#bornofosiris — Public Fediverse posts

Full House Brew Crew – Glasgow Grin Review

What do you get when you mix a popular American ’80s sitcom, a ragtag group of brewers, and…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #1.5 #2026 #AftertheBurial #BeastieBoys #BornOfOsiris #Entertainment #Feb26 #FullHouseBrewCrew #GlasgowGrin #Gojira #GreekMetal #GrooveMetal #Metalcore #Pantera #review #reviews #RoarRockofAngelsRecords #RottingChrist
https://www.newsbeep.com/us/490604/

Full House Brew Crew – Glasgow Grin Review

What do you get when you mix a popular American ’80s sitcom, a ragtag group of brewers, and…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #1.5 #2026 #AftertheBurial #BeastieBoys #BornOfOsiris #Entertainment #Feb26 #FullHouseBrewCrew #GlasgowGrin #Gojira #GreekMetal #GrooveMetal #Metalcore #Pantera #review #reviews #RoarRockofAngelsRecords #RottingChrist
https://www.newsbeep.com/us/490604/

Full House Brew Crew – Glasgow Grin Review

What do you get when you mix a popular American ’80s sitcom, a ragtag group of brewers, and…
#NewsBeep #News #Music #1.5 #2026 #AftertheBurial #BeastieBoys #BornofOsiris #Entertainment #Feb26 #FullHouseBrewCrew #GlasgowGrin #Gojira #GreekMetal #GrooveMetal #Metalcore #Pantera #review #Reviews #RoarRockofAngelsRecords #RottingChrist #UK #UnitedKingdom
https://www.newsbeep.com/uk/445765/

Full House Brew Crew – Glasgow Grin Review

What do you get when you mix a popular American ’80s sitcom, a ragtag group of brewers, and…
#NewsBeep #News #Music #1.5 #2026 #AftertheBurial #BeastieBoys #BornofOsiris #CA #Canada #Entertainment #Feb26 #FullHouseBrewCrew #GlasgowGrin #Gojira #GreekMetal #GrooveMetal #Metalcore #Pantera #review #reviews #RoarRockofAngelsRecords #RottingChrist
https://www.newsbeep.com/ca/499713/

Full House Brew Crew – Glasgow Grin Review

What do you get when you mix a popular American ’80s sitcom, a ragtag group of brewers, and…
#Glasgow #UnitedKingdom #UK #GB #Scotland #Headlines #News #Europe #EU #1.5 #2026 #AftertheBurial #BeastieBoys #BornofOsiris #Britain #Feb26 #FullHouseBrewCrew #GlasgowGrin #Gojira #GreatBritain #GreekMetal #GrooveMetal #Metalcore #Pantera #Review #Reviews #RoarRockofAngelsRecords #RottingChrist
https://www.europesays.com/uk/789065/

https://www.europesays.com/uk/789065/ Full House Brew Crew – Glasgow Grin Review #15 #2026 #AfterTheBurial #BeastieBoys #BornOfOsiris #Britain #Feb26 #FullHouseBrewCrew #Glasgow #GlasgowGrin #Gojira #GreatBritain #GreekMetal #GrooveMetal #Metalcore #Pantera #Review #Reviews #RoarRockOfAngelsRecords #RottingChrist #Scotland #UK #UnitedKingdom

What do you get when you mix a popular American ’80s sitcom, a ragtag group of brewers, and the Scottish term for the cut to the face of Heath Ledger’s Joker?1 Apparently, some Greek groove metal. Since Vagelis Karzis (former live bassist for Rotting Christ) formed Full House Brew Crew in 2009, the band has had a fairly consistent lineup. They’ve also been somewhat consistent with album releases, as Glasgow Grin marks their fifth, though there was a seven-year gap between their second, Bet it All (2011), and third, Me Against You (2018). Karzis appears to have formed the band in order to channel an inner rage, which comes out through the lyrics and aggressive performances. In Texas hold ’em, you love to have a full house in hand—let’s see if a Full House Brew Crew brings the same joy.

Glasgow Grin channels a red-hot, violent anger through a mix of groove metal, hardcore, metalcore, and nu-metal. This anger emanates from Karzis’s loud, punky vocal style. He shouts all sorts of angry, violent proclamations, letting us know he’s “ready for war / It’s time to fight” on opener “Glasgow Grin.” On “No Gods, No Chains,” he sounds like an angry version of the Beastie Boys when he shouts, “every breath I take, it just fuels my / Rage.” There’s a sort of macho nihilism in the lyrics as Karzis portrays a world requiring violence, or the threat of it, in order to survive. This comes off in the straight-for-the-throat instrumentation as well, with mid-paced blast beats pounding mercilessly and guitars buzzing angrily. Full House Brew Crew unsuccessfully emulate the swagger of Pantera with lines like “Welcome to the other side / You fucking bitch” used as a mic drop (“The Other Side”). The anger often serves less as a cathartic outlet than an expression of meanness.

Full House Brew Crew struggle to write any hooks to help the music stand out. Right off the bat, “Glasgow Grin” sounds like little more than a mood piece lacking melody and structure. Not only that, but many of the songs are surprisingly low energy for material that’s so irate. Glasgow Grin also provides a mixed bag in the chorus department. Some songs sound so uniform that the chorus goes by without notice (“The Tear”), or they have a clear chorus that’s just not very good (“The Other Side”). “No Gods, No Chains” has some success with its memorable, chant-y chorus, and there are moments where Full House Brew Crew shows flashes of hooks, such as the guitar lead on “No Gods, No Chains” and some djenty riffs that channel After the Burial and Born of Osiris (“The Tear,” “Distant Star”). Unfortunately, these moments are few and often fail to land.

The second half of Glasgow Grin starts off as though it’s going to redeem the record’s rather bland first half. Two tunes, “Rain” and “Distant Star,” make use of cleans for some pretty catchy choruses that break up the monotonous rage. Full House Brew Crew is also more experimental on these tracks, going into some progressive spells with a warbly, dreamy solo on “Rain” and an arpeggiated bridge on “Distant Star” that reveal some depth to their songwriting. “From the Gutter” probably best demonstrates where the band could succeed with its more aggressive songwriting. It has a lively, energetic feel missing on much of the album, but unfortunately, it fails to stick the landing when the final minute devolves into random, Gojira-style harmonics. From there, Glasgow Grin struggles to find its footing again. “Crawling” plays a grating guitar tone for almost its entirety, and “Reign of Terror” has a weird breakdown in its final moments that concludes the record on a deflatingly flat note.

Rather than a grin, this risks painting a permanent Glasgow Scowl on your face. Fortunately, Full House Brew Crew cuts enough fat that the album’s over in a brief 34 minutes. There are certainly glimpses here and there of where they could take their groove metal in a more successful direction. However, the pure rage channeled through piss-poor production values often feels like an angry version of Steve Carell mindlessly yelling, “I love lamp.” Maybe there’s some catharsis, but mostly it’s just a headache.



Rating: 1.5/5.0
DR: 4 | Format Reviewed: 320 kbps mp3
Label: Roar! Rock of Angels Records
Websites: Bandcamp | Facebook | Official Site
Releases Worldwide: February 6th, 2026

What do you get when you mix a popular American ’80s sitcom, a ragtag group of brewers, and the Scottish term for the cut to the face of Heath Ledger’s Joker?1 Apparently, some Greek groove metal. Since Vagelis Karzis (former live bassist for Rotting Christ) formed Full House Brew Crew in 2009, the band has had a fairly consistent lineup. They’ve also been somewhat consistent with album releases, as Glasgow Grin marks their fifth, though there was a seven-year gap between their second, Bet it All (2011), and third, Me Against You (2018). Karzis appears to have formed the band in order to channel an inner rage, which comes out through the lyrics and aggressive performances. In Texas hold ’em, you love to have a full house in hand—let’s see if a Full House Brew Crew brings the same joy.

Glasgow Grin channels a red-hot, violent anger through a mix of groove metal, hardcore, metalcore, and nu-metal. This anger emanates from Karzis’s loud, punky vocal style. He shouts all sorts of angry, violent proclamations, letting us know he’s “ready for war / It’s time to fight” on opener “Glasgow Grin.” On “No Gods, No Chains,” he sounds like an angry version of the Beastie Boys when he shouts, “every breath I take, it just fuels my / Rage.” There’s a sort of macho nihilism in the lyrics as Karzis portrays a world requiring violence, or the threat of it, in order to survive. This comes off in the straight-for-the-throat instrumentation as well, with mid-paced blast beats pounding mercilessly and guitars buzzing angrily. Full House Brew Crew unsuccessfully emulate the swagger of Pantera with lines like “Welcome to the other side / You fucking bitch” used as a mic drop (“The Other Side”). The anger often serves less as a cathartic outlet than an expression of meanness.

Full House Brew Crew struggle to write any hooks to help the music stand out. Right off the bat, “Glasgow Grin” sounds like little more than a mood piece lacking melody and structure. Not only that, but many of the songs are surprisingly low energy for material that’s so irate. Glasgow Grin also provides a mixed bag in the chorus department. Some songs sound so uniform that the chorus goes by without notice (“The Tear”), or they have a clear chorus that’s just not very good (“The Other Side”). “No Gods, No Chains” has some success with its memorable, chant-y chorus, and there are moments where Full House Brew Crew shows flashes of hooks, such as the guitar lead on “No Gods, No Chains” and some djenty riffs that channel After the Burial and Born of Osiris (“The Tear,” “Distant Star”). Unfortunately, these moments are few and often fail to land.

The second half of Glasgow Grin starts off as though it’s going to redeem the record’s rather bland first half. Two tunes, “Rain” and “Distant Star,” make use of cleans for some pretty catchy choruses that break up the monotonous rage. Full House Brew Crew is also more experimental on these tracks, going into some progressive spells with a warbly, dreamy solo on “Rain” and an arpeggiated bridge on “Distant Star” that reveal some depth to their songwriting. “From the Gutter” probably best demonstrates where the band could succeed with its more aggressive songwriting. It has a lively, energetic feel missing on much of the album, but unfortunately, it fails to stick the landing when the final minute devolves into random, Gojira-style harmonics. From there, Glasgow Grin struggles to find its footing again. “Crawling” plays a grating guitar tone for almost its entirety, and “Reign of Terror” has a weird breakdown in its final moments that concludes the record on a deflatingly flat note.

Rather than a grin, this risks painting a permanent Glasgow Scowl on your face. Fortunately, Full House Brew Crew cuts enough fat that the album’s over in a brief 34 minutes. There are certainly glimpses here and there of where they could take their groove metal in a more successful direction. However, the pure rage channeled through piss-poor production values often feels like an angry version of Steve Carell mindlessly yelling, “I love lamp.” Maybe there’s some catharsis, but mostly it’s just a headache.



Rating: 1.5/5.0
DR: 4 | Format Reviewed: 320 kbps mp3
Label: Roar! Rock of Angels Records
Websites: Bandcamp | Facebook | Official Site
Releases Worldwide: February 6th, 2026

What do you get when you mix a popular American ’80s sitcom, a ragtag group of brewers, and the Scottish term for the cut to the face of Heath Ledger’s Joker?1 Apparently, some Greek groove metal. Since Vagelis Karzis (former live bassist for Rotting Christ) formed Full House Brew Crew in 2009, the band has had a fairly consistent lineup. They’ve also been somewhat consistent with album releases, as Glasgow Grin marks their fifth, though there was a seven-year gap between their second, Bet it All (2011), and third, Me Against You (2018). Karzis appears to have formed the band in order to channel an inner rage, which comes out through the lyrics and aggressive performances. In Texas hold ’em, you love to have a full house in hand—let’s see if a Full House Brew Crew brings the same joy.

Glasgow Grin channels a red-hot, violent anger through a mix of groove metal, hardcore, metalcore, and nu-metal. This anger emanates from Karzis’s loud, punky vocal style. He shouts all sorts of angry, violent proclamations, letting us know he’s “ready for war / It’s time to fight” on opener “Glasgow Grin.” On “No Gods, No Chains,” he sounds like an angry version of the Beastie Boys when he shouts, “every breath I take, it just fuels my / Rage.” There’s a sort of macho nihilism in the lyrics as Karzis portrays a world requiring violence, or the threat of it, in order to survive. This comes off in the straight-for-the-throat instrumentation as well, with mid-paced blast beats pounding mercilessly and guitars buzzing angrily. Full House Brew Crew unsuccessfully emulate the swagger of Pantera with lines like “Welcome to the other side / You fucking bitch” used as a mic drop (“The Other Side”). The anger often serves less as a cathartic outlet than an expression of meanness.

Full House Brew Crew struggle to write any hooks to help the music stand out. Right off the bat, “Glasgow Grin” sounds like little more than a mood piece lacking melody and structure. Not only that, but many of the songs are surprisingly low energy for material that’s so irate. Glasgow Grin also provides a mixed bag in the chorus department. Some songs sound so uniform that the chorus goes by without notice (“The Tear”), or they have a clear chorus that’s just not very good (“The Other Side”). “No Gods, No Chains” has some success with its memorable, chant-y chorus, and there are moments where Full House Brew Crew shows flashes of hooks, such as the guitar lead on “No Gods, No Chains” and some djenty riffs that channel After the Burial and Born of Osiris (“The Tear,” “Distant Star”). Unfortunately, these moments are few and often fail to land.

The second half of Glasgow Grin starts off as though it’s going to redeem the record’s rather bland first half. Two tunes, “Rain” and “Distant Star,” make use of cleans for some pretty catchy choruses that break up the monotonous rage. Full House Brew Crew is also more experimental on these tracks, going into some progressive spells with a warbly, dreamy solo on “Rain” and an arpeggiated bridge on “Distant Star” that reveal some depth to their songwriting. “From the Gutter” probably best demonstrates where the band could succeed with its more aggressive songwriting. It has a lively, energetic feel missing on much of the album, but unfortunately, it fails to stick the landing when the final minute devolves into random, Gojira-style harmonics. From there, Glasgow Grin struggles to find its footing again. “Crawling” plays a grating guitar tone for almost its entirety, and “Reign of Terror” has a weird breakdown in its final moments that concludes the record on a deflatingly flat note.

Rather than a grin, this risks painting a permanent Glasgow Scowl on your face. Fortunately, Full House Brew Crew cuts enough fat that the album’s over in a brief 34 minutes. There are certainly glimpses here and there of where they could take their groove metal in a more successful direction. However, the pure rage channeled through piss-poor production values often feels like an angry version of Steve Carell mindlessly yelling, “I love lamp.” Maybe there’s some catharsis, but mostly it’s just a headache.



Rating: 1.5/5.0
DR: 4 | Format Reviewed: 320 kbps mp3
Label: Roar! Rock of Angels Records
Websites: Bandcamp | Facebook | Official Site
Releases Worldwide: February 6th, 2026

What do you get when you mix a popular American ’80s sitcom, a ragtag group of brewers, and the Scottish term for the cut to the face of Heath Ledger’s Joker?1 Apparently, some Greek groove metal. Since Vagelis Karzis (former live bassist for Rotting Christ) formed Full House Brew Crew in 2009, the band has had a fairly consistent lineup. They’ve also been somewhat consistent with album releases, as Glasgow Grin marks their fifth, though there was a seven-year gap between their second, Bet it All (2011), and third, Me Against You (2018). Karzis appears to have formed the band in order to channel an inner rage, which comes out through the lyrics and aggressive performances. In Texas hold ’em, you love to have a full house in hand—let’s see if a Full House Brew Crew brings the same joy.

Glasgow Grin channels a red-hot, violent anger through a mix of groove metal, hardcore, metalcore, and nu-metal. This anger emanates from Karzis’s loud, punky vocal style. He shouts all sorts of angry, violent proclamations, letting us know he’s “ready for war / It’s time to fight” on opener “Glasgow Grin.” On “No Gods, No Chains,” he sounds like an angry version of the Beastie Boys when he shouts, “every breath I take, it just fuels my / Rage.” There’s a sort of macho nihilism in the lyrics as Karzis portrays a world requiring violence, or the threat of it, in order to survive. This comes off in the straight-for-the-throat instrumentation as well, with mid-paced blast beats pounding mercilessly and guitars buzzing angrily. Full House Brew Crew unsuccessfully emulate the swagger of Pantera with lines like “Welcome to the other side / You fucking bitch” used as a mic drop (“The Other Side”). The anger often serves less as a cathartic outlet than an expression of meanness.

Full House Brew Crew struggle to write any hooks to help the music stand out. Right off the bat, “Glasgow Grin” sounds like little more than a mood piece lacking melody and structure. Not only that, but many of the songs are surprisingly low energy for material that’s so irate. Glasgow Grin also provides a mixed bag in the chorus department. Some songs sound so uniform that the chorus goes by without notice (“The Tear”), or they have a clear chorus that’s just not very good (“The Other Side”). “No Gods, No Chains” has some success with its memorable, chant-y chorus, and there are moments where Full House Brew Crew shows flashes of hooks, such as the guitar lead on “No Gods, No Chains” and some djenty riffs that channel After the Burial and Born of Osiris (“The Tear,” “Distant Star”). Unfortunately, these moments are few and often fail to land.

The second half of Glasgow Grin starts off as though it’s going to redeem the record’s rather bland first half. Two tunes, “Rain” and “Distant Star,” make use of cleans for some pretty catchy choruses that break up the monotonous rage. Full House Brew Crew is also more experimental on these tracks, going into some progressive spells with a warbly, dreamy solo on “Rain” and an arpeggiated bridge on “Distant Star” that reveal some depth to their songwriting. “From the Gutter” probably best demonstrates where the band could succeed with its more aggressive songwriting. It has a lively, energetic feel missing on much of the album, but unfortunately, it fails to stick the landing when the final minute devolves into random, Gojira-style harmonics. From there, Glasgow Grin struggles to find its footing again. “Crawling” plays a grating guitar tone for almost its entirety, and “Reign of Terror” has a weird breakdown in its final moments that concludes the record on a deflatingly flat note.

Rather than a grin, this risks painting a permanent Glasgow Scowl on your face. Fortunately, Full House Brew Crew cuts enough fat that the album’s over in a brief 34 minutes. There are certainly glimpses here and there of where they could take their groove metal in a more successful direction. However, the pure rage channeled through piss-poor production values often feels like an angry version of Steve Carell mindlessly yelling, “I love lamp.” Maybe there’s some catharsis, but mostly it’s just a headache.



Rating: 1.5/5.0
DR: 4 | Format Reviewed: 320 kbps mp3
Label: Roar! Rock of Angels Records
Websites: Bandcamp | Facebook | Official Site
Releases Worldwide: February 6th, 2026

What do you get when you mix a popular American ’80s sitcom, a ragtag group of brewers, and the Scottish term for the cut to the face of Heath Ledger’s Joker?1 Apparently, some Greek groove metal. Since Vagelis Karzis (former live bassist for Rotting Christ) formed Full House Brew Crew in 2009, the band has had a fairly consistent lineup. They’ve also been somewhat consistent with album releases, as Glasgow Grin marks their fifth, though there was a seven-year gap between their second, Bet it All (2011), and third, Me Against You (2018). Karzis appears to have formed the band in order to channel an inner rage, which comes out through the lyrics and aggressive performances. In Texas hold ’em, you love to have a full house in hand—let’s see if a Full House Brew Crew brings the same joy.

Glasgow Grin channels a red-hot, violent anger through a mix of groove metal, hardcore, metalcore, and nu-metal. This anger emanates from Karzis’s loud, punky vocal style. He shouts all sorts of angry, violent proclamations, letting us know he’s “ready for war / It’s time to fight” on opener “Glasgow Grin.” On “No Gods, No Chains,” he sounds like an angry version of the Beastie Boys when he shouts, “every breath I take, it just fuels my / Rage.” There’s a sort of macho nihilism in the lyrics as Karzis portrays a world requiring violence, or the threat of it, in order to survive. This comes off in the straight-for-the-throat instrumentation as well, with mid-paced blast beats pounding mercilessly and guitars buzzing angrily. Full House Brew Crew unsuccessfully emulate the swagger of Pantera with lines like “Welcome to the other side / You fucking bitch” used as a mic drop (“The Other Side”). The anger often serves less as a cathartic outlet than an expression of meanness.

Full House Brew Crew struggle to write any hooks to help the music stand out. Right off the bat, “Glasgow Grin” sounds like little more than a mood piece lacking melody and structure. Not only that, but many of the songs are surprisingly low energy for material that’s so irate. Glasgow Grin also provides a mixed bag in the chorus department. Some songs sound so uniform that the chorus goes by without notice (“The Tear”), or they have a clear chorus that’s just not very good (“The Other Side”). “No Gods, No Chains” has some success with its memorable, chant-y chorus, and there are moments where Full House Brew Crew shows flashes of hooks, such as the guitar lead on “No Gods, No Chains” and some djenty riffs that channel After the Burial and Born of Osiris (“The Tear,” “Distant Star”). Unfortunately, these moments are few and often fail to land.

The second half of Glasgow Grin starts off as though it’s going to redeem the record’s rather bland first half. Two tunes, “Rain” and “Distant Star,” make use of cleans for some pretty catchy choruses that break up the monotonous rage. Full House Brew Crew is also more experimental on these tracks, going into some progressive spells with a warbly, dreamy solo on “Rain” and an arpeggiated bridge on “Distant Star” that reveal some depth to their songwriting. “From the Gutter” probably best demonstrates where the band could succeed with its more aggressive songwriting. It has a lively, energetic feel missing on much of the album, but unfortunately, it fails to stick the landing when the final minute devolves into random, Gojira-style harmonics. From there, Glasgow Grin struggles to find its footing again. “Crawling” plays a grating guitar tone for almost its entirety, and “Reign of Terror” has a weird breakdown in its final moments that concludes the record on a deflatingly flat note.

Rather than a grin, this risks painting a permanent Glasgow Scowl on your face. Fortunately, Full House Brew Crew cuts enough fat that the album’s over in a brief 34 minutes. There are certainly glimpses here and there of where they could take their groove metal in a more successful direction. However, the pure rage channeled through piss-poor production values often feels like an angry version of Steve Carell mindlessly yelling, “I love lamp.” Maybe there’s some catharsis, but mostly it’s just a headache.



Rating: 1.5/5.0
DR: 4 | Format Reviewed: 320 kbps mp3
Label: Roar! Rock of Angels Records
Websites: Bandcamp | Facebook | Official Site
Releases Worldwide: February 6th, 2026

Born Of Osiris and Signs Of Swarm announce Japanese and Australian tours

Having just wrapped their extensive North American tour, Born Of Osiris will team up with Signs Of The Swarm for a short tour of Japan before heading to Australia for a handful of dates together. The internat…
#Japan #JP #JapanNews #BornOfOsiris #hardcore #Japanese #Japanesenews #Lambgoat #metal #news #SignsOfTheSwarm
https://www.alojapan.com/1412503/born-of-osiris-and-signs-of-swarm-announce-japanese-and-australian-tours/

New post: Album Review: Born of Osiris – Through Shadows https://www.moshville.co.uk/reviews/album-review/2025/07/album-review-born-of-osiris-through-shadows/ #BornOfOsiris

#BornOfOsiris
#Ingested
#Entheos
#TheVoynichCode
29/05/2025

#LaRayonne

https://www.purgatoire.fr/concerts/concert-543_2025-05-29_born-of-osiris

Born of Osiris share “Through Shadows” single; new album arriving in July

#BornOfOsiris #ThroughShadows #NewSong #NewAlbum #JulyReleases

Link: https://metalinsider.net/video/born-of-osiris-share-through-shadows-single-new-album-arriving-in-july

Born of Osiris share “Through Shadows” single; new album arriving in July

#BornOfOsiris #ThroughShadows #NewSong #NewAlbum #JulyReleases

Link: https://metalinsider.net/video/born-of-osiris-share-through-shadows-single-new-album-arriving-in-july

Stuck in the Filter: October 2024’s Angry Misses

By Kenstrosity

Never fear, the blog’s penchant for deep lateness punctuality persists! It is likely the new year already by the time you see this post, but we’re taking a step back. Way back, into October. I was deep in the shit then, and therefore couldn’t do anything blog-related. And yet, my minions, those very laborers for whom I provide absolutely no compensation whatsoever, toiled dutifully in the metallic dinge that is our Filter. Unforgiving though those environs undoubtedly are, they scraped and scoured until, at long last, small shards of precious ore glimmered to the surface.

These glimmers are the same which you witness before you. Some are big, some are small. Some are short, some are tall. But all are worthy. Behold!

Kenstrosity’s Belated Bombardments

Cosmic Putrefaction // Emerald Fires atop the Farewell Mountains [October 4th, 2024 – Profound Lore Records]

I was originally slated to take over reviewing duties for Cosmic Putrefaction this year, as Thus Spoke had a prior commitment and needed a buddy to step in. Unfortunately, I was rendered useless by a force of nature for a while, so I had to let go of several items of interest. But I couldn’t let 2024 go by without saying something! Entitled Emeral Fires atop the Farewell Mountains, Cosmic Putrefaction’s fourth represents one of the smoothest, most ethereal interpretations of weird, dissonant death metal. The classic Cosmic Putrefaction riffsets under an auroric sky remain, as evidenced by ripping examples “[Entering the Vortex Temporum] – Pre-mortem Phosphenes” and “Swirling Madness, Supernal Ordeal,” but there lurks within a monstrous technical death metal creature who rabidly chases the atmospheric spirits of olde (“I Should Great the Inexorable Darkness,” “Eudaemonist Withdrawal”). While in lesser hands these distinct aesthetics would undoubtedly clash on a dissonant platform such as this, Cosmic Putrefaction’s particular application of sound and style coalesces in devastating beauty and relentless purpose (“Hallways Engraved in Aether,” “Emerald Fires atop the Farewell Mountains”). Were it not for some instances wherein, for the first time ever, Cosmic Putrefaction threatens to self-plagiarize their own material (“Eudaemonist Withdrawal”), I would likely consider Emerald Fires atop the Farewell Mountains for year-end list status.

Feral // To Usurp the Thrones [October 18th, 2024 – Transcending Obscurity Records]

Another one of my charges that I unfortunately had to put down against my will, Swedish death metal fiends Feral’s fourth salvo To Usurp the Thrones deserves a spotlight here. Where Flesh for Funerals Eternal impressed me as my introduction to the band and, arguably, my introduction to modern buzzsaw Swedeath, To Usurp the Thrones impresses me as a singularly vicious record in the style. Faster, meaner, more varied, and longer than its predecessor, Thrones offers the punk-tinged, thrashy death riffs you know and love, with bluesy touches reminiscent of Entombed’s Wolverine Blues adding a bit of drunken swagger to the affair (“Vile Malediction,” “Phantoms of Iniquity,” “Into the Ashes of History”). Absolute rippers like “To Drain the World of Light,” “Deformed Mentality,” “Decimated,” and “Soaked in Blood” live up to the band’s moniker, rabid and relentless in their assault. In many ways, Thrones evokes the same bloodsoaked sense of fun that Helslave’s From the Sulphur Depths conjured, but it’s angrier, more unhinged (“Spirits Without Rest,” “Stripped of Flesh”). Consequently, Thrones stands out as one of the more fun records of its ilk to come out this year. Don’t miss it!

Sun Worship // Upon the Hills of Divination [October 31st, 2024 – Vendetta Records]

Back in 2020, our dear Roquentin offered some damn fine words of praise for Germany’s Sun Worship and their third blackened blade, Emanations of Desolation. It’s been six years since that record dropped, and Upon the Hills of Divination picks up right where Emanations left off. That is to say, absolutely slimy, post-metal-tinged riffs bolstered by dense layers of warm tremolos and mid-frequency roars. Opener “Within the Machine” offers a concrete encapsulation of what to expect: bits and pieces of Hulder, Gaerea, and Vorga melding together into a compelling concoction of hypnotic black metal. Using the long form to their utmost advantage, Sun Worship craft immersive soundscapes liable to scald the flesh just as quickly as they seduce the senses, leaving me as a brainwashed minion doing a twisted mystic’s bidding unconditionally (“Serpent Nebula,” “Covenant”). Yet, there roils a sense of urgency in these songs, despite many of them occupying a mid-paced cadence, which unveils a bleeding heart willingly wrenched from Sun Worship’s body (“Fractal Entity,” the title track, and “Stormbringer”). This is what sets it apart from its contemporaries, and what makes it worthy of mention. Why it’s gotten so little attention escapes me. It is with the intent of rectifying that condition that I pen this woefully insufficient segment.

Dolphin Whisperer’s Duty Free Rifftrocity

Extorted // Cognitive Dissonance [October 16th, 2024 – Self Release]

You don’t need to read this review to know that the Kiwis of Extorted plays pit-whipping death/thrash. Though not adorned with other obvious symbols, like Vietnam War paraphernalia or crushed beer cans, the Ed Repka-penned brain-ripped head figure screams “no thoughts only riff” all the same. With snares set to pow and crashes set to kshhh, Cognitive Dissonance finds low resistance to accelerating early Death-indebted refrains. Vocalist Joel Clark even plays as a dead ringer for pre-Human Schuldiner or Van Drunen (Asphyx, ex-Pestilence) as the torture in many lines grows (on “Infected” and “Ghastly Creatures” in particular). And in a continued tour of Van Drunen-associated sounds, Extorted’s ability to find a push-and-pull cadence that twists the fury of thrash with the cutting drag of death hits that hard-to-nail early Pestilence pocket with studied flair (“Deception,” “Limits of Reality”). Though a considerable amount of the Extorted identity rests in ideas borrowed and reinterpreted, a modern tonal canvas gives Cognitive Dissonance’s rhythms a punchy and balanced low-end weight that doesn’t always present itself in the world of old. Couple that with hooks that reach far beyond the limits of pure homage (“Transformation of Dreams,” “Violence”), and it’s easy to plow through the thirty minutes of tasteful harmonies, bending solos, and spit-stained lamentations that Extorted offers with their powerful debut.

Bríi // Camaradagem Póstuma [October 11th, 2024 – Self Release]

With Camaradagem Póstuma we enter the hazy, folky world of Caio Lemos’ unique vision of what experimental electronic music can be colored by the underpinnings of atmospheric black metal and jazz fusion. Using terraced melodies like baroque music of old and distant breakbeats like the Bong-Ra of recent yesteryears, Brazil’s Bríi represents one man’s highly specific melding that rarely occurs in this space. The guitar lines that do exist play out as textural, slow-developing passages. On tracks “Aparecidos” and “Baile Fantasma” this looping and hypnotic pattern shuffle resembles ambient Pat Metheny or King Crimson colors, the kind where finding the end of nylon pluck into a weaving, high-frequency synth patch feels not impossible but unnecessary. And on the more metallic side of things, Lemos cranks programmed blasts that carry his tortured, panning, and shrouded wails as a guide for the melodic evolution of each track, much in the same way a warping bass line would in a progressive house track. But maintaining the tempo of classic drum and bass, Camaradagem Póstuma wisps away in its atmosphere, coming back to a driving rhythm either via pummeling double kick or glitching break. Despite the hard, danceable pulse that tracks “Enlutados” and “Entre Mundos” boast, Bríi does not feel built for the kvlt klvbs of this world, leaning on a gated, lo-fi aesthetic that makes for an ideal drift away on closed cans, much like the equally idiosyncratic Wist album from earlier this year. And similarly, Camaradagem Póstuma sits in an outsider world of enjoyment. But if any of this sounds like your jam, prepare to get addicted to Bríi.

Thus Spoke’s Rotten Remnants

Livløs // The Crescent King [October 4th, 2024 – Noctum Productions]

Livløs are one of those bands that deserves far more recognition than they receive. With LP three, The Crescent King, they might finally see it. Their punchy intriguing infusion of Swedish and US melodic death metal—though the band themselves hail from Denmark—has a pleasing melancholia and satisfying bite. Here in particular, there’s more than a passing resemblance to Hath, to Cognizance, and to In Mourning. Stomping grooves (“Maelstrom,” “Usurpers”) slide in between blitzes of tripping gallops, and electrifying fretwork (“Orbit Weaver,” “Scourge of the Stars”). Mournful, compelling melodies woven into this technical tapestry—some highlights being the title track, “Harvest,” and “Endless Majesty”—turn already good melodeath into great melodeath; melodeath that’s majestic and powerful, without ever feeling overblown. With its relentless, groovy dynamism, the crisp, spacious production seals the deal for total immersion. If this is your first time hearing about Livløs, you’re in for a treat.

Sordide // Ainsi finit le jour [October 25th, 2024 – Les Acteurs de l’Ombre Productions]

And So Ends the Day, whilst another begins where I rediscover Sordide. I know not how I forgot their existence despite the impression that 2021’s Les Idées Blanches made upon me, yet all I could recall was the disturbingly simple, melty art.1 Ainsi Finit le Jour arrives with a hefty dose (53 minutes no less) of punky, dissonant black metal that’s even rawer and more pissed-off than their usual fare. “Des feux plus forts,” “La poesie du caniveau,” and the title track stand out as the most vicious, near-first-wave cuts the trio have ever laid down, with manic, group wails, and chaotic, jangling percussion. But as is so often the case with Sordide, perhaps the truest brutality comes in the slower discordant crawls of “Sous Vivre,” “Tout est a la mort,” and the particularly unsettling “La beauté du desastre,” whose creeping, half-tuneful teasing and turns to eerie spaciousness get right under your skin. It is arguably a little too long for its own good, given its intensity, but its impressiveness does mean that, this time, Sordide won’t be forgotten.

Dear Hollow’s Droll Hashals

Annihilist // Reform [October 18th, 2024 – Self Release]

What Melbourne’s Annihilist does with flamboyant flare and reckless abandon is blur the lines of its core stylistic choices. One moment it’s chugging away like a deathcore band, the next it’s dripping away with a groove metal swagger, ope, now it’s on its way to Hot Topic. All we know is that all its members attack with a chameleonic intensity and otherworldly technicality that’s hard to pin down. An insane level of technicality is the thread that courses throughout the entirety of this debut, recalling Within the Ruins or The Human Abstract in its stuttering rhythms and flailing arpeggios. From catchy leads and punishing rhythms (“The Upsend,” “Guillotine”), bouncy breakdowns, clean choruses, and wild gang vocals (“Blood”), djenty guitar seizures (“Virus,” “Better Off”) to full-on groove (“N.M.E.,” “The Host”), the likes of Lamb of God, early Architects, Born of Osiris, and Children of Bodom are conjured. Lyrics of hardcore punk’s signature anarchy and societal distrust collide with an instrumental palette of melodeath and the more technical kin of metalcore and deathcore, groove metal, and hardcore. As such, the album is complicated, episodic, and unpredictable, with only its wild technicality connecting its fragmented bits – keeping Reform from achieving the greatness that the band is so capable of. As it stands, though, Annihilist offers an insanely fun, everchanging, and unhinged roller coaster of -core proportions – a roller -corester, if you will.

Under Alekhines Gun

Theurgy // Emanations of Unconscious Luminescence [October 17th, 2024 – New Standard Elite]

In a year where slam and brutal death have already had an atypically high-quality output, international outfit Theurgy have come with an RKO out of nowhere to shatter whatever remains of your cerebral cortex. Channeling the flamboyancy of old Analepsy with the snare abuse and neanderthalic glee of Epicardiectomy, Emanations of Unconscious Luminescence wastes no time severing vertebrae and reducing eardrums to paste. Don’t mistake this for a brainless, caveman assault, however. Peppered between the hammiest of hammers are tech flourishes pulled straight from Dingir era Rings of Saturn, adding an unexpected technical edge to the blunt force trauma. The production manages to pair these two disparaging elements with lethal efficiency. Is it the techiest slam album, or the wettest, greasiest tech album? Did I mention there’s a super moldy cover of Devourment‘s “Molesting the Decapitated”? It slots right into the albums flow without feeling like a tacked-on bonus track, highlighting Theurgy’s commitment to the homicidal odes of brutality. Throw in a vocal performance that makes Angel Ochoa (Abominable Putridity) sound like Anders Fridén (In Flames), and you’re left with one last lethal assault to round out the year. Dive in and give your luminescence something to cry about.

GardensTale’s Great Glacier

Ghosts of Glaciers // Eternal [October 25th, 2024 – Translation Loss Records]

Ghosts of Glaciers’s last release, The Greatest Burden, was a masterclass of post-metal flow and has become a mainstay in my instrumental metal collection since my review in 2019. Dropping in tandem with several other high-profile releases, though, I could not give its follow-up the kind of attention it deserves. And make no mistake, it absolutely deserves that attention. The opening duo, “The Vast Expanse” and “Sunken Chamber,” measure up fully to The Greatest Burden, though it takes a few spins for that to become clear. Both use repetitive patterns more than before, but closer listens reveal how subtle variations and evolution of each cycle build gradual tension, so the release becomes all the more satisfying. I’m a little more ambivalent on the back half of Eternal, though. “Leviathan” packs a bigger punch than more of the band’s material, it lacks the swirling and sweeping currents that pull me under and demand full and uninterrupted plays every time. Closer “Regeneratio Aeterna” is a pretty but rather demure piece that lasts a bit longer than it should have. But despite these reservations, the great material outstrips the merely good, and Eternal is a worthwhile addition to any instrumental metal collection.

#AbominablePutridity #AinsiFinitLeJour #AmericanMetal #Analepsy #Annihilist #Architects #Asphyx #AtmosphericBlackMetal #AustralianMetal #BlackMetal #BongRa #BornOfOsiris #BrazilianMetal #Bríi #BrutalDeathMetal #CamaradagemPóstuma #ChildrenOfBodom #CognitiveDissonance #Cognizance #CosmicPutrefaction #Death #DeathMetal #DeathThrash #Deathcore #Devourment #DissonantBlackMetal #DissonantDeathMetal #Electronic #EmanationsOfUnconsciousLuminescence #EmeralFiresAtopTheFarewellMountains #Entombed #Epicardiectomy #Eternal #ExperimentalMetal #Extorted #Feral #FrenchMetal #Gaerea #GermanMetal #GhostsOfGlaciers #GrooveMetal #Hardcore #HardcorePunk #Hath #Helslave #Hulder #InFlames #InMourning #InternationalMetal #ItalianMetal #KingCrimson #LambOfGod #LesActeursDeLOmbreProductions #Livløs #MelodicDeathMetal #Metalcore #NewStandardElite #NewZealandMetal #NoctumProductions #OSDM #PatMetheny #Pestilence #PostBlackMetal #PostMetal #ProfoundLoreRecords #Reform #RingsOfSaturn #SelfRelease #SelfReleased #Slam #Sordide #SunWorship #SwedishMetal #TechnicalDeathMetal #TheCrescentKing #TheHumanAbstract #Theurgy #ThrashMetal #ToUsurpTheThrones #TranscendingObscurityRecords #TranslationLossRecords #UponTheHillsOfDivination #VendettaRecords #VertebraAtlantis #Vorga #Wist #WithinTheRuins

Stuck in the Filter: October 2024’s Angry Misses

By Kenstrosity

Never fear, the blog’s penchant for deep lateness punctuality persists! It is likely the new year already by the time you see this post, but we’re taking a step back. Way back, into October. I was deep in the shit then, and therefore couldn’t do anything blog-related. And yet, my minions, those very laborers for whom I provide absolutely no compensation whatsoever, toiled dutifully in the metallic dinge that is our Filter. Unforgiving though those environs undoubtedly are, they scraped and scoured until, at long last, small shards of precious ore glimmered to the surface.

These glimmers are the same which you witness before you. Some are big, some are small. Some are short, some are tall. But all are worthy. Behold!

Kenstrosity’s Belated Bombardments

Cosmic Putrefaction // Emerald Fires atop the Farewell Mountains [October 4th, 2024 – Profound Lore Records]

I was originally slated to take over reviewing duties for Cosmic Putrefaction this year, as Thus Spoke had a prior commitment and needed a buddy to step in. Unfortunately, I was rendered useless by a force of nature for a while, so I had to let go of several items of interest. But I couldn’t let 2024 go by without saying something! Entitled Emeral Fires atop the Farewell Mountains, Cosmic Putrefaction’s fourth represents one of the smoothest, most ethereal interpretations of weird, dissonant death metal. The classic Cosmic Putrefaction riffsets under an auroric sky remain, as evidenced by ripping examples “[Entering the Vortex Temporum] – Pre-mortem Phosphenes” and “Swirling Madness, Supernal Ordeal,” but there lurks within a monstrous technical death metal creature who rabidly chases the atmospheric spirits of olde (“I Should Great the Inexorable Darkness,” “Eudaemonist Withdrawal”). While in lesser hands these distinct aesthetics would undoubtedly clash on a dissonant platform such as this, Cosmic Putrefaction’s particular application of sound and style coalesces in devastating beauty and relentless purpose (“Hallways Engraved in Aether,” “Emerald Fires atop the Farewell Mountains”). Were it not for some instances wherein, for the first time ever, Cosmic Putrefaction threatens to self-plagiarize their own material (“Eudaemonist Withdrawal”), I would likely consider Emerald Fires atop the Farewell Mountains for year-end list status.

Feral // To Usurp the Thrones [October 18th, 2024 – Transcending Obscurity Records]

Another one of my charges that I unfortunately had to put down against my will, Swedish death metal fiends Feral’s fourth salvo To Usurp the Thrones deserves a spotlight here. Where Flesh for Funerals Eternal impressed me as my introduction to the band and, arguably, my introduction to modern buzzsaw Swedeath, To Usurp the Thrones impresses me as a singularly vicious record in the style. Faster, meaner, more varied, and longer than its predecessor, Thrones offers the punk-tinged, thrashy death riffs you know and love, with bluesy touches reminiscent of Entombed’s Wolverine Blues adding a bit of drunken swagger to the affair (“Vile Malediction,” “Phantoms of Iniquity,” “Into the Ashes of History”). Absolute rippers like “To Drain the World of Light,” “Deformed Mentality,” “Decimated,” and “Soaked in Blood” live up to the band’s moniker, rabid and relentless in their assault. In many ways, Thrones evokes the same bloodsoaked sense of fun that Helslave’s From the Sulphur Depths conjured, but it’s angrier, more unhinged (“Spirits Without Rest,” “Stripped of Flesh”). Consequently, Thrones stands out as one of the more fun records of its ilk to come out this year. Don’t miss it!

Sun Worship // Upon the Hills of Divination [October 31st, 2024 – Vendetta Records]

Back in 2020, our dear Roquentin offered some damn fine words of praise for Germany’s Sun Worship and their third blackened blade, Emanations of Desolation. It’s been six years since that record dropped, and Upon the Hills of Divination picks up right where Emanations left off. That is to say, absolutely slimy, post-metal-tinged riffs bolstered by dense layers of warm tremolos and mid-frequency roars. Opener “Within the Machine” offers a concrete encapsulation of what to expect: bits and pieces of Hulder, Gaerea, and Vorga melding together into a compelling concoction of hypnotic black metal. Using the long form to their utmost advantage, Sun Worship craft immersive soundscapes liable to scald the flesh just as quickly as they seduce the senses, leaving me as a brainwashed minion doing a twisted mystic’s bidding unconditionally (“Serpent Nebula,” “Covenant”). Yet, there roils a sense of urgency in these songs, despite many of them occupying a mid-paced cadence, which unveils a bleeding heart willingly wrenched from Sun Worship’s body (“Fractal Entity,” the title track, and “Stormbringer”). This is what sets it apart from its contemporaries, and what makes it worthy of mention. Why it’s gotten so little attention escapes me. It is with the intent of rectifying that condition that I pen this woefully insufficient segment.

Dolphin Whisperer’s Duty Free Rifftrocity

Extorted // Cognitive Dissonance [October 16th, 2024 – Self Release]

You don’t need to read this review to know that the Kiwis of Extorted plays pit-whipping death/thrash. Though not adorned with other obvious symbols, like Vietnam War paraphernalia or crushed beer cans, the Ed Repka-penned brain-ripped head figure screams “no thoughts only riff” all the same. With snares set to pow and crashes set to kshhh, Cognitive Dissonance finds low resistance to accelerating early Death-indebted refrains. Vocalist Joel Clark even plays as a dead ringer for pre-Human Schuldiner or Van Drunen (Asphyx, ex-Pestilence) as the torture in many lines grows (on “Infected” and “Ghastly Creatures” in particular). And in a continued tour of Van Drunen-associated sounds, Extorted’s ability to find a push-and-pull cadence that twists the fury of thrash with the cutting drag of death hits that hard-to-nail early Pestilence pocket with studied flair (“Deception,” “Limits of Reality”). Though a considerable amount of the Extorted identity rests in ideas borrowed and reinterpreted, a modern tonal canvas gives Cognitive Dissonance’s rhythms a punchy and balanced low-end weight that doesn’t always present itself in the world of old. Couple that with hooks that reach far beyond the limits of pure homage (“Transformation of Dreams,” “Violence”), and it’s easy to plow through the thirty minutes of tasteful harmonies, bending solos, and spit-stained lamentations that Extorted offers with their powerful debut.

Bríi // Camaradagem Póstuma [October 11th, 2024 – Self Release]

With Camaradagem Póstuma we enter the hazy, folky world of Caio Lemos’ unique vision of what experimental electronic music can be colored by the underpinnings of atmospheric black metal and jazz fusion. Using terraced melodies like baroque music of old and distant breakbeats like the Bong-Ra of recent yesteryears, Brazil’s Bríi represents one man’s highly specific melding that rarely occurs in this space. The guitar lines that do exist play out as textural, slow-developing passages. On tracks “Aparecidos” and “Baile Fantasma” this looping and hypnotic pattern shuffle resembles ambient Pat Metheny or King Crimson colors, the kind where finding the end of nylon pluck into a weaving, high-frequency synth patch feels not impossible but unnecessary. And on the more metallic side of things, Lemos cranks programmed blasts that carry his tortured, panning, and shrouded wails as a guide for the melodic evolution of each track, much in the same way a warping bass line would in a progressive house track. But maintaining the tempo of classic drum and bass, Camaradagem Póstuma wisps away in its atmosphere, coming back to a driving rhythm either via pummeling double kick or glitching break. Despite the hard, danceable pulse that tracks “Enlutados” and “Entre Mundos” boast, Bríi does not feel built for the kvlt klvbs of this world, leaning on a gated, lo-fi aesthetic that makes for an ideal drift away on closed cans, much like the equally idiosyncratic Wist album from earlier this year. And similarly, Camaradagem Póstuma sits in an outsider world of enjoyment. But if any of this sounds like your jam, prepare to get addicted to Bríi.

Thus Spoke’s Rotten Remnants

Livløs // The Crescent King [October 4th, 2024 – Noctum Productions]

Livløs are one of those bands that deserves far more recognition than they receive. With LP three, The Crescent King, they might finally see it. Their punchy intriguing infusion of Swedish and US melodic death metal—though the band themselves hail from Denmark—has a pleasing melancholia and satisfying bite. Here in particular, there’s more than a passing resemblance to Hath, to Cognizance, and to In Mourning. Stomping grooves (“Maelstrom,” “Usurpers”) slide in between blitzes of tripping gallops, and electrifying fretwork (“Orbit Weaver,” “Scourge of the Stars”). Mournful, compelling melodies woven into this technical tapestry—some highlights being the title track, “Harvest,” and “Endless Majesty”—turn already good melodeath into great melodeath; melodeath that’s majestic and powerful, without ever feeling overblown. With its relentless, groovy dynamism, the crisp, spacious production seals the deal for total immersion. If this is your first time hearing about Livløs, you’re in for a treat.

Sordide // Ainsi finit le jour [October 25th, 2024 – Les Acteurs de l’Ombre Productions]

And So Ends the Day, whilst another begins where I rediscover Sordide. I know not how I forgot their existence despite the impression that 2021’s Les Idées Blanches made upon me, yet all I could recall was the disturbingly simple, melty art.1 Ainsi Finit le Jour arrives with a hefty dose (53 minutes no less) of punky, dissonant black metal that’s even rawer and more pissed-off than their usual fare. “Des feux plus forts,” “La poesie du caniveau,” and the title track stand out as the most vicious, near-first-wave cuts the trio have ever laid down, with manic, group wails, and chaotic, jangling percussion. But as is so often the case with Sordide, perhaps the truest brutality comes in the slower discordant crawls of “Sous Vivre,” “Tout est a la mort,” and the particularly unsettling “La beauté du desastre,” whose creeping, half-tuneful teasing and turns to eerie spaciousness get right under your skin. It is arguably a little too long for its own good, given its intensity, but its impressiveness does mean that, this time, Sordide won’t be forgotten.

Dear Hollow’s Droll Hashals

Annihilist // Reform [October 18th, 2024 – Self Release]

What Melbourne’s Annihilist does with flamboyant flare and reckless abandon is blur the lines of its core stylistic choices. One moment it’s chugging away like a deathcore band, the next it’s dripping away with a groove metal swagger, ope, now it’s on its way to Hot Topic. All we know is that all its members attack with a chameleonic intensity and otherworldly technicality that’s hard to pin down. An insane level of technicality is the thread that courses throughout the entirety of this debut, recalling Within the Ruins or The Human Abstract in its stuttering rhythms and flailing arpeggios. From catchy leads and punishing rhythms (“The Upsend,” “Guillotine”), bouncy breakdowns, clean choruses, and wild gang vocals (“Blood”), djenty guitar seizures (“Virus,” “Better Off”) to full-on groove (“N.M.E.,” “The Host”), the likes of Lamb of God, early Architects, Born of Osiris, and Children of Bodom are conjured. Lyrics of hardcore punk’s signature anarchy and societal distrust collide with an instrumental palette of melodeath and the more technical kin of metalcore and deathcore, groove metal, and hardcore. As such, the album is complicated, episodic, and unpredictable, with only its wild technicality connecting its fragmented bits – keeping Reform from achieving the greatness that the band is so capable of. As it stands, though, Annihilist offers an insanely fun, everchanging, and unhinged roller coaster of -core proportions – a roller -corester, if you will.

Under Alekhines Gun

Theurgy // Emanations of Unconscious Luminescence [October 17th, 2024 – New Standard Elite]

In a year where slam and brutal death have already had an atypically high-quality output, international outfit Theurgy have come with an RKO out of nowhere to shatter whatever remains of your cerebral cortex. Channeling the flamboyancy of old Analepsy with the snare abuse and neanderthalic glee of Epicardiectomy, Emanations of Unconscious Luminescence wastes no time severing vertebrae and reducing eardrums to paste. Don’t mistake this for a brainless, caveman assault, however. Peppered between the hammiest of hammers are tech flourishes pulled straight from Dingir era Rings of Saturn, adding an unexpected technical edge to the blunt force trauma. The production manages to pair these two disparaging elements with lethal efficiency. Is it the techiest slam album, or the wettest, greasiest tech album? Did I mention there’s a super moldy cover of Devourment‘s “Molesting the Decapitated”? It slots right into the albums flow without feeling like a tacked-on bonus track, highlighting Theurgy’s commitment to the homicidal odes of brutality. Throw in a vocal performance that makes Angel Ochoa (Abominable Putridity) sound like Anders Fridén (In Flames), and you’re left with one last lethal assault to round out the year. Dive in and give your luminescence something to cry about.

GardensTale’s Great Glacier

Ghosts of Glaciers // Eternal [October 25th, 2024 – Translation Loss Records]

Ghosts of Glaciers’s last release, The Greatest Burden, was a masterclass of post-metal flow and has become a mainstay in my instrumental metal collection since my review in 2019. Dropping in tandem with several other high-profile releases, though, I could not give its follow-up the kind of attention it deserves. And make no mistake, it absolutely deserves that attention. The opening duo, “The Vast Expanse” and “Sunken Chamber,” measure up fully to The Greatest Burden, though it takes a few spins for that to become clear. Both use repetitive patterns more than before, but closer listens reveal how subtle variations and evolution of each cycle build gradual tension, so the release becomes all the more satisfying. I’m a little more ambivalent on the back half of Eternal, though. “Leviathan” packs a bigger punch than more of the band’s material, it lacks the swirling and sweeping currents that pull me under and demand full and uninterrupted plays every time. Closer “Regeneratio Aeterna” is a pretty but rather demure piece that lasts a bit longer than it should have. But despite these reservations, the great material outstrips the merely good, and Eternal is a worthwhile addition to any instrumental metal collection.

#AbominablePutridity #AinsiFinitLeJour #AmericanMetal #Analepsy #Annihilist #Architects #Asphyx #AtmosphericBlackMetal #AustralianMetal #BlackMetal #BongRa #BornOfOsiris #BrazilianMetal #Bríi #BrutalDeathMetal #CamaradagemPóstuma #ChildrenOfBodom #CognitiveDissonance #Cognizance #CosmicPutrefaction #Death #DeathMetal #DeathThrash #Deathcore #Devourment #DissonantBlackMetal #DissonantDeathMetal #Electronic #EmanationsOfUnconsciousLuminescence #EmeralFiresAtopTheFarewellMountains #Entombed #Epicardiectomy #Eternal #ExperimentalMetal #Extorted #Feral #FrenchMetal #Gaerea #GermanMetal #GhostsOfGlaciers #GrooveMetal #Hardcore #HardcorePunk #Hath #Helslave #Hulder #InFlames #InMourning #InternationalMetal #ItalianMetal #KingCrimson #LambOfGod #LesActeursDeLOmbreProductions #Livløs #MelodicDeathMetal #Metalcore #NewStandardElite #NewZealandMetal #NoctumProductions #OSDM #PatMetheny #Pestilence #PostBlackMetal #PostMetal #ProfoundLoreRecords #Reform #RingsOfSaturn #SelfRelease #SelfReleased #Slam #Sordide #SunWorship #SwedishMetal #TechnicalDeathMetal #TheCrescentKing #TheHumanAbstract #Theurgy #ThrashMetal #ToUsurpTheThrones #TranscendingObscurityRecords #TranslationLossRecords #UponTheHillsOfDivination #VendettaRecords #VertebraAtlantis #Vorga #Wist #WithinTheRuins

Stuck in the Filter: October 2024’s Angry Misses

By Kenstrosity

Never fear, the blog’s penchant for deep lateness punctuality persists! It is likely the new year already by the time you see this post, but we’re taking a step back. Way back, into October. I was deep in the shit then, and therefore couldn’t do anything blog-related. And yet, my minions, those very laborers for whom I provide absolutely no compensation whatsoever, toiled dutifully in the metallic dinge that is our Filter. Unforgiving though those environs undoubtedly are, they scraped and scoured until, at long last, small shards of precious ore glimmered to the surface.

These glimmers are the same which you witness before you. Some are big, some are small. Some are short, some are tall. But all are worthy. Behold!

Kenstrosity’s Belated Bombardments

Cosmic Putrefaction // Emerald Fires atop the Farewell Mountains [October 4th, 2024 – Profound Lore Records]

I was originally slated to take over reviewing duties for Cosmic Putrefaction this year, as Thus Spoke had a prior commitment and needed a buddy to step in. Unfortunately, I was rendered useless by a force of nature for a while, so I had to let go of several items of interest. But I couldn’t let 2024 go by without saying something! Entitled Emeral Fires atop the Farewell Mountains, Cosmic Putrefaction’s fourth represents one of the smoothest, most ethereal interpretations of weird, dissonant death metal. The classic Cosmic Putrefaction riffsets under an auroric sky remain, as evidenced by ripping examples “[Entering the Vortex Temporum] – Pre-mortem Phosphenes” and “Swirling Madness, Supernal Ordeal,” but there lurks within a monstrous technical death metal creature who rabidly chases the atmospheric spirits of olde (“I Should Great the Inexorable Darkness,” “Eudaemonist Withdrawal”). While in lesser hands these distinct aesthetics would undoubtedly clash on a dissonant platform such as this, Cosmic Putrefaction’s particular application of sound and style coalesces in devastating beauty and relentless purpose (“Hallways Engraved in Aether,” “Emerald Fires atop the Farewell Mountains”). Were it not for some instances wherein, for the first time ever, Cosmic Putrefaction threatens to self-plagiarize their own material (“Eudaemonist Withdrawal”), I would likely consider Emerald Fires atop the Farewell Mountains for year-end list status.

Feral // To Usurp the Thrones [October 18th, 2024 – Transcending Obscurity Records]

Another one of my charges that I unfortunately had to put down against my will, Swedish death metal fiends Feral’s fourth salvo To Usurp the Thrones deserves a spotlight here. Where Flesh for Funerals Eternal impressed me as my introduction to the band and, arguably, my introduction to modern buzzsaw Swedeath, To Usurp the Thrones impresses me as a singularly vicious record in the style. Faster, meaner, more varied, and longer than its predecessor, Thrones offers the punk-tinged, thrashy death riffs you know and love, with bluesy touches reminiscent of Entombed’s Wolverine Blues adding a bit of drunken swagger to the affair (“Vile Malediction,” “Phantoms of Iniquity,” “Into the Ashes of History”). Absolute rippers like “To Drain the World of Light,” “Deformed Mentality,” “Decimated,” and “Soaked in Blood” live up to the band’s moniker, rabid and relentless in their assault. In many ways, Thrones evokes the same bloodsoaked sense of fun that Helslave’s From the Sulphur Depths conjured, but it’s angrier, more unhinged (“Spirits Without Rest,” “Stripped of Flesh”). Consequently, Thrones stands out as one of the more fun records of its ilk to come out this year. Don’t miss it!

Sun Worship // Upon the Hills of Divination [October 31st, 2024 – Vendetta Records]

Back in 2020, our dear Roquentin offered some damn fine words of praise for Germany’s Sun Worship and their third blackened blade, Emanations of Desolation. It’s been six years since that record dropped, and Upon the Hills of Divination picks up right where Emanations left off. That is to say, absolutely slimy, post-metal-tinged riffs bolstered by dense layers of warm tremolos and mid-frequency roars. Opener “Within the Machine” offers a concrete encapsulation of what to expect: bits and pieces of Hulder, Gaerea, and Vorga melding together into a compelling concoction of hypnotic black metal. Using the long form to their utmost advantage, Sun Worship craft immersive soundscapes liable to scald the flesh just as quickly as they seduce the senses, leaving me as a brainwashed minion doing a twisted mystic’s bidding unconditionally (“Serpent Nebula,” “Covenant”). Yet, there roils a sense of urgency in these songs, despite many of them occupying a mid-paced cadence, which unveils a bleeding heart willingly wrenched from Sun Worship’s body (“Fractal Entity,” the title track, and “Stormbringer”). This is what sets it apart from its contemporaries, and what makes it worthy of mention. Why it’s gotten so little attention escapes me. It is with the intent of rectifying that condition that I pen this woefully insufficient segment.

Dolphin Whisperer’s Duty Free Rifftrocity

Extorted // Cognitive Dissonance [October 16th, 2024 – Self Release]

You don’t need to read this review to know that the Kiwis of Extorted plays pit-whipping death/thrash. Though not adorned with other obvious symbols, like Vietnam War paraphernalia or crushed beer cans, the Ed Repka-penned brain-ripped head figure screams “no thoughts only riff” all the same. With snares set to pow and crashes set to kshhh, Cognitive Dissonance finds low resistance to accelerating early Death-indebted refrains. Vocalist Joel Clark even plays as a dead ringer for pre-Human Schuldiner or Van Drunen (Asphyx, ex-Pestilence) as the torture in many lines grows (on “Infected” and “Ghastly Creatures” in particular). And in a continued tour of Van Drunen-associated sounds, Extorted’s ability to find a push-and-pull cadence that twists the fury of thrash with the cutting drag of death hits that hard-to-nail early Pestilence pocket with studied flair (“Deception,” “Limits of Reality”). Though a considerable amount of the Extorted identity rests in ideas borrowed and reinterpreted, a modern tonal canvas gives Cognitive Dissonance’s rhythms a punchy and balanced low-end weight that doesn’t always present itself in the world of old. Couple that with hooks that reach far beyond the limits of pure homage (“Transformation of Dreams,” “Violence”), and it’s easy to plow through the thirty minutes of tasteful harmonies, bending solos, and spit-stained lamentations that Extorted offers with their powerful debut.

Bríi // Camaradagem Póstuma [October 11th, 2024 – Self Release]

With Camaradagem Póstuma we enter the hazy, folky world of Caio Lemos’ unique vision of what experimental electronic music can be colored by the underpinnings of atmospheric black metal and jazz fusion. Using terraced melodies like baroque music of old and distant breakbeats like the Bong-Ra of recent yesteryears, Brazil’s Bríi represents one man’s highly specific melding that rarely occurs in this space. The guitar lines that do exist play out as textural, slow-developing passages. On tracks “Aparecidos” and “Baile Fantasma” this looping and hypnotic pattern shuffle resembles ambient Pat Metheny or King Crimson colors, the kind where finding the end of nylon pluck into a weaving, high-frequency synth patch feels not impossible but unnecessary. And on the more metallic side of things, Lemos cranks programmed blasts that carry his tortured, panning, and shrouded wails as a guide for the melodic evolution of each track, much in the same way a warping bass line would in a progressive house track. But maintaining the tempo of classic drum and bass, Camaradagem Póstuma wisps away in its atmosphere, coming back to a driving rhythm either via pummeling double kick or glitching break. Despite the hard, danceable pulse that tracks “Enlutados” and “Entre Mundos” boast, Bríi does not feel built for the kvlt klvbs of this world, leaning on a gated, lo-fi aesthetic that makes for an ideal drift away on closed cans, much like the equally idiosyncratic Wist album from earlier this year. And similarly, Camaradagem Póstuma sits in an outsider world of enjoyment. But if any of this sounds like your jam, prepare to get addicted to Bríi.

Thus Spoke’s Rotten Remnants

Livløs // The Crescent King [October 4th, 2024 – Noctum Productions]

Livløs are one of those bands that deserves far more recognition than they receive. With LP three, The Crescent King, they might finally see it. Their punchy intriguing infusion of Swedish and US melodic death metal—though the band themselves hail from Denmark—has a pleasing melancholia and satisfying bite. Here in particular, there’s more than a passing resemblance to Hath, to Cognizance, and to In Mourning. Stomping grooves (“Maelstrom,” “Usurpers”) slide in between blitzes of tripping gallops, and electrifying fretwork (“Orbit Weaver,” “Scourge of the Stars”). Mournful, compelling melodies woven into this technical tapestry—some highlights being the title track, “Harvest,” and “Endless Majesty”—turn already good melodeath into great melodeath; melodeath that’s majestic and powerful, without ever feeling overblown. With its relentless, groovy dynamism, the crisp, spacious production seals the deal for total immersion. If this is your first time hearing about Livløs, you’re in for a treat.

Sordide // Ainsi finit le jour [October 25th, 2024 – Les Acteurs de l’Ombre Productions]

And So Ends the Day, whilst another begins where I rediscover Sordide. I know not how I forgot their existence despite the impression that 2021’s Les Idées Blanches made upon me, yet all I could recall was the disturbingly simple, melty art.1 Ainsi Finit le Jour arrives with a hefty dose (53 minutes no less) of punky, dissonant black metal that’s even rawer and more pissed-off than their usual fare. “Des feux plus forts,” “La poesie du caniveau,” and the title track stand out as the most vicious, near-first-wave cuts the trio have ever laid down, with manic, group wails, and chaotic, jangling percussion. But as is so often the case with Sordide, perhaps the truest brutality comes in the slower discordant crawls of “Sous Vivre,” “Tout est a la mort,” and the particularly unsettling “La beauté du desastre,” whose creeping, half-tuneful teasing and turns to eerie spaciousness get right under your skin. It is arguably a little too long for its own good, given its intensity, but its impressiveness does mean that, this time, Sordide won’t be forgotten.

Dear Hollow’s Droll Hashals

Annihilist // Reform [October 18th, 2024 – Self Release]

What Melbourne’s Annihilist does with flamboyant flare and reckless abandon is blur the lines of its core stylistic choices. One moment it’s chugging away like a deathcore band, the next it’s dripping away with a groove metal swagger, ope, now it’s on its way to Hot Topic. All we know is that all its members attack with a chameleonic intensity and otherworldly technicality that’s hard to pin down. An insane level of technicality is the thread that courses throughout the entirety of this debut, recalling Within the Ruins or The Human Abstract in its stuttering rhythms and flailing arpeggios. From catchy leads and punishing rhythms (“The Upsend,” “Guillotine”), bouncy breakdowns, clean choruses, and wild gang vocals (“Blood”), djenty guitar seizures (“Virus,” “Better Off”) to full-on groove (“N.M.E.,” “The Host”), the likes of Lamb of God, early Architects, Born of Osiris, and Children of Bodom are conjured. Lyrics of hardcore punk’s signature anarchy and societal distrust collide with an instrumental palette of melodeath and the more technical kin of metalcore and deathcore, groove metal, and hardcore. As such, the album is complicated, episodic, and unpredictable, with only its wild technicality connecting its fragmented bits – keeping Reform from achieving the greatness that the band is so capable of. As it stands, though, Annihilist offers an insanely fun, everchanging, and unhinged roller coaster of -core proportions – a roller -corester, if you will.

Under Alekhines Gun

Theurgy // Emanations of Unconscious Luminescence [October 17th, 2024 – New Standard Elite]

In a year where slam and brutal death have already had an atypically high-quality output, international outfit Theurgy have come with an RKO out of nowhere to shatter whatever remains of your cerebral cortex. Channeling the flamboyancy of old Analepsy with the snare abuse and neanderthalic glee of Epicardiectomy, Emanations of Unconscious Luminescence wastes no time severing vertebrae and reducing eardrums to paste. Don’t mistake this for a brainless, caveman assault, however. Peppered between the hammiest of hammers are tech flourishes pulled straight from Dingir era Rings of Saturn, adding an unexpected technical edge to the blunt force trauma. The production manages to pair these two disparaging elements with lethal efficiency. Is it the techiest slam album, or the wettest, greasiest tech album? Did I mention there’s a super moldy cover of Devourment‘s “Molesting the Decapitated”? It slots right into the albums flow without feeling like a tacked-on bonus track, highlighting Theurgy’s commitment to the homicidal odes of brutality. Throw in a vocal performance that makes Angel Ochoa (Abominable Putridity) sound like Anders Fridén (In Flames), and you’re left with one last lethal assault to round out the year. Dive in and give your luminescence something to cry about.

GardensTale’s Great Glacier

Ghosts of Glaciers // Eternal [October 25th, 2024 – Translation Loss Records]

Ghosts of Glaciers’s last release, The Greatest Burden, was a masterclass of post-metal flow and has become a mainstay in my instrumental metal collection since my review in 2019. Dropping in tandem with several other high-profile releases, though, I could not give its follow-up the kind of attention it deserves. And make no mistake, it absolutely deserves that attention. The opening duo, “The Vast Expanse” and “Sunken Chamber,” measure up fully to The Greatest Burden, though it takes a few spins for that to become clear. Both use repetitive patterns more than before, but closer listens reveal how subtle variations and evolution of each cycle build gradual tension, so the release becomes all the more satisfying. I’m a little more ambivalent on the back half of Eternal, though. “Leviathan” packs a bigger punch than more of the band’s material, it lacks the swirling and sweeping currents that pull me under and demand full and uninterrupted plays every time. Closer “Regeneratio Aeterna” is a pretty but rather demure piece that lasts a bit longer than it should have. But despite these reservations, the great material outstrips the merely good, and Eternal is a worthwhile addition to any instrumental metal collection.

#AbominablePutridity #AinsiFinitLeJour #AmericanMetal #Analepsy #Annihilist #Architects #Asphyx #AtmosphericBlackMetal #AustralianMetal #BlackMetal #BongRa #BornOfOsiris #BrazilianMetal #Bríi #BrutalDeathMetal #CamaradagemPóstuma #ChildrenOfBodom #CognitiveDissonance #Cognizance #CosmicPutrefaction #Death #DeathMetal #DeathThrash #Deathcore #Devourment #DissonantBlackMetal #DissonantDeathMetal #Electronic #EmanationsOfUnconsciousLuminescence #EmeralFiresAtopTheFarewellMountains #Entombed #Epicardiectomy #Eternal #ExperimentalMetal #Extorted #Feral #FrenchMetal #Gaerea #GermanMetal #GhostsOfGlaciers #GrooveMetal #Hardcore #HardcorePunk #Hath #Helslave #Hulder #InFlames #InMourning #InternationalMetal #ItalianMetal #KingCrimson #LambOfGod #LesActeursDeLOmbreProductions #Livløs #MelodicDeathMetal #Metalcore #NewStandardElite #NewZealandMetal #NoctumProductions #OSDM #PatMetheny #Pestilence #PostBlackMetal #PostMetal #ProfoundLoreRecords #Reform #RingsOfSaturn #SelfRelease #SelfReleased #Slam #Sordide #SunWorship #SwedishMetal #TechnicalDeathMetal #TheCrescentKing #TheHumanAbstract #Theurgy #ThrashMetal #ToUsurpTheThrones #TranscendingObscurityRecords #TranslationLossRecords #UponTheHillsOfDivination #VendettaRecords #VertebraAtlantis #Vorga #Wist #WithinTheRuins

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Born Of Osiris Shares a New Single and Video for “In Desolation”

https://ghostcultmag.com/born-of-osiris-shares-a-new-single-and-video-for-in-desolation/

#BornOfOsiris

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10 Deathcore Albums That Aged Incredibly Well

https://metalinjection.net/lists/10-deathcore-albums-that-aged-incredibly-well

#IonDissonance #DespisedIcon #TheRedChord #Animosity #TheAcaciaStrain #AsBloodRunsBlack #Whitechapel #AfterTheBurial #BornOfOsiris #FitForAnAutopsy #Deathcore #Metal

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#MetalInjection
10 Deathcore Albums That Aged Incredibly Well

https://metalinjection.net/lists/10-deathcore-albums-that-aged-incredibly-well

#IonDissonance #DespisedIcon #TheRedChord #Animosity #TheAcaciaStrain #AsBloodRunsBlack #Whitechapel #AfterTheBurial #BornOfOsiris #FitForAnAutopsy #Deathcore #Metal

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#MetalInjection
10 Deathcore Albums That Aged Incredibly Well

https://metalinjection.net/lists/10-deathcore-albums-that-aged-incredibly-well

#IonDissonance #DespisedIcon #TheRedChord #Animosity #TheAcaciaStrain #AsBloodRunsBlack #Whitechapel #AfterTheBurial #BornOfOsiris #FitForAnAutopsy #Deathcore #Metal

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#MetalInjection
10 Deathcore Albums That Aged Incredibly Well

https://metalinjection.net/lists/10-deathcore-albums-that-aged-incredibly-well

#IonDissonance #DespisedIcon #TheRedChord #Animosity #TheAcaciaStrain #AsBloodRunsBlack #Whitechapel #AfterTheBurial #BornOfOsiris #FitForAnAutopsy #Deathcore #Metal

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#MetalInjection
10 Deathcore Albums That Aged Incredibly Well

https://metalinjection.net/lists/10-deathcore-albums-that-aged-incredibly-well

#IonDissonance #DespisedIcon #TheRedChord #Animosity #TheAcaciaStrain #AsBloodRunsBlack #Whitechapel #AfterTheBurial #BornOfOsiris #FitForAnAutopsy #Deathcore #Metal

Akhlys
30.07.2024 Berlin / Urban Spree

Alien Ant Farm
25.10.2024 Berlin / Columbia Theater

Ancst
13.07.2024 Potsdam / Archiv

And Also the Trees
02.11.2024 Berlin / Privatclub

Annie Taylor
10.12.2024 Berlin / Cassiopeia

ASP
06.10.2024 Berlin / Huxleys

Baroness
02.11.2024 Berlin / Huxleys

Beartooth
02.10.2024 Berlin / Columbiahalle

Beatsteaks
29.06.2024 Berlin / Parkbühne Wuhlheide

Bernar Gomma
25.07.2024 Berlin / Kulturhaus Insel

Blackbraid
14.10.2024 Berlin / Lido

Born Of Osiris
30.08.2024 Berlin / Hole 44

Catch Your Breath
24.04.2025 Berlin / Columbia Theater

Dayseeker
01.12.2024 Berlin / Hole 44

#ASP #Akhlys #AlienAntFarm #Ancst #AndAlsoTheTrees #AnnieTaylor #Archiv #Baroness #Beartooth #Beatsteaks #Berlin #BernarGomma #Blackbraid #BornOfOsiris #Cassiopeia #CatchYourBreath #ColumbiaTheater #Columbiahalle #Dayseeker #Delving #Hole44 #Huxleys #KulturhausInsel #Lido #NeueZukunft #ParkbuhneWuhlheide #Potsdam #Privatclub #UrbanSpree #SteelFeed

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BORN OF OSIRIS Streams New Single "Elevate"
Another throwback to their old-school sound.

https://metalinjection.net/video/born-of-osiris-streams-new-single-elevate

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KNOCKED LOOSE, INTER ARMA, BORN OF OSIRIS, DEMON HUNTER & More Among Metal Injection's Weekly Top Tracks
Plus new ones from Horndal, Coffins, Civerous, and more!

https://metalinjection.net/playlist/top-tracks-of-the-week-playlist/knocked-loose-inter-arma-born-of-osiris-demon-hunter-more-among-metal-injections-weekly-top-tracks

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BORN OF OSIRIS Streams New, Old-School Single "A Mind Short Circuiting"
"We are sure that our OG fans will appreciate this one."

https://metalinjection.net/video/born-of-osiris-streams-new-old-school-single-a-mind-short-circuiting

#BornOfOsiris #NewSingle #OldSchool #Music #Streaming #ShortCircuiting

Stuck in the Filter – October’s Angry Misses

By Kenstrosity

Frens, frenemies, poseurs, all. It’s been one helluva year, hasn’t it? Not only has the year of our Jørn 2023 played host to an unseemly number of metal releases, but an unusual quantity of those releases were good enough to earn their place in these hallowed Filters. Now, the end of the year looms, and we’ve got one more collection of filthy chunks to share.

I would like to thank all of the many contributors who have supplied material for this feature, helping it thrive these last couple of years. And of course, I’d like to extend my thanks to Steel Druhm and AMG Himself for entrusting me to manage this segment, and for further supporting and upgrading this feature so that it might gain an even greater presence for our readers in coming years. Without further ado, and in the spirit of Listurnalia, we welcome you to the final Stuck in the Filter piece of 2023. HUZZAH!

Kenstrosity’s Mildewed Masses

Akouphenom // Death·Chaos·Void [October 13th, 2023 – Avantgarde Music]

Spanish blackened death metal band Akouphenom sprung out of absolute nowhere for spongekind. Encountered during a biweekly listening session I attend with some Discord frens, debut record Death·Chaos·Void represents one twisted, barbed tome of scorched extreme metal. From the onset of opener proper “Devour,” I revel in the dark incantations of infernal horror which takes the form of vile riffs, phlegmy rasps, and rabid blasts. Reminiscent of Belphegor, Ars Magna Umbrae, and Veilburner, Death·Chaos·Void demands my soul as the price for engaging with its devilish charms, charms which allow its long-form constructs to fly by in the blink of an eye. You wouldn’t expect tracks like the twelve-minute “Upper Cycle of Infinite Tails” to shred time into ribbons, but its vicious and memorable songwriting enlivens each and every second such that it feels lithe and agile rather than bloated and clumsy (“Flesh Sublimation,” “Death·Chaos·Void”). An excellent production job further solidifies Death·Chaos·Void’s merit, especially considering this is Akouphenom’s first full length. With no weak songs to be had and very little to criticize, you may wonder why this record doesn’t earn a full Things You Might Have Missed article from yours truly. The answer? Neglect. I simply didn’t listen to this album in full until very recently. Don’t make the same mistake I did. Get in on this before the year’s out!

Eye of Horus // Noxium [October 14th, 2023 – Self Release]

Like it or not, The Black Dahlia Murder’s influence on the metalsphere cannot be denied. Imitators everywhere crib their material and try to grasp the glory that the legendary melodic death metal band secured for themselves over their storied career. While none of the bands strongly inspired by TBDM share the same success, many still put out worthy material. One such band is Eye of Horus, an unheralded Canadian melodic death metal quintet whose sophomore record Noxium represents one of the better slabs of TBDM worship I’ve heard. At a tight thirty-six minutes, Noxium brims with top-of-the-line hooks and compelling songwriting. Opener “Modern Meat Grinder” is proof positive of that end, with its infectious gang shout chorus of “FEED YOUR NEIGHBOR TO THE MEAT GRINDER!!!” Couple that with excellent riffcraft, meaty roars, and acrobatic drumming, and you’ve got yourself a top-notch start to a criminally fun record. To my great joy, many subsequent cuts live up to the initial quality established early on. “Patriarch,” “Hellbound,” “Phantom Sepulchre,” “Gripped by the Grave,” and closer “Beyond the Mortal Veil” all offer plenty of metallic goodness and exciting songwriting to push it above the pack. While they still lack a unique identity, Eye of Horus show ample potential to grow into their own voice down the line. Keep your eye on them!

Crystal Coffin // The Curse of Immortality [October 31st, 2023 – Self Release]

Doom_et_Al should’ve covered this record months ago. He knew it was coming. I am convinced of it. Don’t believe his denials! Thankfully, I am here to pick up the ball. Hailing from Vancouver, Crystal Coffin dropped their third LP The Curse of Immortality back on Halloween. While I agree with Doom‘s assessment of predecessor The Starway Eternal, something about Crystal Coffin’s latest effort feels elevated, refined, and matured. Lushly layered melodies, groovy drumming, and invigorated songwriting characterize The Curse of Immortality in a way we’ve not heard from this group before. Coupled with their already well-established knack for interesting storytelling and novel subject matter, the pieces come together to create an album greater than the sum of its parts. Opener “Shadows Never Cast” offers a great encapsulation of what to expect, replete with ripping tremolos, infectious energy, and fun electronic effects. Black-n-roll bangers like “The Undead,” “The Vortex of Earth and Death,” “Final Breaths,” and “Leviathans Encased” showcase Crystal Coffin’s versatility in fine fashion too. Juggling swaggering riffs with delicate piano, crooning cleans, and whimsical synthwork, these songs evoke an eerie, sci-fi atmosphere that deviates from the popular application of such aesthetics in black metal. In short, if you’re looking for quality black metal of a niche mold, give Crystal Coffin’s The Curse of Immortality a go.

Dolphin Whisperer’s Nonpareil Nuggets

Comaniac // All for None [October 13th, 2023 – Metalworld]

With a name oddly ripped from a classic Artillery song, banger titles like “Desolation Manifest” and “Breakdown Rite,” and an atemporal, battle-ready cover All for None screams with the rustic abandon of rowdy, shreddy thrash. Comaniac hail from the mountainous scape of Switzerland, a land that once hosted the neoclassically inclined, rapid-fire riffage of the legendary Coroner. Following in similar footsteps, ripping trash break after ripping thrash break litters this sweeping outing. And much like their countrymen in Stortregn, or a whimsical, aged act like Forbidden, guitarists Jonas Schmid and Valentin Mössinger—the latter of whom also provides a spacious and sparkling mix/master job—kill the electrics to up the drama with serenading nylon passages (“Eye to Eye,” “Life Long Doll,” “Self Sacrifice”). But this dash of progressive attitude doesn’t get in the way too often, though it can push Schmid’s already unadvisable, rabid bark into an accented croon that’s not particularly polished (“Life Long Doll,” “Self Sacrifice”). The strength of the shred-forward, throat-abusing cuts land powerfully enough make up the difference though (“Desolation Manifest,” “Breakdown Rite,” “Between the Stars”), with plenty of rapid tempo shifts and pull-off runs to dizzy an already spinning crowd. A techy thrash band this exciting hasn’t come around for me in a long time, and if I were a smarter man I’d probably have caught them sooner then this—All for None is their fourth album after all. But I don’t being late to the party when ass-kickin’ thrash is on the menu.

Novere // Nothing Stays Hidden in Daylight [October 1st, 2023 – Trepanation Recordings]

Founded by Dawnwalker guitarist Matteo Bianciotto, Thai-born now UK-based vocalist/bassist Top Tarasin,1, and a couple of other friends from the UK scene, Novere has been stewing their cinematic, heavy-hitting post-metal sound for a few years leading to this stunning full-length debut. Pulling from the hazy domain of alt-legends Tool and the ritualistic roar-to-altar of Amenra, Novere fills a wide scope with delicately recorded clean passages only to tear them away layer by layer with full volume crashes (“Hydra,” “Aphelion”). “Danse Macabre” may land as the most challenging of the bunch for those who crave the harsh release those first two numbers promise, its beautiful and folky expression leaning firmly in a glistening, textural post-rock world, dreamy croons included. But at four tracks, thirty-five minutes, and the haunting, ISIS-imbued speaker-rattling close of “Cromlech,” Nothing Stays Hidden in Daylight escapes the trapping trope of “never-ending whoosh” that the genre of post-metal so often harbors. With lush production handled by none other than postmaster himself Magnus Lindberg (Cult of Luna), each careful listen of delicate string touches, wobbling bass lurches, splashing cymbal arrays, resonates more deeply than the last—truly ear candy. Once you’ve fallen prey to this as many times as I have in my short time with it, you’ll be hoping too for a quick turn around on a follow-up.

Dear Hollow’s Gutter Garbage

The Voynich Code // Insomnia [October 13th, 2023 – Unique Leader Records]

Look, deathcore can be cool again, although I’m not sure if it ever was. Aspiring deathcore shenaniganizers just need to play like Portugal’s The Voynich Code. Sounding like a deft combination of Born of Osiris and Shadow of Intent, with just hints of old Veil of Maya and Lorna Shore, there’s a lot going on with the four-piece’s second full-length. Following the milquetoast Aqua Vitae in 2017, I was resigned that perhaps The Voynich Code had better short-form pieces, as their debut 2015 EP Ignotum offered potential galore while 2021’s Post Mortem offered a punchy batch of solid tunes with tasteful brevity. Offering an absolute mammoth deathcore sound with hints of blackened and djent flavors, they more than make up for their poor stylistic choices with a penchant for shredding and tasteful technicality. “Homecoming,” “A Dying Age,” and “Hell’s Black Heart” offer blades of shredding riffs and wildly technical leads, while the blackened symphonic Dimmu Borgir flavors of “Insomnia” and “A Flicker of Life” offer a gravity of dread that adds an unmistakably horror-based experience. Ultimately, does The Voynich Code do anything earthshaking? No. The vocalist could stand to expand his range, the songs start to bleed together by a certain point, and there is a lot going on. But there’s also shredding technicality, dizzying intensity, full-throttle brutality, and a whole lotta fun to get your head bobbing.

End // The Sin of Human Frailty [October 27th, 2023 – Closed Casket Activities]

Excuse me while I add another soundtrack for my sellout. For the uninitiated, End is a supergroup from New Jersey, featuring heavy hitter veterans from household bands like Counterparts, Fit for an Autopsy, Shai Hulud, and The Acacia Strain. While the tag “metalcore” is present here, you’ll find more Full of Hell or Cult Leader in this caustic concoction rather than any of the August Burns Reds of the world. Brendan Murphy has never sounded so commanding, while the buzzsaw Nails-esque riffs of Will Putney and Gregory Thomas gash with furious intensity, undergirded by the abusive rhythm section of Jay Pepito and Matt Guglielmo. Bordering on powerviolence and grind at sporadic intervals in tracks like “Gaping Wounds of Earth” and “Twice Devoured Kill” (featuring Pig Destroyer’s J.R. Hayes) End features an expertly honed balance between bludgeoning weight and skronky technicality. While “Thaw” is a strangely EDM, industrial, and experimental inclusion (also featuring the croons of Heriot’s Debbie Gough), The Sin of Human Frailty sees End laying it on with a grind intensity, deathcore weight, and hardcore attitude – a punch in the face you’ll come back for again and again.

#2023 #Akouphenom #AllForNone #Amenra #AmericanMetal #ArsMagnaUmbrae #Artillery #AugustBurnsRed #AvantgardeMusic #Belphegor #BlackMetal #BlackNRoll #BlackenedDeathMetal #BornOfOsiris #CanadianMetal #ClosedCasketActivities #Comaniac #Coroner #Counterparts #CrystalCoffin #CultLeader #CultOfLuna #Dawnwalker #DeathMetal #DeathChaosVoid #Deathcore #DimmuBorgir #End #EyeOfHorus #FitForAnAutopsy #Forbidden #FullOfHell #Grind #Hardcore #Insomnia #Isis #LornaShore #MelodicBlackMetal #MelodicDeathMetal #Metalcore #Metalworld #Nails #NothingStaysHiddenInDaylight #Novere #Noxium #Oct23 #PigDestroyer #PortugueseMetal #PostMetal #ProgressiveMetal #Review #Reviews #SelfRelease #SelfReleased #ShadowOfIntent #ShaiHulud #Sludge #Stortregn #StuckInTheFilter #SwissMetal #SymphonicMetal #TechnicalDeathMetal #TheAcaciaStrain #TheBlackDahliaMurder #TheCurseOfImmortality #TheSinOfHumanFrailty #TheVoynichCode #ThrashMetal #Tool #TrepanationRecordings #UKMetal #UniqueLeaderRecords #VeilOfMaya #Veilburner

Stuck in the Filter – October’s Angry Misses

By Kenstrosity

Frens, frenemies, poseurs, all. It’s been one helluva year, hasn’t it? Not only has the year of our Jørn 2023 played host to an unseemly number of metal releases, but an unusual quantity of those releases were good enough to earn their place in these hallowed Filters. Now, the end of the year looms, and we’ve got one more collection of filthy chunks to share.

I would like to thank all of the many contributors who have supplied material for this feature, helping it thrive these last couple of years. And of course, I’d like to extend my thanks to Steel Druhm and AMG Himself for entrusting me to manage this segment, and for further supporting and upgrading this feature so that it might gain an even greater presence for our readers in coming years. Without further ado, and in the spirit of Listurnalia, we welcome you to the final Stuck in the Filter piece of 2023. HUZZAH!

Kenstrosity’s Mildewed Masses

Akouphenom // Death·Chaos·Void [October 13th, 2023 – Avantgarde Music]

Spanish blackened death metal band Akouphenom sprung out of absolute nowhere for spongekind. Encountered during a biweekly listening session I attend with some Discord frens, debut record Death·Chaos·Void represents one twisted, barbed tome of scorched extreme metal. From the onset of opener proper “Devour,” I revel in the dark incantations of infernal horror which takes the form of vile riffs, phlegmy rasps, and rabid blasts. Reminiscent of Belphegor, Ars Magna Umbrae, and Veilburner, Death·Chaos·Void demands my soul as the price for engaging with its devilish charms, charms which allow its long-form constructs to fly by in the blink of an eye. You wouldn’t expect tracks like the twelve-minute “Upper Cycle of Infinite Tails” to shred time into ribbons, but its vicious and memorable songwriting enlivens each and every second such that it feels lithe and agile rather than bloated and clumsy (“Flesh Sublimation,” “Death·Chaos·Void”). An excellent production job further solidifies Death·Chaos·Void’s merit, especially considering this is Akouphenom’s first full length. With no weak songs to be had and very little to criticize, you may wonder why this record doesn’t earn a full Things You Might Have Missed article from yours truly. The answer? Neglect. I simply didn’t listen to this album in full until very recently. Don’t make the same mistake I did. Get in on this before the year’s out!

Eye of Horus // Noxium [October 14th, 2023 – Self Release]

Like it or not, The Black Dahlia Murder’s influence on the metalsphere cannot be denied. Imitators everywhere crib their material and try to grasp the glory that the legendary melodic death metal band secured for themselves over their storied career. While none of the bands strongly inspired by TBDM share the same success, many still put out worthy material. One such band is Eye of Horus, an unheralded Canadian melodic death metal quintet whose sophomore record Noxium represents one of the better slabs of TBDM worship I’ve heard. At a tight thirty-six minutes, Noxium brims with top-of-the-line hooks and compelling songwriting. Opener “Modern Meat Grinder” is proof positive of that end, with its infectious gang shout chorus of “FEED YOUR NEIGHBOR TO THE MEAT GRINDER!!!” Couple that with excellent riffcraft, meaty roars, and acrobatic drumming, and you’ve got yourself a top-notch start to a criminally fun record. To my great joy, many subsequent cuts live up to the initial quality established early on. “Patriarch,” “Hellbound,” “Phantom Sepulchre,” “Gripped by the Grave,” and closer “Beyond the Mortal Veil” all offer plenty of metallic goodness and exciting songwriting to push it above the pack. While they still lack a unique identity, Eye of Horus show ample potential to grow into their own voice down the line. Keep your eye on them!

Crystal Coffin // The Curse of Immortality [October 31st, 2023 – Self Release]

Doom_et_Al should’ve covered this record months ago. He knew it was coming. I am convinced of it. Don’t believe his denials! Thankfully, I am here to pick up the ball. Hailing from Vancouver, Crystal Coffin dropped their third LP The Curse of Immortality back on Halloween. While I agree with Doom‘s assessment of predecessor The Starway Eternal, something about Crystal Coffin’s latest effort feels elevated, refined, and matured. Lushly layered melodies, groovy drumming, and invigorated songwriting characterize The Curse of Immortality in a way we’ve not heard from this group before. Coupled with their already well-established knack for interesting storytelling and novel subject matter, the pieces come together to create an album greater than the sum of its parts. Opener “Shadows Never Cast” offers a great encapsulation of what to expect, replete with ripping tremolos, infectious energy, and fun electronic effects. Black-n-roll bangers like “The Undead,” “The Vortex of Earth and Death,” “Final Breaths,” and “Leviathans Encased” showcase Crystal Coffin’s versatility in fine fashion too. Juggling swaggering riffs with delicate piano, crooning cleans, and whimsical synthwork, these songs evoke an eerie, sci-fi atmosphere that deviates from the popular application of such aesthetics in black metal. In short, if you’re looking for quality black metal of a niche mold, give Crystal Coffin’s The Curse of Immortality a go.

Dolphin Whisperer’s Nonpareil Nuggets

Comaniac // All for None [October 13th, 2023 – Metalworld]

With a name oddly ripped from a classic Artillery song, banger titles like “Desolation Manifest” and “Breakdown Rite,” and an atemporal, battle-ready cover All for None screams with the rustic abandon of rowdy, shreddy thrash. Comaniac hail from the mountainous scape of Switzerland, a land that once hosted the neoclassically inclined, rapid-fire riffage of the legendary Coroner. Following in similar footsteps, ripping trash break after ripping thrash break litters this sweeping outing. And much like their countrymen in Stortregn, or a whimsical, aged act like Forbidden, guitarists Jonas Schmid and Valentin Mössinger—the latter of whom also provides a spacious and sparkling mix/master job—kill the electrics to up the drama with serenading nylon passages (“Eye to Eye,” “Life Long Doll,” “Self Sacrifice”). But this dash of progressive attitude doesn’t get in the way too often, though it can push Schmid’s already unadvisable, rabid bark into an accented croon that’s not particularly polished (“Life Long Doll,” “Self Sacrifice”). The strength of the shred-forward, throat-abusing cuts land powerfully enough make up the difference though (“Desolation Manifest,” “Breakdown Rite,” “Between the Stars”), with plenty of rapid tempo shifts and pull-off runs to dizzy an already spinning crowd. A techy thrash band this exciting hasn’t come around for me in a long time, and if I were a smarter man I’d probably have caught them sooner then this—All for None is their fourth album after all. But I don’t being late to the party when ass-kickin’ thrash is on the menu.

Novere // Nothing Stays Hidden in Daylight [October 1st, 2023 – Trepanation Recordings]

Founded by Dawnwalker guitarist Matteo Bianciotto, Thai-born now UK-based vocalist/bassist Top Tarasin,1, and a couple of other friends from the UK scene, Novere has been stewing their cinematic, heavy-hitting post-metal sound for a few years leading to this stunning full-length debut. Pulling from the hazy domain of alt-legends Tool and the ritualistic roar-to-altar of Amenra, Novere fills a wide scope with delicately recorded clean passages only to tear them away layer by layer with full volume crashes (“Hydra,” “Aphelion”). “Danse Macabre” may land as the most challenging of the bunch for those who crave the harsh release those first two numbers promise, its beautiful and folky expression leaning firmly in a glistening, textural post-rock world, dreamy croons included. But at four tracks, thirty-five minutes, and the haunting, ISIS-imbued speaker-rattling close of “Cromlech,” Nothing Stays Hidden in Daylight escapes the trapping trope of “never-ending whoosh” that the genre of post-metal so often harbors. With lush production handled by none other than postmaster himself Magnus Lindberg (Cult of Luna), each careful listen of delicate string touches, wobbling bass lurches, splashing cymbal arrays, resonates more deeply than the last—truly ear candy. Once you’ve fallen prey to this as many times as I have in my short time with it, you’ll be hoping too for a quick turn around on a follow-up.

Dear Hollow’s Gutter Garbage

The Voynich Code // Insomnia [October 13th, 2023 – Unique Leader Records]

Look, deathcore can be cool again, although I’m not sure if it ever was. Aspiring deathcore shenaniganizers just need to play like Portugal’s The Voynich Code. Sounding like a deft combination of Born of Osiris and Shadow of Intent, with just hints of old Veil of Maya and Lorna Shore, there’s a lot going on with the four-piece’s second full-length. Following the milquetoast Aqua Vitae in 2017, I was resigned that perhaps The Voynich Code had better short-form pieces, as their debut 2015 EP Ignotum offered potential galore while 2021’s Post Mortem offered a punchy batch of solid tunes with tasteful brevity. Offering an absolute mammoth deathcore sound with hints of blackened and djent flavors, they more than make up for their poor stylistic choices with a penchant for shredding and tasteful technicality. “Homecoming,” “A Dying Age,” and “Hell’s Black Heart” offer blades of shredding riffs and wildly technical leads, while the blackened symphonic Dimmu Borgir flavors of “Insomnia” and “A Flicker of Life” offer a gravity of dread that adds an unmistakably horror-based experience. Ultimately, does The Voynich Code do anything earthshaking? No. The vocalist could stand to expand his range, the songs start to bleed together by a certain point, and there is a lot going on. But there’s also shredding technicality, dizzying intensity, full-throttle brutality, and a whole lotta fun to get your head bobbing.

End // The Sin of Human Frailty [October 27th, 2023 – Closed Casket Activities]

Excuse me while I add another soundtrack for my sellout. For the uninitiated, End is a supergroup from New Jersey, featuring heavy hitter veterans from household bands like Counterparts, Fit for an Autopsy, Shai Hulud, and The Acacia Strain. While the tag “metalcore” is present here, you’ll find more Full of Hell or Cult Leader in this caustic concoction rather than any of the August Burns Reds of the world. Brendan Murphy has never sounded so commanding, while the buzzsaw Nails-esque riffs of Will Putney and Gregory Thomas gash with furious intensity, undergirded by the abusive rhythm section of Jay Pepito and Matt Guglielmo. Bordering on powerviolence and grind at sporadic intervals in tracks like “Gaping Wounds of Earth” and “Twice Devoured Kill” (featuring Pig Destroyer’s J.R. Hayes) End features an expertly honed balance between bludgeoning weight and skronky technicality. While “Thaw” is a strangely EDM, industrial, and experimental inclusion (also featuring the croons of Heriot’s Debbie Gough), The Sin of Human Frailty sees End laying it on with a grind intensity, deathcore weight, and hardcore attitude – a punch in the face you’ll come back for again and again.

#2023 #Akouphenom #AllForNone #Amenra #AmericanMetal #ArsMagnaUmbrae #Artillery #AugustBurnsRed #AvantgardeMusic #Belphegor #BlackMetal #BlackNRoll #BlackenedDeathMetal #BornOfOsiris #CanadianMetal #ClosedCasketActivities #Comaniac #Coroner #Counterparts #CrystalCoffin #CultLeader #CultOfLuna #Dawnwalker #DeathMetal #DeathChaosVoid #Deathcore #DimmuBorgir #End #EyeOfHorus #FitForAnAutopsy #Forbidden #FullOfHell #Grind #Hardcore #Insomnia #Isis #LornaShore #MelodicBlackMetal #MelodicDeathMetal #Metalcore #Metalworld #Nails #NothingStaysHiddenInDaylight #Novere #Noxium #Oct23 #PigDestroyer #PortugueseMetal #PostMetal #ProgressiveMetal #Review #Reviews #SelfRelease #SelfReleased #ShadowOfIntent #ShaiHulud #Sludge #Stortregn #StuckInTheFilter #SwissMetal #SymphonicMetal #TechnicalDeathMetal #TheAcaciaStrain #TheBlackDahliaMurder #TheCurseOfImmortality #TheSinOfHumanFrailty #TheVoynichCode #ThrashMetal #Tool #TrepanationRecordings #UKMetal #UniqueLeaderRecords #VeilOfMaya #Veilburner

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A Venue Printed This Weird BORN OF OSIRIS Shirt Without Their Permission
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https://metalinjection.net/metal-merch/a-venue-printed-this-weird-born-of-osiris-shirt-without-their-permission

#BornofOsiris #TrademarkInfringement #UnauthorizedMerch #VenueNoNo #SuingThemSoon