shuffle later, they return with their fourth full-length and first self-release, Thaumaturgic Veil. Promising a transcendent discourse on the interconnectivity of infinity and individuality, can this new version of Viogression maintain its momentum and deliver?
Like the good doctor, Vickie Franks, Viogression stitches together the genre’s most recognizable touchstones, but parts of themselves peek through, distinct from their influences. Sole remaining founder and vocalist, Brian DeNeffe, exhumes Obituary and Pestilence for his unintelligible rasps and howls, but employs impressive gutturals and layered screams of his own on “Vulnus Sclopetarium” and “Summon.” Guitarists Lief Larson and Johnathon Ibarra evoke the doomy vibe and disorienting, whip-crack tempo shifts of Autopsy and Asphyx (“Jinx,” “Light Extinguisher”), but the western dust on “Superposition” belongs to Viogression alone. An uncharacteristically twangy chorus and heavy distortion build an atmosphere for a clean, soulful guitar to cut through. Larson, Ibarra, and drummer Erik Schultek halve and double their tempos on “Renumeration” to create a pace both consistent and in flux. Punky album high point, “Pummeled,” sees DeNeffe acting as a rare counterpoint for a jazz-infused solo.2 These moments showcase the band’s excellent synthesis of influence and individuality when the stitches hold and the heart pumps strongly.
But the stitches don’t always hold; Thaumaturgic Veil suffers from indiscretionary inclusion, or poor compositional choices. Bassist Jason Hellman provides Cannibal Corpse-esque hooks (“Jinx,” “Travesty öv Darkness”) and a palpable heft to the album, but his performance often feels like parody. The opening basslines of “Superposition” and “As the Light Fades” plod and meander in ways that recall the tongue-in-cheek parts of Green Day’s catalogue. A recurring nasally guitar tone tries to instill unease but is instead repetitive and annoying (“Jinx,” “As the Light Fades”). “Eaten by Flies” invokes Polka and, like “Superposition” and “Summon,” is paratactical in its lyrical delivery, imitating amateur slam poetry. This disharmonious construction hamstrings Viogression’s ability to cultivate the philosophical and contemplative tone their subject matter requires.
Even with more consistent songwriting, Thaumaturgic Veil would still feel stitched together and disjointed. The album presents less as a coherent work and more as a series of vignettes. Each proper track (save closer, “Light Extinguisher”) is paired with an intro, giving the sensation of moving from painting to painting in a gallery rather than viewing one grand tapestry. It’s an interesting idea, but it fails for three reasons. First, these intros don’t bleed into their songs. I struggled to find a correlation in these pairings, whether musically, thematically, or lyrically. Second, without stronger connective tissue, these intros only add bloat to a relatively lean record.3 Third, and most damning, they prohibit the listener from building any momentum throughout Thaumaturgic Veil. This start-stop-start-stop structure makes the album feel twice as long as it is and turns every spin into a test of endurance.
While I can applaud the ambition of Thaumaturgic Veil, the execution ultimately falls short. “Pummeled,” “Renumeration,” and “Vulnus Sclopetarium” show that Viogression has the chops to write and perform a great, concise album, but uneven songwriting quality and an interrupted flow mar what could have been a prime offering from the old guard. Either of these flaws in isolation would have been manageable, but taken together, their impact compounds. There’s potential here, and with tighter threading and a more cohesive structure, I have no doubt Viogression could achieve the recognition they deserve.
Rating: 2.0/5.0
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Self-Released
Websites: viogression.info | Bandcamp | Instagram | Facebook
Releases Worldwide: July 11th, 2025#20 #2025 #AbigailWilliams #Asphyx #Autopsy #Autospy #CannibalCoprse #CannibalCorpse #Crepuscle #DeathMetal #GreenDay #Independent #Indian #Jul25 #Obituary #Pestilence #Review #Reviews #SelfRelease #ThaumaturgicVeil #Viogression
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Viogression – Thaumaturgic Veil Review
By Angry Metal Guy
By: Nameless_n00b_602
For every well-known, successful band, countless similar acts haven’t caught the same break or enjoyed the same recognition.1 For every Thou, there’s an Indian; every Abigail Williams, a Crepuscle; and every Obituary, a Viogression. One of the original but unsung stalwarts of death metal’s earliest days, Viogression formed in 1988 and released a well-received debut, Expound & Exhort, in 1991. The 1992 follow-up, Passage, failed to meet expectations, leading the band to take a three-decade hiatus. Their third full-length, 2022’s 3rd Stage of Decay, was praised for its old-school core and modern flair. Three years and a major lineup shuffle later, they return with their fourth full-length and first self-release, Thaumaturgic Veil. Promising a transcendent discourse on the interconnectivity of infinity and individuality, can this new version of Viogression maintain its momentum and deliver?
Like the good doctor, Vickie Franks, Viogression stitches together the genre’s most recognizable touchstones, but parts of themselves peek through, distinct from their influences. Sole remaining founder and vocalist, Brian DeNeffe, exhumes Obituary and Pestilence for his unintelligible rasps and howls, but employs impressive gutturals and layered screams of his own on “Vulnus Sclopetarium” and “Summon.” Guitarists Lief Larson and Johnathon Ibarra evoke the doomy vibe and disorienting, whip-crack tempo shifts of Autopsy and Asphyx (“Jinx,” “Light Extinguisher”), but the western dust on “Superposition” belongs to Viogression alone. An uncharacteristically twangy chorus and heavy distortion build an atmosphere for a clean, soulful guitar to cut through. Larson, Ibarra, and drummer Erik Schultek halve and double their tempos on “Renumeration” to create a pace both consistent and in flux. Punky album high point, “Pummeled,” sees DeNeffe acting as a rare counterpoint for a jazz-infused solo.2 These moments showcase the band’s excellent synthesis of influence and individuality when the stitches hold and the heart pumps strongly.
But the stitches don’t always hold; Thaumaturgic Veil suffers from indiscretionary inclusion, or poor compositional choices. Bassist Jason Hellman provides Cannibal Corpse-esque hooks (“Jinx,” “Travesty öv Darkness”) and a palpable heft to the album, but his performance often feels like parody. The opening basslines of “Superposition” and “As the Light Fades” plod and meander in ways that recall the tongue-in-cheek parts of Green Day’s catalogue. A recurring nasally guitar tone tries to instill unease but is instead repetitive and annoying (“Jinx,” “As the Light Fades”). “Eaten by Flies” invokes Polka and, like “Superposition” and “Summon,” is paratactical in its lyrical delivery, imitating amateur slam poetry. This disharmonious construction hamstrings Viogression’s ability to cultivate the philosophical and contemplative tone their subject matter requires.
Even with more consistent songwriting, Thaumaturgic Veil would still feel stitched together and disjointed. The album presents less as a coherent work and more as a series of vignettes. Each proper track (save closer, “Light Extinguisher”) is paired with an intro, giving the sensation of moving from painting to painting in a gallery rather than viewing one grand tapestry. It’s an interesting idea, but it fails for three reasons. First, these intros don’t bleed into their songs. I struggled to find a correlation in these pairings, whether musically, thematically, or lyrically. Second, without stronger connective tissue, these intros only add bloat to a relatively lean record.3 Third, and most damning, they prohibit the listener from building any momentum throughout Thaumaturgic Veil. This start-stop-start-stop structure makes the album feel twice as long as it is and turns every spin into a test of endurance.
While I can applaud the ambition of Thaumaturgic Veil, the execution ultimately falls short. “Pummeled,” “Renumeration,” and “Vulnus Sclopetarium” show that Viogression has the chops to write and perform a great, concise album, but uneven songwriting quality and an interrupted flow mar what could have been a prime offering from the old guard. Either of these flaws in isolation would have been manageable, but taken together, their impact compounds. There’s potential here, and with tighter threading and a more cohesive structure, I have no doubt Viogression could achieve the recognition they deserve.
Rating: 2.0/5.0
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Self-Released
Websites: viogression.info | Bandcamp | Instagram | Facebook
Releases Worldwide: July 11th, 2025#20 #2025 #AbigailWilliams #Asphyx #Autopsy #Autospy #CannibalCoprse #CannibalCorpse #Crepuscle #DeathMetal #GreenDay #Independent #Indian #Jul25 #Obituary #Pestilence #Review #Reviews #SelfRelease #ThaumaturgicVeil #Viogression
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Clairvoyance – Chasm of Immurement Review
By Maddog
Yes, I picked this up entirely because of its cover. Girardi’s gorgeous spiral of tombstones and skeletons conjures vintage highbrow death metal of the likes of Death. The title Chasm of Immurement grasps at brutal badassery in the vein of Suffocation’s Effigy of the Forgotten. Clairvoyance’s logo remains indecipherable even if you know the band’s name, suggesting kvltness galore. The promo materials describe lyrics that address the isolating effects of depression, foreshadowing a harrowing listen. In isolation, each of these judgments strikes at the truth but glances off. Chasm of Immurement is the debut album from Poland’s Clairvoyance, an unknown band comprising unknown musicians. Lying at the intersection of brainless death-doom and brainiac digressions, Chasm of Immurement is a powerful foray into death metal.
A first pass through Chasm of Immurement suggests primitive death metal with a dollop of doom. “Eternal Blaze” opens the album with a bang that recalls Faceless Burial’s Speciation. After grabbing me by the anus, Clairvoyance maintains its hold by alternating between mid-range Obituary riffs and lurching Autopsy-style death-doom. These lowbrow highlights feel both as slimy and evolved as an amoeba. With both its riffs and its guitar tone, Chasm of Immurement leaves a palpable layer of grime that justifies multiple colonoscopies. “Blood Divine” emerges as a late gem through riffs that are gory enough to draw blood and enormous enough to evoke Immolation. This isn’t isolated to a subset of the tracks; throughout its runtime, Chasm of Immurement alternates between a sixteen-wheeler and a used minivan without dulling its fun.
On your fifth listen, Clairvoyance’s experimental bent comes into view. The same doomy riffs you’d heard before reveal spooky foreground melodies (“Reign of Silence”). The same track that you’d interpreted as a caveman ditty blossoms in baffling melodic directions in its second half (“Eternal Blaze”). The same song that introduced itself as by-the-books death metal culminates in a monstrous doomy climax (“Fleshmachine”). The same sections that you’d dismissed as repetitive transform into home bases for grimy excursions, interfering with your sleep schedule and your family obligations. Adorning hefty riffs with sinister melodies, Clairvoyance recalls both Lovecraft’s Azathoth and Morbid Angel’s Trey Azagthoth. It took me a while to realize that I was doing Chasm of Immurement an injustice by pigeonholing it into old-school death metal. It is indeed that, but it’s so much more.
Clairvoyance’s varying ambitions both empower and dilute each other. Spanning 34 minutes across 6 tracks, Chasm of Immurement is a concise collection of lengthy tracks. Some of its pieces wander, especially at their simplest. For instance, despite being the second shortest track, “Blood Divine” feels lengthy because of its dearth of creative ideas. Similarly, the shortest song, “Eternal Blaze,” suffers from riffwork that’s decent but unimaginative, before eventually redeeming itself with more variety. Even so, these flubs are rare. The six-minute “Hymn of the Befouled” is the starkest counterexample, balancing length with girth by combining a vicious off-kilter main riff with melodic escapades that hold me rapt. Parts of Chasm of Immurement could do a better job of remaining engaging, but it’s hardly a fatal flaw.
Balancing thoughtful death metal and anti-intellectual death-doom, Clairvoyance’s debut is as weird as it is powerful. Neanderthals who need their fix should look here, as Chasm of Immurement’s crushing death metal riffs rival the best of old-school death metal. Conversely, fans of Morbid Angel’s wonkiness or Tomb Mold’s shapeshifting shenanigans will find just as much to love here. Chasm of Immurement is unlikely to dethrone Faithxtractor’s Loathing and the Noose atop my 2025 death metal ranking, as its occasional meandering loses my interest. But it’s a promising debut from a crew of talented Polish fiends.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Carbonized Records
Websites: carbonizedrecords.bandcamp.com | facebook.com/clairvoyancedeathmetal
Releases Worldwide: July 18th, 2025#2025 #35 #Autopsy #BrutalDeath #BrutalDeathMetal #CarbonizedRecords #ChasmOfImmurement #Clairvoyance #Death #DeathDoom #DeathMetal #DeathDoomMetal #FacelessBurial #Immolation #Jul25 #MorbidAngel #Obituary #PolishMetal #ProgDeath #ProgressiveDeath #ProgressiveDeathMetal #Review #Reviews #Suffocation #TombMold
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Clairvoyance – Chasm of Immurement Review
By Maddog
Yes, I picked this up entirely because of its cover. Girardi’s gorgeous spiral of tombstones and skeletons conjures vintage highbrow death metal of the likes of Death. The title Chasm of Immurement grasps at brutal badassery in the vein of Suffocation’s Effigy of the Forgotten. Clairvoyance’s logo remains indecipherable even if you know the band’s name, suggesting kvltness galore. The promo materials describe lyrics that address the isolating effects of depression, foreshadowing a harrowing listen. In isolation, each of these judgments strikes at the truth but glances off. Chasm of Immurement is the debut album from Poland’s Clairvoyance, an unknown band comprising unknown musicians. Lying at the intersection of brainless death-doom and brainiac digressions, Chasm of Immurement is a powerful foray into death metal.
A first pass through Chasm of Immurement suggests primitive death metal with a dollop of doom. “Eternal Blaze” opens the album with a bang that recalls Faceless Burial’s Speciation. After grabbing me by the anus, Clairvoyance maintains its hold by alternating between mid-range Obituary riffs and lurching Autopsy-style death-doom. These lowbrow highlights feel both as slimy and evolved as an amoeba. With both its riffs and its guitar tone, Chasm of Immurement leaves a palpable layer of grime that justifies multiple colonoscopies. “Blood Divine” emerges as a late gem through riffs that are gory enough to draw blood and enormous enough to evoke Immolation. This isn’t isolated to a subset of the tracks; throughout its runtime, Chasm of Immurement alternates between a sixteen-wheeler and a used minivan without dulling its fun.
On your fifth listen, Clairvoyance’s experimental bent comes into view. The same doomy riffs you’d heard before reveal spooky foreground melodies (“Reign of Silence”). The same track that you’d interpreted as a caveman ditty blossoms in baffling melodic directions in its second half (“Eternal Blaze”). The same song that introduced itself as by-the-books death metal culminates in a monstrous doomy climax (“Fleshmachine”). The same sections that you’d dismissed as repetitive transform into home bases for grimy excursions, interfering with your sleep schedule and your family obligations. Adorning hefty riffs with sinister melodies, Clairvoyance recalls both Lovecraft’s Azathoth and Morbid Angel’s Trey Azagthoth. It took me a while to realize that I was doing Chasm of Immurement an injustice by pigeonholing it into old-school death metal. It is indeed that, but it’s so much more.
Clairvoyance’s varying ambitions both empower and dilute each other. Spanning 34 minutes across 6 tracks, Chasm of Immurement is a concise collection of lengthy tracks. Some of its pieces wander, especially at their simplest. For instance, despite being the second shortest track, “Blood Divine” feels lengthy because of its dearth of creative ideas. Similarly, the shortest song, “Eternal Blaze,” suffers from riffwork that’s decent but unimaginative, before eventually redeeming itself with more variety. Even so, these flubs are rare. The six-minute “Hymn of the Befouled” is the starkest counterexample, balancing length with girth by combining a vicious off-kilter main riff with melodic escapades that hold me rapt. Parts of Chasm of Immurement could do a better job of remaining engaging, but it’s hardly a fatal flaw.
Balancing thoughtful death metal and anti-intellectual death-doom, Clairvoyance’s debut is as weird as it is powerful. Neanderthals who need their fix should look here, as Chasm of Immurement’s crushing death metal riffs rival the best of old-school death metal. Conversely, fans of Morbid Angel’s wonkiness or Tomb Mold’s shapeshifting shenanigans will find just as much to love here. Chasm of Immurement is unlikely to dethrone Faithxtractor’s Loathing and the Noose atop my 2025 death metal ranking, as its occasional meandering loses my interest. But it’s a promising debut from a crew of talented Polish fiends.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Carbonized Records
Websites: carbonizedrecords.bandcamp.com | facebook.com/clairvoyancedeathmetal
Releases Worldwide: July 18th, 2025#2025 #35 #Autopsy #BrutalDeath #BrutalDeathMetal #CarbonizedRecords #ChasmOfImmurement #Clairvoyance #Death #DeathDoom #DeathMetal #DeathDoomMetal #FacelessBurial #Immolation #Jul25 #MorbidAngel #Obituary #PolishMetal #ProgDeath #ProgressiveDeath #ProgressiveDeathMetal #Review #Reviews #Suffocation #TombMold
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Disembodiment – Spiral Crypts Review
By Steel Druhm
It’s been a minute since I got my iron claws stuck into some rancid, cesspool-grade death metal, and I was badly jonesing for some. Along comes Quebec-based filth-death crew Disembodiment with their Spiral Crypts debut, and they put Steel right back in the rot pit! Featuring a former member of Serpent Corpse, these canucks bring the seeping offal to the public toilets with nary an ounce of excrement left unsmeared. Spiral Crypts is disgusting caverncore awfulness for the caveman death setters, and you’ll feel the toxic grime and gunk accumulating in your pores before you get through the first song. It’s every bit the unnatural mating of Incantation with Autopsy and early Tomb Mold, with bits of Cannibal Corpse and Suffocation stuck in the soft serve like corn. But is an unapologetic scuzz-bucket puke product enough to sell a cynical deathhead on what Disembodiment is hawking? Let’s dive in!
The album opens appropriately with the sounds of something wet leaking somewhere sticky as flies buzz and a woman whimpers and screams in abject horror. Soon the band shows us why, as they kick the basement door in and proceed to put the “fist” in fistula on “Morbid Infestation.” It’s chuggy OSDM with enough scab and pus on the sound profile to put off all but the twisted. The tempos skew wildly from doomy, oppressive plods and blasty, thrash explosions that reek of the late 80s/early 90s death landmarks, and at times, little strains of vintage Death surface from the primordial ooze. It’s not reinventing the wheel, but it’s gumming up the rotors with lots of raw sewage. The riffs are spicy and interesting, and the vocals approximate an overworked garbage disposal trying to process an entire Christmas ham. It’s a shitshow, but one you can’t look away from. The band demonstrates a bit more range on “Stygian Overture,” playing with mood and tempo for a more expansive sound, making sure the rubber boot never comes too far off the trachea as they slow things down and showcase impressive riff-sense. What’s most entertaining is the way the band tries to be more “proggy” while the vocalist seems to devolve into something even less human.
My favorite moment comes on “Larval,” where all the maggots come home to roost. This one kicks off with an insanely heavy, utterly brainless chug stomp that will flatten your ass. Those chug grooves are heavy enough to decimate a concrete bunker, and you will feel yourself regress to your most apeish nature as you blast this one. While some tracks hit harder than others, none disappoint or leave you feeling clean and safe spacey. Every tune is infused with swampy but sharp riffing and enough tempo shifts to shake your IQ downward several points. At a very reasonable 30 minutes, Disembodiment know that too much of a rancid thing may lead to cesspool fatigue, so things go down the drain before you retch up any organs you might really need. The production is a master class in muck, crust, sleaze and revoltingness. The guitar tons is nasty as fook, and the bass is booming and oppressive. My only complaint is that there are skips in the master where it sounds like someone cut a few seconds of the song out entirely. It only happens a few times, but it’s weird and disruptive.
Mathieu Breton is credited as the lead voKillizer, and he does a convincing job of sounding like he’s hurling up the biggest, wettest loogey-woogey in the history of mankind. He’s perfectly vile and repellant, and I love everything he does. Guitarist Chris unleashes a vast collection of scathing, scouring riffs and makes Spiral Crypts an exceptionally riffy death metal platter. His style is heavily grounded in the Incantation / Autopsy school but he wanders into the realms of Death and Morbid Angel as well. He has a great handle on atmosphere and mood, and he can craft a creepy doom riff that makes you feel legitimately uneasy. This is a crew that knows how to snake a shitter.
Spiral Crypts is one of the those fucking disgusting OSDM albums you hear and love on the very first salvo, and it offers everything you could want from this unclean, unsanitary style. Disembodiment are now on my radar and I’m eager to hear what they dump on the floor next. Someone wise once said, in a world of shit, be the grossest turd in the bowl, That’s the Disembodiment way. Get your face in this crawlspace and huff deeply.
Rating: 3.5/5.0
DR: | Format Reviewed: 320 kbps mp3
Label: Everlasting Spew
Websites: facebook.com/disembodimentdeath | instagram.com/disembodimentdeath
Releases Worldwide: July 11th, 2025#2025 #35 #Autopsy #CanadianMetal #DeathMetal #Disembodiment #EverlastingSpewRecords #Incantation #Jul25 #Review #SpiralCrypts #TombMold
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Disembodiment – Spiral Crypts Review
By Steel Druhm
It’s been a minute since I got my iron claws stuck into some rancid, cesspool-grade death metal, and I was badly jonesing for some. Along comes Quebec-based filth-death crew Disembodiment with their Spiral Crypts debut, and they put Steel right back in the rot pit! Featuring a former member of Serpent Corpse, these canucks bring the seeping offal to the public toilets with nary an ounce of excrement left unsmeared. Spiral Crypts is disgusting caverncore awfulness for the caveman death setters, and you’ll feel the toxic grime and gunk accumulating in your pores before you get through the first song. It’s every bit the unnatural mating of Incantation with Autopsy and early Tomb Mold, with bits of Cannibal Corpse and Suffocation stuck in the soft serve like corn. But is an unapologetic scuzz-bucket puke product enough to sell a cynical deathhead on what Disembodiment is hawking? Let’s dive in!
The album opens appropriately with the sounds of something wet leaking somewhere sticky as flies buzz and a woman whimpers and screams in abject horror. Soon the band shows us why, as they kick the basement door in and proceed to put the “fist” in fistula on “Morbid Infestation.” It’s chuggy OSDM with enough scab and pus on the sound profile to put off all but the twisted. The tempos skew wildly from doomy, oppressive plods and blasty, thrash explosions that reek of the late 80s/early 90s death landmarks, and at times, little strains of vintage Death surface from the primordial ooze. It’s not reinventing the wheel, but it’s gumming up the rotors with lots of raw sewage. The riffs are spicy and interesting, and the vocals approximate an overworked garbage disposal trying to process an entire Christmas ham. It’s a shitshow, but one you can’t look away from. The band demonstrates a bit more range on “Stygian Overture,” playing with mood and tempo for a more expansive sound, making sure the rubber boot never comes too far off the trachea as they slow things down and showcase impressive riff-sense. What’s most entertaining is the way the band tries to be more “proggy” while the vocalist seems to devolve into something even less human.
My favorite moment comes on “Larval,” where all the maggots come home to roost. This one kicks off with an insanely heavy, utterly brainless chug stomp that will flatten your ass. Those chug grooves are heavy enough to decimate a concrete bunker, and you will feel yourself regress to your most apeish nature as you blast this one. While some tracks hit harder than others, none disappoint or leave you feeling clean and safe spacey. Every tune is infused with swampy but sharp riffing and enough tempo shifts to shake your IQ downward several points. At a very reasonable 30 minutes, Disembodiment know that too much of a rancid thing may lead to cesspool fatigue, so things go down the drain before you retch up any organs you might really need. The production is a master class in muck, crust, sleaze and revoltingness. The guitar tons is nasty as fook, and the bass is booming and oppressive. My only complaint is that there are skips in the master where it sounds like someone cut a few seconds of the song out entirely. It only happens a few times, but it’s weird and disruptive.
Mathieu Breton is credited as the lead voKillizer, and he does a convincing job of sounding like he’s hurling up the biggest, wettest loogey-woogey in the history of mankind. He’s perfectly vile and repellant, and I love everything he does. Guitarist Chris unleashes a vast collection of scathing, scouring riffs and makes Spiral Crypts an exceptionally riffy death metal platter. His style is heavily grounded in the Incantation / Autopsy school but he wanders into the realms of Death and Morbid Angel as well. He has a great handle on atmosphere and mood, and he can craft a creepy doom riff that makes you feel legitimately uneasy. This is a crew that knows how to snake a shitter.
Spiral Crypts is one of the those fucking disgusting OSDM albums you hear and love on the very first salvo, and it offers everything you could want from this unclean, unsanitary style. Disembodiment are now on my radar and I’m eager to hear what they dump on the floor next. Someone wise once said, in a world of shit, be the grossest turd in the bowl, That’s the Disembodiment way. Get your face in this crawlspace and huff deeply.
Rating: 3.5/5.0
DR: | Format Reviewed: 320 kbps mp3
Label: Everlasting Spew
Websites: facebook.com/disembodimentdeath | instagram.com/disembodimentdeath
Releases Worldwide: July 11th, 2025#2025 #35 #Autopsy #CanadianMetal #DeathMetal #Disembodiment #EverlastingSpewRecords #Incantation #Jul25 #Review #SpiralCrypts #TombMold
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Bear Mace – Slaves of the Wolf Review
By Dr. A.N. Grier
Fuck you, I know it’s late, Steel! Though, not due to anyone’s fault but my own as work sucks me deep into its asshole, suffocating me in its rectal perfume. I know, that’s bearly an excuse for a release with this level of furriness. Finally, with my head pulled from my work’s dismal sphincter, I set off to pen a review of Bear Mace’s newest offering, Slaves of the Wolf. As the Sugar bear licks the shit from my hair, and tickles my ballsack ever so gently with his grizzly claws, I dive straight into the wolf’s den to see what all the fuss is about. To my wondering eyes appears… a motherfucking blood bath. Standing knee deep in a mixture of human, wolf, and bear blood, what remains is almost as appalling as next week’s reissue of Load. To my left, I hear a twig snap. Standing in silhouette are five bloody dudes and a bear with a fucking mace. Shit, is that Kam Lee scurrying up a tree like a spider monkey? I’m afraid to know what comes next, but there isn’t much I can do about it. I left Steel‘s loaner gun in the car, and I haven’t run this inebriated since high school. Fucking lolz.
Can you believe it’s been five fucking years since Charred Field of Slaughter? And, boy, was that a fun record, improving the production and performances significantly from Bear Mace’s debut, Butchering the Colossus. On the surface, Slaves of the Wolf is a logical continuation of its predecessor, combining deathilicious songwriting in the vein of Death, Massacre, Autopsy, Bolt Thrower, and more, not to mention the subtle inclusions of thrash and harmonizing guitar work that bring the music even further back in time. The latterest is especially more predominant on this record than the previous two, as Sugar and Bellino up their game, adding additional texture to their slimy, grimy fur. They even pulled Kam Lee, screaming and crying, from that thorny tree to participate in “Captured and Consumed.” So, that’s what he’s doing here.
Slaves of the Wolf begins with one of the best pieces on the record. The title track opens with a mid-paced chug that morphs into a nasty death charge as Scearce’s rough-and-ready growls come out to play. Slaying through riff after riff, the intensity hits its peak in the massively memorable chorus. For nearly five minutes, the band takes you through a journey of classic death carnage, sidetracking only long enough to deliver some impressive dueling guitar solos. “The Iceman Cometh” is equally as aggressive, while also delivering some of the best back-and-forth soloing acrobatics. What makes it different from the title track is the punishing thrash lick that rips through the airwaves. Top it off with another hooking chorus, and you have a pair that represents a quintessential match made in heaven.
A review of Slaves of the Wolf isn’t complete without talking about “Captured and Consumed” and Kam Lee’s vocal contribution. Dripping with old-school attitude, this track is a riff machine with thick layers of death-infused sinisterness from the legend of Massacre. For five minutes, you are bludgeoned, beaten, and left for dead as every new riff change tears at your intestines from front, back, and side, while the slick guitar leads slit your throat. For unforgiving brutality, go no further than the exquisite “Prophecy.” Over ten years and three albums in existence, I don’t think I’ve ever heard the band so fucking heavy. To mix things up, “Prophecy” opens with a vicious assault and perfectly mapped solos before the Bolt Thrower-inspired, concrete-splitting riff hits. And, when it hits, holy shit. Follow-up track and closer, “Cancerous Winds,” is another unique piece, not for its aggressiveness, but for its melodic beauty. After dragging you through nonstop pickery, it restarts with a heavy, slow-moving riff until, out of nowhere, the guitars begin singing a soothing lullaby, wrapping you in a warm blanket of melody.
In general, there isn’t much to say negatively about Slaves of the Wolf. The only glaring issue it has on repeat listens is the album’s front half. The strong title track sets the mood perfectly before the follow-up track, “Worthless Lives,” drags it back down. While this mucky piece ain’t bad, the momentum drops significantly. And it doesn’t fully recover until two tracks later with “The Iceman Cometh.” From there, the rest of the album is absolutely relentless, which I had hoped for from beginning to end. Without this momentum drop, I could see this album scoring higher. Regardless, Slaves of the Wolf is a touch better than Charred Field of Slaughter, proving this five-piece can continue to deliver and intrigue my grumpy old soul. Regardless of whether you’re a Bear Macer, if you’re tired of the experimental death metal that continues to poison the sump, Slaves of the Wolf is here to obliterate you.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Self-Release
Websites: bandcamp.com | facebook.com/bearmace1
Releases Worldwide: June 6th, 2025#2025 #35 #AmericanMetal #Autopsy #BearMace #BoltThrower #Death #DeathMetal #Jun25 #Massacre #Revew #Reviews #SelfReleased #SlavesOfTheWolf
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Non è un articolo per tutti.
Ma nemmeno il mondo lo è.Autopsia della specie umana è online.
Un taglio netto nella carne viva della società.
Senza cerotti.🦔
#michiyospace #autopsiadellaspecie #riflessionelucida #decostruzione #consapevolezza #autopsy #lucidwriting #truthhurts
🦋
It’s not an article for everyone.
But neither is the world.Autopsy of the human species is online.
A clean cut into the raw flesh of society.
No bandages.https://michiyospace.altervista.org/autopsia-della-specie-umana/
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Morbus Grave – Feasting the Macabre Review
By Steel Druhm
2022 saw the debut by Italian death metal low-lifers Morbus Grave splatter on the walls of the metalverse like so much gore slop. Lurking into Absurdity was like a moist and sticky love letter to Autopsy, Impetigo, and Pungent Stench, with no fucks given for refinement or subtlety. It was caustic, greasy and sleazy and therefore it was good (shit)fun for all. The band crammed in ominous doom segments with a vague second-wave black metal vibe and it all came together in delightfully nauseating ways. I still go back to it when I need a booster shot of distasteful abominations so it must have struck a raw nerve. Fast-forward a scant year and change and we get the diseased follow-up Feasting the Macabre and surprise, surprise, it sounds like a pus-filled blister torn open to reveal the grotesqueries within. It’s gross-out death metal for those who wish Autopsy sounded less healthy and hygienic, and it all but guarantees you’ll need a hydrochloric acid sponge bath when it’s all over. Are you on board yet, you sick little freak?
The Morbus Grave blueprint is more or less the same here, with punky, rowdy death mixed with doom and blackened edges, but the overall product feels a touch more “polished” and “smooth” this time. That said, this is still a big ole bucket of pig entrails and goat semen that was left in the sun all day. The stench of extremity fills the ear nostrils immediately on proper opener “Where Evil Dwells.” It sounds creepy, low-fi, sludgy and all-around shitty as it lurches from mid-tempo gallops to unsteady, wobbly blasting. The Autopsy-isms are mixed with The Return era Bathory and touches of punky d-beatery for maximum destruction and it works. Frontman Erman sounds like he’s having a massive brain seizure and by the end he sounds like he’s in vocal rigor mortis. “Funeral Embodiment” is thrashy and savage with sweet vocal bits that reek of early Mayhem. The minimalist yet unusual riffs are fun, as are Erman’s increasingly deranged vocals.
Back-to-back ass kickers “Congregation of the Exult” and “Feasting the Macabre” are high points loaded with slimy riffs and unsettling vocal excess. There’s a blunt force to the former that’s nicely offset by eerie, creepy moments that sound like horror soundtrack bits, and the latter is d-beaty caveman thuggism and it’s so goddamn thick and slimy, it’s like slipping on someone’s intestines and falling into a mass grave. “Dissolving Obscurity” also deserves mention for its Winter-meets Mayhem-meets-Autopsy cluster fuck of gruesomeness. This one is a queasy little puppy that will make folks question your metal health. At an anorexic 28 minutes (including an intro, outro, and one interlude), there’s not much meat on the rotting bone. The sheer brevity makes Feasting the Macabre feel like a too-quick dip in an abattoir’s waste collection pool, and it comes across as somewhat incomplete. It has high points, but a few numbers don’t quite rise to that next level of essential death metal listening, which is annoying on such a short offering. Then again, Morbus Grave aren’t the band to drop a Record o’ the Year anyway. They just club you with a shit-splattered bat and leave you to die in pain, and I respect that.
As with last time, the star of the show is Erman and his twisted, hideous throat tortures. This guy takes the Chris Reifert model and goes 10 layers deeper into revolting unhingement. He rampages across every song like a loony toony cookie monster and his overdoing it is a big part of the fun. Edy and Blacksodomagickkk (don’t ask) do a lot with a little, utilizing minimalist riffs that walk the line between death and black metal and generally sound really olde. They d-beat, they thrash, they chug, and at key moments they doom, but they do it all in a threadbare way that sounds evil and enigmatic. Meanwhile, Danny Guerra pounds away at the kit with great vengeance and furious anger. He’s not the most polished pummeller in the biz, but you get pulverized nonetheless.
Morbus Grave are good at their very specific brand of damp, bloody death metal and they’re in the running to carry the banner brandished by Autopsy should those legendary sleazebags move on to shittier pastures. You can snag Feasting the Macabre without fear of being let down because this stuff is more fun than a gallon of spoiled shrimp milk. It’s a fast, fun shotgun blast to the face and we all need that sometimes. Don’t play this at work though, ever.
Rating: 3.0/5.0
DR: | Format Reviewed: 320 kbps mp3
Label: Memento Mori
Websites: morbusgrave1.bandcamp.com | facebook.com/morbusgrave |
Releases Worldwide: July 26th, 2024#2024 #30 #Autopsy #DeathMetal #FeastingTheMacabre #Impetigo #ItalianMetal #Jul24 #LurkingIntoAbsurdity #Mayhem #MementoMoriRecords #MorbusGrave #Review #Reviews
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Morbus Grave – Feasting the Macabre Review
By Steel Druhm
2022 saw the debut by Italian death metal low-lifers Morbus Grave splatter on the walls of the metalverse like so much gore slop. Lurking into Absurdity was like a moist and sticky love letter to Autopsy, Impetigo, and Pungent Stench, with no fucks given for refinement or subtlety. It was caustic, greasy and sleazy and therefore it was good (shit)fun for all. The band crammed in ominous doom segments with a vague second-wave black metal vibe and it all came together in delightfully nauseating ways. I still go back to it when I need a booster shot of distasteful abominations so it must have struck a raw nerve. Fast-forward a scant year and change and we get the diseased follow-up Feasting the Macabre and surprise, surprise, it sounds like a pus-filled blister torn open to reveal the grotesqueries within. It’s gross-out death metal for those who wish Autopsy sounded less healthy and hygienic, and it all but guarantees you’ll need a hydrochloric acid sponge bath when it’s all over. Are you on board yet, you sick little freak?
The Morbus Grave blueprint is more or less the same here, with punky, rowdy death mixed with doom and blackened edges, but the overall product feels a touch more “polished” and “smooth” this time. That said, this is still a big ole bucket of pig entrails and goat semen that was left in the sun all day. The stench of extremity fills the ear nostrils immediately on proper opener “Where Evil Dwells.” It sounds creepy, low-fi, sludgy and all-around shitty as it lurches from mid-tempo gallops to unsteady, wobbly blasting. The Autopsy-isms are mixed with The Return era Bathory and touches of punky d-beatery for maximum destruction and it works. Frontman Erman sounds like he’s having a massive brain seizure and by the end he sounds like he’s in vocal rigor mortis. “Funeral Embodiment” is thrashy and savage with sweet vocal bits that reek of early Mayhem. The minimalist yet unusual riffs are fun, as are Erman’s increasingly deranged vocals.
Back-to-back ass kickers “Congregation of the Exult” and “Feasting the Macabre” are high points loaded with slimy riffs and unsettling vocal excess. There’s a blunt force to the former that’s nicely offset by eerie, creepy moments that sound like horror soundtrack bits, and the latter is d-beaty caveman thuggism and it’s so goddamn thick and slimy, it’s like slipping on someone’s intestines and falling into a mass grave. “Dissolving Obscurity” also deserves mention for its Winter-meets Mayhem-meets-Autopsy cluster fuck of gruesomeness. This one is a queasy little puppy that will make folks question your metal health. At an anorexic 28 minutes (including an intro, outro, and one interlude), there’s not much meat on the rotting bone. The sheer brevity makes Feasting the Macabre feel like a too-quick dip in an abattoir’s waste collection pool, and it comes across as somewhat incomplete. It has high points, but a few numbers don’t quite rise to that next level of essential death metal listening, which is annoying on such a short offering. Then again, Morbus Grave aren’t the band to drop a Record o’ the Year anyway. They just club you with a shit-splattered bat and leave you to die in pain, and I respect that.
As with last time, the star of the show is Erman and his twisted, hideous throat tortures. This guy takes the Chris Reifert model and goes 10 layers deeper into revolting unhingement. He rampages across every song like a loony toony cookie monster and his overdoing it is a big part of the fun. Edy and Blacksodomagickkk (don’t ask) do a lot with a little, utilizing minimalist riffs that walk the line between death and black metal and generally sound really olde. They d-beat, they thrash, they chug, and at key moments they doom, but they do it all in a threadbare way that sounds evil and enigmatic. Meanwhile, Danny Guerra pounds away at the kit with great vengeance and furious anger. He’s not the most polished pummeller in the biz, but you get pulverized nonetheless.
Morbus Grave are good at their very specific brand of damp, bloody death metal and they’re in the running to carry the banner brandished by Autopsy should those legendary sleazebags move on to shittier pastures. You can snag Feasting the Macabre without fear of being let down because this stuff is more fun than a gallon of spoiled shrimp milk. It’s a fast, fun shotgun blast to the face and we all need that sometimes. Don’t play this at work though, ever.
Rating: 3.0/5.0
DR: | Format Reviewed: 320 kbps mp3
Label: Memento Mori
Websites: morbusgrave1.bandcamp.com | facebook.com/morbusgrave |
Releases Worldwide: July 26th, 2024#2024 #30 #Autopsy #DeathMetal #FeastingTheMacabre #Impetigo #ItalianMetal #Jul24 #LurkingIntoAbsurdity #Mayhem #MementoMoriRecords #MorbusGrave #Review #Reviews