#brazilian-metal — Public Fediverse posts

The storms persist, but now it’s getting hot! Steam roils inside the filter ducts as my minions scald themselves in the pursuit of moderately valuable nuggets. Will they succeed before they cook like so many broccoli florets? Only time will tell.

Dead or alive, I’ll make sure these lazy louts deliver their semi-precious lodes. So be thankful, and BEHOLD!

Kenstrosity’s Mountainous Member

Volcandra // Beyond the Will of Mortals [April 24th, 2026 – Prosthetic Records]

Who knows why we don’t get promo sometimes? Countless times I’ve been faced with great anticipation for a new record by a band I was keeping tabs on, and countless times, for unknown reasons, promo never came. Louisville melodic black/death quartet Volcandra now enter those ranks with the unsent Beyond the Will of Mortals. Picking up where The Will of Ancients left off, Beyond the Will of Mortals expands in scope and scale, eliciting a grandeur in composition that recalls the epic yarns spun by Foretoken, Hath, and Astralborne, but with the thrashing sensibilities of Antiverse and Skeletonwitch. Leading the charge in stunning fashion, “Beyond the Will of Mortals” and “Marauders of the Cosmic Vortex” explode with a visceral burst of energy built around high-octane riffs, screaming solos, and majestic melodies. Dave Palenske in particular acquits himself admirably, expanding his vocal range far beyond the expected, foraying into scorching screams and subterranean gutturals with excellent technique and charisma (“Venom March Enchantress”). But the rest of the band easily keeps up, deftly trading blows between power metal-ready gallops, violent swings into thrash territory, and all manner of other pyrotechnics to make Beyond the Will of Mortals Volcandra’s most versatile and varied offering yet. To some, this may create a disjointed experience as rippers like “Mage of Fabled Sorcery” contrast in pacing and personality to its neighbors. However, with repeat listens that effects dissolves, making more room to appreciate how much fun this record really is. The back half capitalizes on that effect, unleashing lean and mean banger after banger to leave you salivating for another round (“Within the Webs,” “Infinite Decadence”). In sum, Beyond the Will of Mortals is a fine, invigorating inclusion into anyone’s rotation; so if you missed it, get on it now!

Creeping Ivy’s Punkyard Dogs

Dead Bob // Nothing Changes Everything [April 21st, 2026 – Wrong Records]

In The Collector’s Guide to Heavy Metal, Martin Popoff describes Wrong (1989) by Nomeansno as ‘the mightiest merger between the hateful aggression of punk and the discipline of heavy metal’ (316). Essentially, Popoff affixed to Wrong AMG’s Iconic label: 10/10.1 For readers perhaps unfamiliar with Nomeansno, my best follow-up on Popoff’s portrayal is that the band—formed in 1979 by the Wright brothers (Rob on bass/vocals, John on drums/vocals)—sounds like The Minutemen hijacked a Voivod. After an incredible eleven-album run, Nomeansno officially retired in 2016. Why am I wasting my word count with this history lesson on the greatest Canadian punk band of all time? Because Dead Bob, John Wright’s solo project, released its sophomore album this April. Whereas Life Like fulfills the vision of one man, John enlisted a band for Nothing Changes Everything. Bookending the album are the last two songs John co-wrote with Rob. The techy guitar/bass interplay of lead-off “Centre of the Universe,” as well as the pounding rhythms of closer “No Fun (Alt Mix),” come closest to the punk/metal hybridity of vintage Nomeansno. Between these tracks, the album gets increasingly weird (which is to say, it gets increasingly ‘punk,’ in the word’s original connotation). “Nothing Changes Everything” deploys horns, “Hard is Hard” mixes art/surf rock, and “The Present” sprinkles psychedelic guitar leads over pulsing synths and tribal percussion. If you’re a fan of avant-garde music in a compact package, you can’t go wrong with Nothing Changes Everything.

Poison Ruïn // Hymns from the Hills [April 3rd, 2026 – Relapse Records]

Whilst reading Tyme‘s (excellent) review of Twin Serpent’s (super fun) True Norwegian Blackgrass, a member of the commentariat reminded me of how much I enjoyed Poison Ruïn’s latest offering upon a first listen. That comment got me to revisit Hymn from the Hills, and I’m glad I did. To sell these Philly post-punks to the AMG Faithful, I’ll point out a few things: they’re signed to Relapse Records, they curate a medieval aesthetic (which includes deploying dungeon synths), and the new record was mastered by Arthur Rizk. In addition to liberal metal elements, Poison Ruïn occasionally stride with rock n’ roll swagger (“Hymn from the Hills”), with primary visionary Mac Kennedy channeling Blue Öyster Cult in his role as singer, guitarist, and primary songwriter (“Lily of the Valley”). “Eidolon” perfectly exemplifies the band’s hybridity, mashing up the melody of “Layla,” the propulsive drive of Hüsker Dü, and the rhythmic punctuations of “For Whom the Bell Tolls.” This may sound like a critique, but it’s not; Poison Ruïn excels at mixing punk, rock, and metal into their own arthouse concoction. Metal purists might have to wait until the end of the album, though, to have their fancy truly tickled. But wait, they should, as “Sleeping Giant (Interlude)” offers funeral doom content in a punk-sized package, while closer “The Standoff” gets moving with a wicked blast beat. I’ll definitely be heading for these post-punk hills more and more throughout the year.

Scimitar // Scimitarium II [April 24th, 2026 – Crypt of the Wizard]

Scimitar’s first song receptacle was one of my favorite debuts of 2025. On Scimitarium I, this Danish five-piece served up a scintillating selection of ‘black occult rock,’ combining the caustic fervor of Malokarpatan with the psychedelic haze of Blue Cheer, topped off with a post-punk flavoring of Joy Division. A year later, this Copenhagen cutter returns with Scimitarium II, a follow-up that satisfyingly mirrors the album-art format of its predecessor. Whereas Scimitarium I demonstrated range marred a bit by roughshod production, volume II sounds much sharper, slashing and dashing for a lean 40 minutes. The opening title track introduces our combatants: the dexterous drumming of CCsquele; the counter-melodic bass of Olle Bergholz; the sinister guitar fury of Johan L. Ekstrand and Anders M. Jørgensen; and finally, the commanding vocals of Shaam A.2 From there, the album rips through a trio of unrelenting ragers that feel like they can fall apart at any minute but miraculously hold together. “Through Lava Lit Roads to Lavilenda, Pt. II” offers the only reprieve, spotlighting Shaam’s dynamic range and impressive timbre. Closing out the collection is “Mobula Mobular,” a 13-minute monster built around a doomy riff whose chromaticism lurches upward and downward, to hypnotizing effect. If Scimitar can marry the ambition of I with the ferocity of II next time around, they’ll have a blackened-trad killer on their hands.

Andy-War-Hall’s Dandy Score Haul

Elegant Weapons // Evolution [April 24th, 2026 – Exciter Records]

Everything about Elegant Weapons and the super group’s sophomore record Evolution is a misnomer. Evolution is a high-octane slugfest of tried-and-true heavy metal-leaning hard rock, and Elegant Weapons swing, punch, and bite through it with everything but grace. Is this a problem? When Richie Faulkener’s (Judas Priest) riffs are as groovy and burly as ever and his solos as grin-inducing, Ronnie Romero’s (ex-Rainbow, ex-Michael Schenker Group) voice is booming as it is, and when Dave Rimmer (Uriah Heep) and Christopher Williams’ (Accept) bass and drums respectively, carry as tight a pulse as they do on Evolution, not at all. When it all coalesces into uber catchy fist-pumping anthems like “Bridges Burn,” “The Devil Calls,” and “Shooting Shadows,” especially so. Evolution is easy-peasy listening, and Elegant Weapons’ chemistry and knack for hookcraft make its near hour-long runtime fly by, as well as ease the cringe of the hyper-Boomeristic lyricism on “Generation Me.” They also manage to make fairly stock power ballads in “Come Back to Me” and “Keeper of the Keys” feel affecting, driven by a viral vocal presence and emotive, timeless guitar soloing. Evolution is fun, and Elegant Weapons are sharp. ‘Nuff said.

Demon Spell // Blessed Be the Dark [April 24th, 2026 – Dying Victims Productions]

Creeping from an obscure, ancient, and sinister darkness, Sicily’s Demon Spell have conjured a shadow-cast era of heavy metal’s history back to the light of day with their debut Blessed Be the Dark. Wielding the evil auras of Mercyful Fate and Witchfinder General, Demon Spell play an early-80s melange of early thrash, occult rock, and NWoBHM riffcraft and swagger. Blessed Be the Dark is driven by excellent performances. Vocalist Federico Fano’s falsetto wails evoke King Diamond at his best on “As Lucifer Smiles” while drummer Dario Casabona drops slick, pummeling fills over “Curse of the Undead.” Sinister melodies and atmospheres abound on Blessed Be the Dark, with “The Tolling” and “Hexes and Horrors” driving home a vintage horror aesthetic while tearing it up with blistering heavy metal. Blessed Be the Dark also just sounds pleasantly old. Demon Spell’s guitars and bass sound pulled straight from 1981, complementing their retro songcraft perfectly. Blessed Be the Dark sounds like the night come alive, a fast, fun, and delightfully dark exploration of the kinds of heavy metal that gave your grandma panic attacks back in the day. Fall under the Demon Spell today!

Grin Reaper’s Grim Goodies

Nervosa // Slave Machine [April 3rd, 2026 – Napalm Records]

For a band releasing their sixth album in twelve years, Nervosa sounds remarkably vital. Staying the course with a dozen tracks of their signature death/thrash, Slave Machine burns through forty-three minutes of whammy dives, soaring leads, and all-around thrashy goodness. Writing tunes that pay homage to Sepultura (“You Are Not a Hero”), Kreator (“Ghost Notes”), and Sodom (“The Call”), Nervosa bludgeons with blunt-force drama while touting slick riffs and venomous melodies. Slave Machine opens with “Impending Doom,” a stirring salvo that Arch Enemy wishes they’d written, and from there Nervosa hints at the familiar without ever straying from their own lane. “Hate” starts with a riff that simultaneously reminds of Maiden’s “Flash of the Blade” and System of a Down’s “B.Y.O.B.” before spiraling into vaguely In Flames-tinged melodeath. Meanwhile, “Crawling for Your Pride” and “Beast of Burden” draw from the viciousness of mid-aughts Soulfly. Over and over, Nervosa pulls from known sources, yet bakes enough novelty into their songwriting to sound fresh and pummeling. Those intimate with Nervosa won’t find many surprises here, but are in for a treat. If this is your first encounter with these Brazilian badasses, gird your ears and strap in—welcome to the Slave Machine.

Kõdu // Kirjad Sõgedate Külast [April 20th, 2026 – Antiq Records]

Five years after delivering debut Unusta Kõik, Estonian outfit Kõdu graces us with their sophomore album. Translated as ‘Letters from the Village of the Blind,’3 Kirjad Sõgedate Külast details the sordid ruination of a backwoods village, relating its narrative aspects through a series of letters where each song chronicles a different villager’s perspective.4 Kõdu grounds the lyrics in their native language, drawing from nineteenth and twentieth-century Estonian poets for inspiration. Despite the depth of the macabre backdrop, I never would have taken the time to learn more if Kõdu’s music hadn’t entranced me from the outset. Slow-burn black metal abounds on Kirjad Sõgedate Külast, recalling Dødheimsgard’s shifting moods (“II”) and eclectic instrumentation (“III”) muddled with Wayfarer’s rustic arrangements (“VI”) and Emperor’s dramatic flair (“V”). Musically, Kirjad Sõgedate Külast conjures lush soundscapes (“VII”) through considered songwriting, expertly balancing black metal discharges with melancholic passages that give moments just the right amount of time to bludgeon or breathe before pivoting. I regret not getting the chance to review Kõdu’s latest in full, because the folk magic they weave on Kirjad Sõgedate Külast deserves fanfare and kudõs aplenty.

ClarkKent’s Epic Elegy

Bloody Valkyria // Requiem – Reveries Of The Dying [April 3rd, 2026 – Northern Silence Productions]

Bloody Valkyria, the product of Finland’s Jere Kervinen, peddles in the same sort of epic symphonic/folk black metal that the likes of Ancient Mastery, Stormkeep, and Moonlight Sorcery dish out. Kervinen’s emotionally charged project appears inspired by a personal loss, and you can feel his passion in the emotional outpouring of his music and lyrics. On the epic opener, “Symphony of Silence,” Bloody Valkyria reveal their capability with the patient slow burn. There’s the natural, serene ambience of animal sounds, strings, folky flutes, and then a sudden explosion of riffs and blast beats. And boy does Kervinen write some extraordinary leads, which makes his slow-burn approach all the more rewarding. Each song contains a well-earned hooky riff/trem that holds its sway over you even as the song grows into more thoughtful serenity. Reading along with Kervinen’s poetic, touching lyrics makes the experience all the more poignant as he ruminates on death and the meaning of life. The grief by the end, as he sings about his “beloved north” and a desire for its/her embrace, is palpable. This is a beautiful record that may be too good for these dirty filters, but I just couldn’t risk it getting lost in the shuffle of the chaos that is the end of year.

https://www.europesays.com/uk/1035111/ Loneshore – Nothing Left to Deconstruct Review #2026 #30 #Amenra #BrazilianMetal #Entertainment #EternalStorm #ExplosionsInTheSky #Jun26 #Loneshore #music #NothingLeftToDeconstruct #Opeth #PostRock #PostMetal #ProgressiveMetal #Review #Reviews #TheOcean #UK #UnitedKingdom #WillowtipRecords

When one pictures Rio de Janeiro, Brazil, post-metal is probably not among the imagery that readily springs to mind. But the more I think about it, the more the birthplace of Loneshore makes sense. Just as post-metal is often defined by striking contrasts, so is Rio, a city where mountains and beaches coexist alongside favelas and wealthy communities. This diversity is mirrored in Loneshore’s sophomore record, Nothing Left to Deconstruct, which arrives nearly eight years after their 2018 debut, From Presence to Silence. How have the members of Loneshore matured as musicians during this time?

It turns out that Loneshore wasn’t always primarily a post-metal group. From Presence to Silence blended somber, doomy melodeath similar to Eternal Storm with Opethian melodies. Nothing Left to Deconstruct, however, squarely straddles the line between post-metal and Explosions in the Sky-esque post-rock, while adopting Amenra’s silvery-smooth buildups and releases. Loneshore retains some progressive metal, although this time it’s closer to The Ocean, especially during some of the clean-sung passages in “To Stride the Black Earth.” In fact, Luiz Felipe Netto’s clean and harsh vocal styles both cover a wide array of registers. Nothing Left to Deconstruct is no less lush from an instrumental perspective, making it an enjoyable listen from front to back.

Nothing Left to Deconstruct flows like a river, though don’t expect many whitewater rapids. Intro track “Self Oscillations” is like a gentle tributary, its dreamy vocal harmonies, mild guitar notes, and mesmerizing tom drum percussion rolling fluidly into “Straylight.” Loneshore makes good use of three guitarists and a bassist by overlapping their lines together sumptuously (“Parhelion,” “Of Lost Waters”). The 10-minute centerpiece “Birth of a Mountain” features a laid-back recurring melody that rises and falls like a sea of sand dunes. That said, there are sometimes surges of vehemence in the form of blackened snarls and forceful riffs (“Straylight,” “To Stride the Black Earth,” “Parhelion”). Because Loneshore doesn’t overly favor hooks or heaviness, Nothing Left to Deconstruct is a bit of a slow burn, requiring a few complete spins to sink in for me.

As relaxing as Nothing Left to Deconstruct is overall, most of its individual songs last longer than their contents can support. The majority hover around the 8-minute mark, and all of these have lengthy outros that don’t add much. “Of Lost Waters” begins with a pristine and serene post-rock tune, which is diminished by the minute-and-a-half meandering conclusion of “Birth of a Mountain” that came before. Likewise, concluding track “With Nothing We Part” is the most languid and least memorable despite a momentary injection of vitality at the halfway point. On the other hand, “To Stride the Black Earth” is the punchiest and has no noticeable fluff. While the total runtime sits at a fairly reasonable 52 minutes, there is a stronger 40 to 45-minute record lurking within.

It’s not uncommon for artists’ priorities to shift during a lengthy absence; in this case, Loneshore is the better for it. The post/prog metal hybrid Nothing Left to Deconstruct passes by like a pleasant ocean breeze in Rio de Janeiro. It took some time for me to fully appreciate it, but I’m glad I did. The main deficiencies holding back Nothing Left to Deconstruct are a lack of decisive conclusions and a bit of bloat. Nevertheless, if Loneshore continues to develop in this manner, I anticipate great things from album number three.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Willowtip Records
Websites: loneshore.bandcamp.com | facebook.com/Loneshore
Releases Worldwide: June 19th, 2026

GORENCEPHALIC
Death metal/ Brutal death from Brazil in the old school vein!
A long interview with the band is now online on my webzine,
learn more about their underground brutality and some topics about the past and present of Brazil!

https://nihilistic-webzine-distro.fr/Interviews/gorencephalic.htm

#deathmetal #brutaldeath #metal #brazilianmetal #metal

Ain Sof Aur – Theos-Vel-Samael Review

Be honest: what do you expect experimental blackened death metal steeped in Left-Hand-Path Occultism to sound like? Dissonant?…
#NewsBeep #News #Music #2026 #3.0 #AinSofAur #AltaroftheHornedGod #BlackMetal #BrazilianMetal #CA #Canada #CrypticShift #DeathMetal #Entertainment #ExperimentalDeathMetal #I #Mar26 #ProgressiveBlackMetal #review #reviews #Theos-Vel-Samael #Veilburner #VoidhangerRecords
https://www.newsbeep.com/ca/573615/

Be honest: what do you expect experimental blackened death metal steeped in Left-Hand-Path Occultism to sound like? Dissonant? Oppressively heavy? Rhythmically complex and meandering? You wouldn’t be entirely wrong—in general, or in the particular case of Ain Sof Aur. Stereotypes exist for a reason. But Theos-Vel-Samael—serves as a vessel not only for a ceremonial invocation of wisdom-bringing darkness,1 but also the interaction between musical identity and ideology. Our assumptions about the sound and style of heavy music associated with certain fringe spiritualities are a strange mirror of the demonisation heaped upon metal overall in mainstream media from the Satanic Panic onwards, though informed at least through experience and some degree of appreciation rather than ignorance and distaste. These ideas break down when we turn to extreme metal, where Ain Sof Aur and others like them sit: a sphere defined by pushing boundaries of complexity, intensity, and heaviness—itself a natural extension of the wider genre’s core trait of subversion. Theos-Vel-Samael is an extreme metal album expressing mysticisms at least adjacent to Luciferianism, and using any preconceived notion of these ideologies obscures the music’s actuality.

Theos-Vel-Samael prompts me to wax philosophical by its very essence. Its 45-minute runtime is divided into three movements simply labelled “I,” “II,” and “III”—though Ain Sof Aur explain that each respectively embody the progressive stages of the invocation: “vision,” “force,” and “action.” This itself is a kind of stereotype, and one could speculate on whether the steady contraction of song length across the record is saying anything about the significance placed on or effort required in each of “vision,” “force,” and “action”. The way these pieces enact their theme has more in common with a wonky, progressive strain of technical death metal than it does a diabolical, vehemently evil form of black metal; in many ways, it is weirdly reminiscent of Cryptic Shift in a Veilburner kind of setting, by way of Altar of the Horned God. “I” subverted my expectations entirely with its overwhelmingly exuberant tone—albeit in an odd key and time signature for much of the time—and “II” with lengthy passages of almost mellow atmospheric strumming. This isn’t a criticism but rather the point: The literal incantations that comprise the lyrics, and the artists’ say-so, are the tethers to the occult and so the almost Hathian melodeath charges and noodling amidst croaks and roars are to be taken at face value.

Theos-Vel-Samael by AIN SOF AUR

The other reason Theos-Vel-Samael causes me to wax philosophical is that it leaves me with strangely little else to say. There is much to appreciate: M.H.S’ gargling roars; L.B.W’s vivacious drum performance; the aforementioned creative approach to marrying discordant malice and melodiousness in such experimental, otherwise malevolent metal; Ain Sof Aur can turn a melodic phrase (“I,” “III”) and dramatic flourish (“II,” “III”). Yet it all feels somehow unfocused, and so less impactful. Moments of sanguinity are somehow bled dry—sometimes through repetition, but largely simply because they fade into the surrounding fluctuations of dissonance and harmony, choppy technical tempos, and the equal minimalism of pared-back stalks and full-speed double-bass (“I” is the worst offender here). “III” is possibly the strongest of the three tracks, arguably because of its superlative brevity2 condenses if not excises the detours from what is a solid, decisively unsettling extreme death metal composition. Indeed, taken piecemeal, Theos-Vel-Samael can captivate and swallow (just after “I”‘s midpoint, the minutes just before “II”s, “III”‘s closing act), but as a whole, it functions more as an enjoyably creepy, if hazily remembered, background soundscape.

And yet what is Ain Sof Aur’s objective with Theos-Vel-Samael other than to evoke some esoteric ceremony with their interpretive music? Should the freeform nature of this expression surprise or disappoint? Was I ever going to put one of these songs on a workout playlist? The writing could use some editing to be sure, but the musical elements themselves are stellar—everything from the eerie ambience to the most violent technicality is executed assertively. I enjoy my experience of the rite even if it doesn’t convert me.

To be brief—for the first time in this review—don’t let an intimidating subgenre label, theme, or I, Voidhanger’s reputation colour your feelings about Theos-Vel-Samael. It’s creepy and unusual, but with a firm grip on more familiar death metal stylings. It doesn’t waste (much) time meandering, but it does have room to breathe. You could do far worse when dabbling in the occult.

Rating: Good
DR: 7 | Format Reviewed: 256 kbps mp3
Label: I, Voidhanger
Websites: Bandcamp | Facebook
Releases Worldwide: March 27th, 2026

Five-headed Brazilian death metal horde Papa Necrose emerged from the promo sump with two strikes against them before Anthropomorphy Execution even began. First, if we were somehow living in an alternate metalverse where Ghost didn’t exist, then the name Papa Necrose might be passable. But we don’t. Instead, the name only evokes the theatrical imagery tied to Tobias Forge’s famous alter-ego. Second, the Saw‑meets‑Easter‑Island cover art is não é bom,1 feeling flat out undercooked. Put those surface issues aside, and you’ll find a record that soaks itself in classic 90s progressive death. The outcome of years of arduous development, Papa Necrose’s third LP once again turns its attention to the Catholic Church as its central target. However, rather than chasing reinvention, Anthropomorphy Execution embraces familiarity, seeking to recapture the qualities that have allowed this well-known strain of death to endure.

Anthropomorphy Execution wears its influences squarely on its sleeve: post Human‑era Death and early Pestilence are the clearest touchstones, with vocals that blend Obituary‑style guttural heft and Schuldiner‑like phrasing. There’s nothing here you haven’t heard before, but the performances are surprisingly astute. And it’s clear Papa Necrose has more than enough musical chops to pull off their homage. Danilo Vagner and Carlo Silva’s down‑picked, grinding riffs, Luquian Silva’s dynamic tom fills, and Eric Gusmão’s exploratory bass runs are executed with precision, coalescing into highlights like “Hammered in the Mind,” “Cathedral of Death,” and “Eighteen Years Awake.” Gusmão’s Sound of Perseverance-flavored breaks, along with the interplay between Vagner and Silva’s riffs and Silva’s fancy kit work, give the tracks plenty of groove to latch onto. James Murphy (Death, Obituary, Cancer) even shows up for a guest spot (“The Thousand Yard Gaze”). Talent-rich, but too obvious in their devotion, Papa Necrose seems comfortable being nothing less than an off-the-shelf clone of their heroes.

Anthropomorphy Execution by PAPA NECROSE

Anthropomorphy Execution’s biggest problems lie in its songwriting and overall cohesion. While the individual performances are competent, the sum rarely matches the quality of its parts, leaving Anthropomorphy Execution feeling clunky as a whole. Alessandro Necrose is a capable vocalist and effectively channels a John Tardy (Obituary) level of disgust, but a vocal mix that sits too far forward and drowns everything in delay undermines his delivery. His tendency to end his growls with an exaggerated gurgle (“Anthropomorphy Execution,” “Cathedral of Death,” “Disenchant Them”) doesn’t help matters and comes off as cheesy rather than heavy. Structurally, tracks tend to sprawl, with vocals that occasionally lag behind the instrumentation (“Fall, Die, and Break”), or overactive solos that crowd otherwise promising passages (“Disenchant Them”). And with a runtime of over 46 minutes, the album overstays its welcome by at least two songs.

While Papa Necrose lacks a distinct identity of their own, discerning musicality and a clear reverence for the classic progressive death sound produce some strong moments. “Fall, Die, and Break” is a straightforward track that leans on chunky, mid-paced riffs, fret-tapping fireworks, and dexterous drumming to establish a serviceable baseline for the record’s sound. It’s nothing special, but it demonstrates a functional grasp of structure and pacing. “Eighteen Years Awake,” “Hammered in the Mind,” and “Cathedral of Death” benefit from a sharper sense of momentum, finding Papa Necrose at their heaviest and most confident. Driven by syncopated bursts of technical shredding and frequent tempo shifts, the songs remain engaging throughout and largely sidestep the issues that drag down the rest of the record. “Anthropomorphy Execution” could have joined them as one of the record’s stronger cuts if not for its near‑lifted guitar harmony from Symbolic’s “Sacred Serenity.” To its credit, the song is one of the few moments where Papa Necrose attempts to break the mold, introducing added wrinkles like ceremonial-flavored motifs. Still, this occurrence isn’t enough to overcome the track’s mimicry, nor imbue the material with a sense of personality that gives it lasting appeal.

Papa Necrose is no doubt fluent in classic progressive death, but Anthropomorphy Execution rarely speaks in its own voice. Competently played and steeped in the right influences, the record leans too heavily on familiar tropes to ultimately feel essential. Until Papa Necrose tempers its devotion with a stronger sense of self, their work will continue to land as another well-executed homage in a genre already defined by far stronger voices.

Rating: Disappointing
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Awakening Records
Websites: awakeningrecordscn.bandcamp.com | facebook.com/papanecrosedm
Releases Worldwide: March 20th, 2026

Once upon a time, before I was a battle-jacket-wearing, corpse-paint-adorned, trve-metal warrior of the highest order, I was a high-school prog nerd. The djent wave was cresting just as I began to really delve deeper into music, and the hordes of technical, djenty bands with ultra-modern production and surprising amounts of melody still sit near and dear to my heart, even if I rarely reach back into the Sumerian-scented pile in my regular listening habits. 1 That’s why when I saw the promo for Hiraeth, the 2nd album by Brazilian prog metallers Abstracted, with comparisons to The Contortionist, The Human Abstract, and Between the Buried and Me, I couldn’t help but get a little excited at the prospect of newer music tapping into those formative sounds. Abstracted have been a band since 2013, and their long-gestating debut record, 2022’s Atma Conflux, was an effective and varied slab of djenty progressive death metal, marred by tepid production and less-than-stellar clean vocals. More than anything, though, it showed potential as a record brimming with ideas that was so close to being great. With Hiraeth, can the Brazilian group finally unify their influences into something more than the sum of their parts?

On Hiraeth, Abstracted demonstrates a thorough understanding of contemporary progressive metal styles and integrates them into something all their own. The band’s main sound is a djent-fueled take on modern progressive death metal, closest to early-era The Contortionist in its blending of odd-meter riffery, post-rock-influenced textures, and an enticing contrast between melancholic space-age cleans and technical 6-string chugs. Abstracted balance this with more traditional Haken-esque classic prog turnarounds and jazz breaks (“Sirens”), fast-paced Between the Buried and Me riff marathons (“To Quench This Insatiable Thirst”), and harmonic nuance within darker moments à la Persefone (“Requiem”). The result is a varied and dynamic set of tunes that glide effortlessly between impressive riff-fueled aggression and cathartic melodies. Songs like “The Utter End” and “The Barren Grave of God” demonstrate the band’s ability to naturally move from strength to strength without missing a beat, unfolding across expansive guitar arpeggios, delightfully off-kilter breakdowns, virtuosic solos, and powerful musical climaxes.

Hiraeth by Abstracted

This level of fluidity and genre cohesion on Hiraeth is only made possible by the high level of musicianship Abstracted display. Guitarists José Consani and Leonardo Brito give varied performances that successfully meld more djent-centric playing with classic death metal sensibilities and demonstrate keen melodic ears with dense jazz chords and powerful lead lines. Drummer Fernando Pollen blends Latin grooves with acrobatic modern metal flourishes, and the production’s more natural drum tone allows his dynamic nuances to guide several songs. 2 On bass, Riverton Alves turns in a thoroughly warm and jazz-based, Cynic-flavored performance that shines during quieter moments, while keyboardist Carol Lynn supplies plenty of atmosphere through subtle synth textures and steps to the forefront a few times with quirky, but effective synth lines reminiscent of Diego Tejeida. Together, this ensemble breathes plenty of life into a style of music that can often feel over-processed, and their performances help to unify this collection of songs into a cohesive whole.The only elements of Hiraeth that aren’t immediately impressive are the vocals and the production. Rosano Pedro Matiussi delivers an impassioned performance, and his vocal lines often fit the songs well, but his clean singing lacks a certain impact or personality to elevate good moments into great ones. Initially, this was enough to deter me from really digging deeper and appreciating the songcraft on display, but the singing grew on me quite a bit with time. Similarly, his death growls are solid, if not one-note, and they feel like they exist more so to fill a role than to accent particular sections. This could potentially be the production’s fault, as Hiraeth sounds generally good and more natural than the swaths of overproduced modern prog 3 but lacks a certain sonic clarity, occasionally making especially dense sections harder to parse. There’s a distinct lack of reverb on the harsh vocals, and I can’t help but wonder if a stronger mix could fit the layered clean singing a bit better. Matiussi’s vocals are far from bad, and there are parts like the somber intro to “Requiem” where he sounds great, but when everything else is operating at such a high level, they feel like a weak link.

With Hiraeth, Abstracted have delivered an impressive piece of modern progressive metal. This record is a grower for sure, with dense and layered compositions often revealing their clever construction and intense interconnectedness only after repeated spins. Even if the vocals leave a little to be desired, the Brazilian group has successfully combined the sounds of several of the best modern prog bands into something exciting and nuanced.

Rating: Good
DR: 5 | Format Reviewed: 320 kbps mp3
Label: M-Theory Audio
Websites: abstractedmetal.bandcamp | facebook.com/abstractedbr
Releases Worldwide: February 20, 2026

Back in 2023, Brazilian death crew Fossilization dropped their Leprous Daylight debut on the unsuspecting world below, impressing Cherd in the process with its Incantation-esque blend of ghastly cavern crawling and 5-ton doomy digressions. He even went so far as to suggest it was superior to Incantation’s then-new platter Unholy Deification while generally singing the praises of preserved beast bone recovery. Fast-forward a few years, and the band’s sophomore release, Advent of Wounds, falls to me as Cherd has gone missing in a very nonsuspicious way that does NOT require police involvement or any half-assed internet sleuthing of any kind. So what do the two men behind Fossilization bring to the archaeology party this time? More raw, unvarnished spelunk-core full of horrific nods to Dead Congregation, Phobocosm, and of course, the esteemed Incanters of OSDM. It’s heavy, nasty, rough and raw, just as you want it. But is this mere imitation of genre archetypes or something that can stand on its own pale and deformed feet? Let’s turn on the headlamps and see what scurries away into the darkness.

Opener “Cremation of a Seraph” comes out blasting savagely before going full caverncore with scads of hideous trem-riffs that inspire menace and dread. This is the kind of relentlessly heavy, abrasive death metal that destabilizes your brain health, and it can peel the paint off the walls of the mental asylum you’ll eventually be confined in. Yes, their style will remind you of the genre bigs, and it’s hard to miss the influences as they slither up between the floorboards, but Fossilization is legitimately good at what they do, and this song will wreck your internal organs. Better still is the ginormously destructive “Disentombed and Reassembled by the Ages,” which is like the mutated offspring of Bolt Thrower, Asphyx, and Hate Eternal, who’s been fed a steady diet of elephant steroids and military-grade bath salts. It’s fucking ugly and oppressive, and I can’t get enough of this muck fuckery. The drums blast your face off as an unruly collection of skin-flaying riffs rip at you from all sides. It’s like a maelstrom of torment with no escape hatch, so you must endure the abuse. The tempos shift just when they should, offering doomier segments that make the faster parts bite all the harder. This is lethal shit.

While the remainder of Advent of Wounds is undeniably solid and skull-crushing, nothing equals the sheer intensity of the first 2 cuts. “Scalded by His Sacred Halo” pummels and pounds away, only to drop a killer doom segment that will oppress your life and deathstyle. “While the Light Lasts” delivers awkward, herky-jerky riff arrangements, and the song has a strong Novembers Doom vibe that I wouldn’t have expected. Overall, it’s the least killer track present, but not bad at all. The problem I have as Advent unspools is that the merely good stuff makes me want to slap on some prime Incantation or Immolation instead. This is skillfully done stuff, but it’s close enough to the genre greats to appear the lesser for the comparisons. At a trim 35 minutes, though, it’s not a challenge to get through, and the fact that the songs are all kept in the 3-5 minute range helps the album’s flow. I like the production here, which gives the drums a primal impact and the guitars exude the proper force and weight.

Masterminds V and Z deliver a truckload of vicious riffs that feel fierce and feral. The use of scathing trems is highly effective and adds a dark, dangerous edge to the material. A lot of these leads feel like they have a life of their own as they flop and slither on the cavern flooor instilling terror and revulsion. The vocals by V are appropriately raw, inhuman, and subterranean, providing ample awfulness and bile to the already unpleasant soundscapes. The drums occasionally lapse into unusual patterns, and this can sound out of place, but it provides a level of identity and interest to the overly familiar style Fossilization plies you with.

I’m a fan of the style heard on Advent of Wounds, and like Cherd before me, Fossilization have a lot of good things going for them. However, I think their debut packs a bigger, more consistent impact than this one does. There are great moments here that speak of huge potential, but too much of the album is merely good. I’ll keep my eyes on these cretins because they have something potent developing. I just hope they can harness it more completely next time and really shake up my skeletal system. Worth a loud investigation.



Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Everlasting Spew
Websites: facebook.com/fossilization | instagram.com/fossilizationprocess
Releases Worldwide: February 13th, 2026

I’m sitting here in the early weeks of 2025 hoping to review a ton of traditional metal in the coming year…

These are the words of a madman, a madman who uttered said words, then immediately disappeared for the next year. What an idiot! This just goes to show that even the very, very best of us can fall victim to our hubris and that the best laid metal plans can be derailed by life circumstances and creative apathy. Don’t let Steel convince you that he placed me on sabbatical—I did that shit myself. Musically, at least, I used my time away wisely. It felt so good to let myself listen to whatever I wanted, whenever I wanted, and it was honestly the shot in the arm I needed to consider coming back to reviewing in any capacity. So here I am, ready, I think, to put digital pen to digital paper in an effort to describe how I feel about some music. Now watch as I resurrect myself through the power of Deathraiser!

When considering what Brazil is best known for, people often throw out things like the Amazon rainforest, round-ball football, coffee, beef, and that really tall statue of the Christmas Superstar, but you and I both know that Brazil is primarily known for thrash metal. Seeking to add to that legacy, Deathraiser is raising themselves from the dead by releasing sophomore album Forged in Hatred a mere 15 years after their debut. Do yourself a favor and play the embedded single, “Primitive Medicine,” and you’ll not only hear shades of the band’s famous big brothers in Sepultura, but you’ll also hear a healthy dose of Kreator and smell a touch of Bay Area botanicals.

Forged in Hatred by DEATHRAISER

Over the course of Forged in Hatred’s toight-like-a-toiger 34 minutes, Deathraiser holds religiously to the 5 R’s of thrash metal as they riff, rage, rip, wreck, and riff their hearts out. Take some deep breaths during the first 25 ambient seconds of opener “Severe Atrocity,” because it’s the last chance you’re going to have. The track shows the band’s two-pronged musical strategy, initially committing to the blazing classic thrash of yore before serving up a delicious crossover groove a la Enforced (see “Everything Dies” for a track that sounds like it was written by those violent Virginians), and the resulting contrast hits me like a Demolition Hammer. Deathraiser do the style so well that it took me multiple listens to realize that sixth track, “Symphony of Violence” is actually instrumental; far from being self-indulgent filler, it’s such a fantastic thrash song that my brain didn’t even register the lack of vocals.

Forged in Hatred has a couple of issues, but neither really lowers my opinion of the final product. The drum production leaves something to be desired as the sound lacks bottom end and feels a bit shrill. Some will say the songwriting is too derivative of the old masters. I’ll admit that there were a couple of moments—on my very first playthrough—where I accurately predicted the next riff before it actually arrived, but Deathraiser executes these songs so well that I actually don’t even care. The vocals are convincing, the riffs are fantastic, and each song is memorable in its own way.

Let Forged in Hatred take you back to your youth, a time when yer mom warned you about finding Deathraisers in your Halloween candy (this album proves that she just didn’t want you to have a good time!). Yeah, you’ve probably heard everything on this record before, from some legendary bands that are releasing new albums this very week, I might add, but few bands of any era are currently playing thrash as convincingly as Deathraiser do here.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Xtreem Music
Website: facebook.com/deathraiserofficial
Releases Worldwide: January 23rd, 2026

#covarasa #brazilianmetal #heavymetal #showexclusivo #aovivo #nimbus #livemusic

https://www.europesays.com/uk/525319/ Soulfly – Chama Review | Angry Metal Guy #2025 #3.0 #AmericanMetal #ArchEnemy #BrazilianMetal #Chama #DeathMetal #Entertainment #FearFactory #FleshHoarder #GrooveMetal #HeavyMetal #Ministry #music #Nails #NoWarning #NuclearBlast #NuclearBlastRecords #Oct25 #PhilipH.AnselmoAndTheIllegals #Review #Reviews #Sepultura #Soulfly #ThrashMetal #UK #UnitedKingdom #UntoOthers

Soulfly – Chama Review

By Grin Reaper

Max Cavalera casts one hell of a shadow in metal, with a wide swath of bands he’s either founded or played alongside. Though Cavalera’s mightiest legacy will be his time with Sepultura, he’s been with Soulfly over twice as long. In that time, Max and company have written and recorded thirteen albums. On latest offering Chama,1 the elder Cavalera relinquished producing credits and creative focus to his son and Soulfly’s drummer, Zyon, providing an opportunity for a fresh direction. Chama’s loose concept centers around a boy surviving in Brazil’s favelas.2 In the wake of his environment’s pandemonium, the boy ignites a spark for something greater, leading him into the Amazonian wilderness to kindle his inner spirit amongst the native tribes. Getting back to one’s roots is a theme explored throughout Max’s career, and one that has informed the band’s sound since the beginning. Does Chama find Soulfly going back to the primitive, or just going through the motions?

With Zyon at the artistic helm, Chama filters Soulfly’s signature sound through a darker lens and enlists a slew of support. Chama feels like a natural progression from 2022’s Totem, which embraced a more calloused aesthetic after guitarist Marc Rizzo’s departure. Where Ritual’s thrashy tendencies welded melody with indigenous flair, Totem pitched Soulfly’s sound into darker territory. Chama continues this descent, adding industrial heft that imbues extra grit into the record’s grim sound (“Ghenna,” “Black Hole Scum”). This suits the narrative’s backdrop as ‘the boy’ escapes from the overpopulated slums of a developing nation. And speaking of overcrowding, Soulfly puts out the call to arms to help Chama arise (again). The album features Fear Factory’s Dino Cazares (“No Pain = No Power”), Nails’s Todd Jones (“Nihilist”), Arch Enemy’s Michael Amott (“Ghenna”), and vocal appearances from No Warning’s Ben Cook and Unto Others’s Gabe Franco.3 Throughout the album, Igor Amadeus Cavalera handles low-end duty while Mike DeLeon (Flesh Hoarder, Philip H. Anselmo & The Illegals) picks and wails on guitar.

Rather than dulling Soulfly’s bite, age has only honed the veteran act’s edge and intensity. The last ten years have seen the band shift away from sprawling structures, preferring ten (mostly) focused tracks in under forty-five minutes. Chama ups the ante, clocking in at only thirty-three. First proper song “Storm the Gates” launches with Max in fighting form, roaring with as much vitriol as ever while he commands us to, “Fight the power, fight the greed.’ “Ghenna” and “Favela/Dystopia” further evidence Max’s conviction, tightly channeling his righteous indignation. “Favela/Dystopia” and “Black Hole Scum,” meanwhile, conjure Ministry’s mid-90s atmosphere, evoking Filth Pig’s sludgy swamp stomp between intermittent bursts of drums ‘n’ chugs. Zyon finds moments to abuse his kit with satisfying zeal, where “Storm the Gates” and “Ghenna” highlight his performance, and Igor Amadeus’s bass asserts a self-possessed and audible sweet spot in the mix.

With so much going right on Chama, it’s a shame there isn’t more of it. This is the first time that I can accuse Soulfly of not supplying enough material, though a solid thirty-three minutes could have been enough. However, with two-minute intro “Indigenous Inquisition,” four-minute instrumental “Soulfly XIII,” the unnecessarily long intro to “Always Was, Always Will Be…” and the outro in the last half of “Chama,” we’re left with about twenty-five minutes of proper meat over this flame. That’s not quite enough to sate the requirements of a full-length,4 and the remaining songs don’t afford enough variety or substance to stand on their own. In isolation, individual songs get in, jumpdafuckup, and get out, but altogether, Chama feels light by a song or two.

Chama attests that Soulfly has gas in the tank and a destination in mind, and Cavaleras & Co. prove they can still pen a rousing anthem and bring it. While I can’t say this about every Soulfly album, Chama feels vital and important to the band, and that authenticity seeps into the sludge and the fury. The filler-to-killer ratio holds Chama back, but it’s a worthwhile listen for anyone curious what Max is up to these days or with half an hour to pass. Those familiar with Soulfly won’t be surprised at what they hear, but I wager many will appreciate how the band has distilled Chama into a controlled burn.

Rating: Good
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Nuclear Blast Records
Websites: Official Website | Facebook
Releases Worldwide: October 24th, 2025

#2025 #30 #AmericanMetal #ArchEnemy #BrazilianMetal #Chama #DeathMetal #FearFactory #FleshHoarder #GrooveMetal #HeavyMetal #Ministry #Nails #NoWarning #NuclearBlast #NuclearBlastRecords #Oct25 #PhilipHAnselmoAndTheIllegals #Review #Reviews #Sepultura #Soulfly #ThrashMetal #UntoOthers

Stuck in the Filter: July 2025’s Angry Misses

By Kenstrosity

If you thought June was hot, you aren’t ready for what July has in store. The thin metallic walls of these flimsy ducts warp and soften as the sweltering environs continue to challenge the definition of “habitable.” But I must force my minions to continue their work, as this duty is sacred. Our ravenous appetites cannot be slaked without the supplementary sustenance the Filter brings!

Thankfully, we rescued just enough scraps to put together a meager spread. Enjoy in moderation!

Kenstrosity’s Blackened Buds

Echoes of Gloom // The Mind’s Eternal Storm [July 12th, 2025 – Self-Release]

Queensland isn’t my first thought when considering locales for atmospheric black metal. A genre so often built upon frigid tones and icy melodies feels incongruous to the heat and beastliness of the Australian landscape. Yet, one-man atmoblack act Echoes of Gloom persists. Masterminded by one Dan Elkin, Echoes of Gloom evokes a warm, muggy, and morose spirit with debut record The Mind’s Eternal Storm. But unlike many of the atmospheric persuasion, Echoes of Gloom also injects a classic heavy metal attack and a vaguely punky/folky twist into their formula to keep interest high (“Immortality Manifest,” “Throes of Bereavement I”). Furthermore, Echoes of Gloom weaponizes their energetic take on depressing atmoblack such that even as my head bounces to the riffy groove of surprisingly propulsive numbers like “The Wandering Moon” and “Great Malignant Towers of Delirium,” a palpable pall looms ever present, sapping all color from life as I witness this work. This in turn translates well to the long form, as demonstrated by the epic two-part “Throes of Bereavement” suite and ripping ten-minute closer “Wanderer of the Mind’s Eternal Storm,” boasting dynamics uncommon in the atmospheric field. In sum, if you’re the kind of metal fan that struggles with the airier side of the spectrum, The Mind’s Eternal Storm might be a good place to start.

Witchyre // Witchy Forest Dance Contest [July 14th, 2025 – Self-Release]

Germany’s Witchyre answer a question nobody asked but everyone should: what would happen if black metal and dance music joined forces? With debut LP Witchy Forest Dance Contest, we get to experience this mad alchemy firsthand, and it is an absolute joy! The staunchly anti-fascist Witchyre take the raw sound everyone knows and pumps it full of groove, bounce, and uninhibited fun for a raucous 46 minutes. Evoking equal parts Darude and Darkthrone, bangers like “Let There be Light…,” “Witchy Forest Dance Party,” and “Lost in a Dream” burst with infectious energy that feels demonic and exuberant at the same time. The raw production of the metallic elements shouldn’t work with the glossy sheen of electronic doots, but Witchyre’s often pop-punky song structure that develops as these divergent aesthetics collide adeptly bridges the gap (“Spirits Twirling,” “The Vampire Witch,” “Dragon’s Breath”). My main gripe is that even at a reasonable 46 minutes, each song feels a bit bloated, and some dance elements feel recycled in multiple places (“The Spirits Robbed My Mind”). But don’t let that scare you away. Witchyre is a delightful little deviation from convention fit for fans of Curta’n Wall and Old Nick, and everyone should give it a whirl just for fun!

Owlswald’s Hidden Hoots

Sheev // Ate’s Alchemist [July 11th, 2025 – Ripple Music]

While stoner can be hit-or-miss, Ripple Music often delivers the goods. And with Berlin’s Sheev, they can add another notch to their sativa-flavored belt. Since 2017, the four-piece has been brewing their unique, progressive-infused stoner rock sound. On their second full-length, Ate’s Alchemist, Sheev doubles down on their sonic elixir, with a throwback prog-rock vibe that evokes the likes of Yes and Jethro Tull, but with heavy doses of grunge, jam and modern rock. Vocalist Nitzan Sheps’ provides a stripped-down and authentic performance, sounding like a cross between Muse’s Matt Bellamy and Alice in Chains’ Layne Staley. The rhythm section is particularly great here. Drummer Philipp Vogt’s kit work is exceptionally musical, with intricate cymbal patterns on tracks like “Elephant Trunk,” “Cul De Sac,” and “King Mustard II” that fuel deep-pocket grooves. He also provides Tool-like syncopated rhythms on tracks like “Tüdelüt” and “Henry” that lock with bassist Joshan Chaudhary. Chaudhary’s bass playing is rare in its prominence and clarity in the mix. He maintains a tight pocket while also venturing out regularly with nimbler, adventurous flurries that highlight his technical skill. Yeah, a couple of the longer songs get a little lost, but the album is packed with killer musicianship and vocal hooks that stick with you, so it barely matters. Overall, Sheev has delivered a solid record that I’ll be spinning a lot—and you should too.

Dephosphorus // Planetoktonos [July 18th, 2025 – Selfmadegod Records/7 Degrees Records/Nerve Altar]

Space…the final grind-tier. On their fifth album, Planetoktonos (“Planetkiller”), Greek astro-grind quartet Dephosphorus rejects normal grind classifications and instead annihilates worlds with a brutal, interstellar collision of grind, blackened death, and hardcore. Taking inspiration from the harsh sci-fi of James S.A. Corey’s The Expanse, Planetoktonos is a relentless twenty-eight-minute assault—a sonic asteroid belt of thick, menacing distortion and time-warped drumming that channels Dephosphorus’ raw, furious energy. “The Triumph of Science and Reason” and “After the Holocaust” attack with the ruthless speed of Nasum while others, such as “The Kinetics of a Superintelligence Explosion,” “Hunting for Dyson Spheres,” and “Calculating Infinity,” punctuate sludgy aggression with razor-sharp, shredding passages reminiscent of early Mastodon that offer contrasting technical and rhythmic hostility. Vocalist Panos Agoros’ despairing howls are a particular highlight, full of a gravelly, blackened urgency that sounds the alarm for an interplanetary attack. Gang vocals on tracks like “Living in a Metastable Universe” and “The Kinetics of a Superintelligence Explosion” add extra weight to his frantic performance, proving Dephosphorus can incinerate worlds and still have a blast doing it. Raw, intense, and violent, Planetokonos is a must-listen for fans seeking Remission-era energy.

Tyme’s Tattered Treats

Mortual // Altars of Brutality [July 4th, 2025 – Nuclear Winter Records]

From the fetid rainforests of Costa Rica, San Jose’s Mortual dropped their sneaky good death metal debut, Altar of Brutality, on Independence Day this year. Free of frills and fuckery, Justin Corpse and Master Killer—both have guitar, bass, and vocal credits here—go for the jugular, providing swarms of riffs entrenched in filthy, Floridian swamp waters and powdered with Jersey grit. Solo work comes fast, squealy, and furious as if graduated from the Azagthothian school of shred (“Dominion of Eternal Blasphemy,” “Skeletal Vortex”), as hints of early Deicide lurk within the chugging chunks of “Altar of Brutality” and whiffs of early Monstrosity float amongst the speedier nooks and crannies of “Divine Monstrosity.”1 Incantationally cavernous, the vocals fit the OSDM mold to a tee, sitting spaciously fat and happy within Dan Lowndes’ great mix and master, which consequently draws out a bestial bass sound that permeates the entirety of Altar of Brutality with low-end menace. Chalo’s (Chemicide) drum performance warrants particular note, as, from the opening tom roll of “Mortuary Rites,” he proceeds to bash skulls throughout Altar of Brutality’s swift thirty-five-minute runtime with a brutal blitz of double-kicking and blast-beating kit abuse. Embodying a DIY work ethic that imbues these tracks with youthful energy and a wealth of death metal character, Mortual aren’t looking to reinvent the wheel as much as they’d like to crush you under its meaty treads, over and over again.

Stomach // Low Demon [July 18th, 2025 – Self-Release]

Droney, doomy, sweaty, and sludgy as fuck, Stomach’s blast furnace second album, Low Demon, is the antithesis of summer-fun metal. Hailing from Geneva, Illinois, Stomach is drummer/vocalist John Hoffman (Weekend Nachos) and guitarist Adam Tomlinson (Sick/Tired, Sea of Shit), who capably carry out their cacophonous work in such a way as to defy the fact that they’re only a duo.2 At volume, and believe me, you’ll want to crank this fucker to eleven, Low Demon will have you retching up all that light beer you drank by the pool and crying for yer mom, as “Dredged” oozes, rib-rattling from the speakers, a continuous, four-and-a-half-minute chord-layered exercise in exponentially applied tonal pressure. With five tracks spanning just over forty-three minutes, there’s not a lot on Low Demon that’s in a hurry, and aside from sections of up-tempo doom riffs (“Get Through Winter”) and some downright grindery (“Oscillate”) offering respite from the otherwise crushing wall of sound, listening to Stomach is akin to being waterboarded with molasses. Heavy influences from Earth, Sunn O))), Crossed Out, and Grief—whose Come to Grief stands as a sludge staple—form the basis for much of Stomach’s sound, and while Primitive Man and Hell draw apt comparisons as well, I’m guessing you know what you’re getting into by now. Maniacally cinematic and far from light-hearted, Stomach’s Low Demon was everything I didn’t think I needed during this hot and humid-as-an-armpit-in-hell summer.

Killjoy’s Flutes of Fancy

Braia // Vertentes de lá e cá [July 10th, 2025 – Self-Release]

Bruno Maia is one of the most inventive and hardworking musicians that I know of. Best known for the whimsical Celtic folk metal of Tuatha de Danann, he also has his own folk rock side project, Braia. Vertentes de lá e cá explores the rich history and culture of the Minas Gerais state in his native country, Brazil.3 Bursting with more sweetness than a ripe mango, Vertentes de lá e cá sports a huge diversity of musical styles and instruments. A combination of flute, viola, and acoustic guitar forms the backbone of most of the songs, like the Irish jigs in “Vertentes” or the flitting melodies of “Princesa do Sul.” My ears also detect accordion (“O Cururu do Ingaí”), saxophone (“Serra das Letras”), harmonica (“Hipólita”), banjo (“Carrancas”), and spacey synth effects (“Pagode Mouro”). That last one might sound out of place, but it makes more sense after learning of the local tales of extraterrestrial encounters. Maia sings in only two of the twelve tracks (“Emboabas” and “Rei do Campo Grande”), but all 41 minutes should be engaging enough for listeners who are typically unmoved by instrumental music. Though thematically focused on one specific location, Vertentes de lá e cá deserves to be heard by the entire world.

Storchi // By Far Away [July 25th, 2025 – Self-Release]

I would guess that the “experimental” tag causes some degree of trepidation within most listeners. However, occasionally an artist executes a fresh new vision so confidently that I can’t help but wonder if it’s secretly been around for a long time. Storchi, an instrumental prog group from Kabri, Israel, utilizes a flute in creative ways. Its bright, jazzy demeanor almost functions as a substitute for a vocalist in terms of expressiveness and personality. The Middle Eastern flair combined with modest electronic elements reminds me of Hugo Kant’s flute-heavy multicultural trip-hop. The chunky palm-muted guitar and bass borrow the best aspects of djent alongside eccentrically dynamic drum tempos. There is premeditation amidst the chaos, though. The triplet tracks “Far,” “Further,” and “Furthest” scattered throughout By Far Away each offer a unique rendition of the same core flute tune. “Lagoona” and “Smoky” make good use of melodic reprisals at the very end to neatly close the loop on what might have otherwise felt like more disjointed songs. Despite frequent and abrupt stylistic shifts, Storchi manages to make the 31-minute runtime of By Far Away feel more enjoyable than jolting. Flute fanatics should take note.

ClarkKent’s Addictive Addition

Daron Malakian and Scars on Broadway // Addicted to the Violence [July 19th, 2025 – Scarred for Life]

Since System of a Down disbanded, guitarist Daron Malakian has gone on to release 3 full-length albums under the moniker Scars on Broadway between 2008 and 2025. This spinoff project has proven Malakian to be the oddball of the group, and this goofiness hasn’t mellowed since SOAD’s debut released 27 years ago. The energetic set of tunes on Addicted to the Violence mixes nu-metal, groove rock, and pop with plenty of synths to create some fun and catchy beats. Sure, you have to delve through some baffling lyrics,4 such as when Malakian sings that there’s “a tiger that’s riding on your back / And it’s singing out ‘Rawr! Rawr!'” (“Killing Spree”). Malakian also turns to the familiar theme of drug addiction that he and Serj have explored from “Sugar” to “Heroine” to “Chemicals.”5 This time around, it’s “Satan Hussein,” where he mixes Quaaludes and Vicodin with Jesus Christ. To offset the repetition within songs, Malakian has the sense to mix things up. There’s the nu-metal cuts of “Satan Hussein” and “Destroy the Power,” featuring energetic vocalizations and grooves, but there’s also a lot of pop (“You Destroy You”). The riffs may not be as wild or creative as times past, but Addicted to the Violence makes use of a variety of instruments that keep things fresh, from an organ (“Done Me Wrong”) to a mandolin (“You Destroy You”) to some sweet synth solos. There’s even a brief saxophone appearance to conclude the album. Yes, I know exactly what you’re thinking: “This sounds awesome!”

#2025 #7DegreesRecords #AddictedToTheViolence #AliceInChains #AltarsOfBrutality #AmericanMetal #AteSAlchemist #AtmosphericBlackMetal #AustralianMetal #BlackMetal #BlackenedDeathMetal #Braia #BrazilianMetal #ByFarAway #Chemicide #CostaRicanMetal #CrossedOut #CurtaNWall #Dance #Darkthrone #DaronMalakianAndScarsOnBroadway #Darude #DeathMetal #Deathgrind #Deicide #Dephosphorus #Doom #DoomMetal #Drone #Earth #EchoesOfGloom #EDM #ExperimentalMetal #FolkMetal #FolkRock #GermanMetal #Gindcore #GreekMetal #Grief #GrooveMetal #Hardcore #Hell #HugoKant #InstrumentalMetal #IsraeliMetal #JethroTull #Jul25 #LowDemon #Mastodon #MelodicBlackMetal #Monstrosity #Mortual #Muse #Nasum #NerveAltar #NuMetal #NuclearWinterRecords #OldNick #Planetoktonos #PopMetal #PrimitiveMan #ProgressiveMetal #RawBlackMetal #Review #Reviews #RippleMusic #ScarredForLife #SeaOfShit #SelfRelease #SelfmadegodRecords #Sheev #SickTired #Sludge #SludgeMetal #Stomach #StonerDoom #StonerMetal #Storchi #StuckInTheFilter #StuckInTheFilter2025 #SunnO_ #SystemOfADown #TheMindSEternalStorm #Tool #TuathaDeDanann #VertentesDeLáECá #WeekendNachos #WitchyForestDanceContest #Witchyre #Yes

Vertebra – The Same Review

By: Nameless_n00b_601 There’s no shortage of bands trying to bottle the lightning of Death’s progressive era. Between groups…
#NewsBeep #News #Music #2025 #3.0 #Atheist #BrazilianMetal #Death #DeathMetal #DeathThrash #Entertainment #GeddyLee #Jul25 #Kreator #review #Reviews #SteveDiGiorgio #TheSame #ThrashMetal #UK #UnitedKingdom #Vertebra #XtreemMusic
https://www.newsbeep.com/uk/33974/

https://www.europesays.com/uk/304377/ Vertebra – The Same Review #2025 #3.0 #Atheist #BrazilianMetal #Death #DeathMetal #DeathThrash #Entertainment #GeddyLee #Jul25 #Kreator #music #Review #Reviews #SteveDiGiorgio #TheSame #ThrashMetal #UK #UnitedKingdom #Vertebra #XtreemMusic

Vertebra – The Same Review

By Angry Metal Guy

By: Nameless_n00b_601

There’s no shortage of bands trying to bottle the lightning of Death’s progressive era. Between groups like Horrendous, Paranorm, or even not-quite-cover-band Gruesome—whose recent take on Human with Condemned Identity is the band’s most exciting effort—there are plenty of impressive takes on Chuck Schuldiner’s revered late-‘90s output. Enter Vertebra: a Brazilian act that formed in the mid-‘90s, Vertebra disbanded before releasing a debut album. Now, in 2025, they have re-emerged from the sands of time with a mission to finally finish what they started. Their long-overdue debut release, The Same, promises a slab of progressive death/thrash which balances “raw edges” with “melodic awareness” in a way that “defies the passage of time.” Can these reunited rockers craft a collection of tunes that innovates and stands alongside their clear inspiration? Or has their time apart left us with a batch of songs that feel, well, The Same?

Vertebra’s take on death/thrash is firmly rooted in the sound of albums like Symbolic and The Sound of Perseverance, but it’s supercharged thanks to the dynamic guitar work of Arildo Leal and Fernando Luzardo. The duo rarely stays in one mode for long, shifting between acrobatic riffing and soaring melodic leads, often favoring the harmonic minor. This is the scale that classic Death melodies like “Lack of Comprehension” are in—it sounds “Egyptian” for lack of a better descriptor. Whether it’s Kreator-tinged thrash gallops (“Oblivion”), aggressive death metal tremolos (“Architecture of Perspective”), or proggy suspended-chord riffs (“Fanatic and Picturesque”), the two guitarists glide between styles with confidence, driving these constantly evolving compositions. The Same also features significantly more lead and harmony work than classic Death albums, which largely relegate leads to dedicated solo sections. Those are present here as well, and they’re impressive and reminiscent of James Murphy, especially, but Leal and Luzardo present a much more fluid take on leads, weaving them in and out of standard riffs (“Humanity”) and sweeping melodic sections (“Blessed Are the Forgetful”). Occasionally, this can distract from the effective simplicity of certain moments, but overall, their distinctive approach is one of Vertebra’s key strengths.

That same sense of urgency and exploration extends to Vertebra’s rhythm section—sometimes to the detriment of the songs and, by extension, the album as a whole. Drummer Cristiano Hulk (yes, really) brings a rock-solid, Bill Andrews-esque backbone to the material, but it’s bassist Tiago Vargas who often takes center stage. His hyperactive, “lead bass” approach recalls a blend of Steve DiGiorgio and Geddy Lee. Rarely does Vargas follow along with the rhythm guitars, instead opting for dexterous, serpentine basslines that give an Atheist flair to much of the record. Often, this accents the part nicely and provides a bit more instrumental nuance to any given section, but when it doesn’t—during a big chorus (“The Same”) or melodic section (“Fanatic and Picturesque”)—this highlights The Same’s biggest issue: a lack of definitive, memorable hooks to contrast with its rapid pace. A Death song like “Spirit Crusher” works as well as it does because its simple, primary chorus riff provides both a breather and release from the adventurous parts which surround it. Vertebra has no shortage of solid riffs and interesting sections that usually transition fluidly in and out of each other, but lack emphatic or iconic moments that make each song stand out.

This places The Same in an interesting predicament, where all of its tracks are remarkably consistent and varied in their own way, but as an album, I’m hard pressed for individual moments that beckon repeated listens. Vertebra succeeds with numbers like the sprawling “Behind the World,” the Masvidal-inspired “Overcoming the Void,” and mid-tempo prog-ripper “95 Eyes,” but much of the track list struggles to leave a lasting impression, even after a week of listening. Part of the issue lies in Arildo Leal’s vocal delivery. His high-pitched, raspy bark is serviceable in verses and suits the style (a less favorable description might claim it sounds like Dave Mustaine doing his best Quorthon impression), but it falters in the choruses, many of which rely on simple, repeated phrases (“Behind the World,” “Humanity,” or “The Same”). This puts more pressure on the songwriting to carry the weight, but it can get lost in the album’s relentless pacing.

The Same is a frustrating record to evaluate. It’s clearly good but missing the extra “oomph” of something great.1 Vertebra demonstrates a thorough understanding of the ins and outs of what makes late-‘90s Death engaging and puts its own unique spin on the material with oodles of instrumental embellishments. As a debut, it’s strong and satisfying in its way, but it doesn’t quite rise to meet the standard set by its peers. If Vertebra ever produces a follow-up, maybe next time they can focus on making sure the songs don’t sound The Same.2

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s CBR MP3
Label: Xtreem Music
Website: xtreemmusic.bandcamp.com/album/the-same
Releases Worldwide: July 29th, 2025

#2025 #30 #Atheist #BrazilianMetal #Death #DeathMetal #DeathThrash #GeddyLee #Jul25 #Kreator #Review #Reviews #SteveDiGiorgio #TheSame #ThrashMetal #Vertebra #XtreemMusic

It's #GrindayFriday! Brazil's LYMPHATIC PHLEGM are pathological goregrind legends, and their 2007 record 'Show-Off Cadavers - The Anatomy of Self-Display' is my favorite of theirs. Dynamics, melodies, killer riffs- you can hear how they've influenced Lipoma, Sulfuric Cautery, Tunkio, etc.

(2018 reprint): https://goatgrindrecords.bandcamp.com/album/show-off-cadavers-the-anatomy-of-self-display

#grind #goregrind #LymphaticPhlegm #Brazil #BrazilianGrind #BrazilianMetal #metal #2000sAlbums #2000sRecords #PathologicalGoregrind @vanessawynn @HailsandAles @wendigo