#caligarirecords — Public Fediverse posts

You may note that I haven’t published a full review in more than a week. You may also note that my most recent contribution to AMG Productions was a ranking for the best of death metal’s old guard. You may peek at the score below and question my ability to remain objective in light of my recent musical diet. But worry not, dear reader! Objectivity is my prime objective, Fairness and Justice my guiding lights. You can rest assured that this review of Ignobleth’s debut LP, Manor of Primitive Anticreation, contains naught but Unbiased and Very Correct Opinions™.

Hailing from northern Italy, Ignobleth peddles a unique blend of black and death metal. This trio, comprised of A.L. on guitar, A.B. on bass and vocals, and M.O. on drums, combines the esoteric psychosis of Ritual Ascension with the grime and filth of Rotpit and an HM2 pedal. The result is a worship service held in the darkest recesses of a city sewer system. Murky, mangy riffs echo and multiply as they careen down lightless, sweating passageways, and haunted rasps reverberate in the mire. Together, Ignobleth creates an oppressive and turbid atmosphere, most acutely felt on “Proselyte Pig I” and “And the Lunar Mass Shatters.” The loping, swinging main riff of the former evokes gothic, vaudevillian horror, while M.O.’s icy kit work on the latter encourages eldritch panic.

Speaking of M.O., his percussive assault is perhaps the highlight of Manor of Primitive Anticreation, but not for the reason you might think. Indeed, he effortlessly oscillates between blackened blasts, death-infused rhythms, and punky beats (“Warped Abyssal Architecture,” “Forked Tongues”), but the predominance of the drums here is largely a result of a very subpar production job. Vocals and drums are centered on an unnecessarily wide sound stage with strings as far left and right as they can go, and as a result, each track feels less like a cohesive song and more like instruments playing at the same time. And while A.L.’s guitar is fairly clear when spotlighted for leads and hooks, the second the rest of the band joins in, it becomes barely audible mush. Prime examples include “Obelisk of Deformity,” which, during faster paced sections, becomes a wall of indeterminable sound, and “Proselyte Pig II,” which drowns its main riff in vat of sludge, such that I can barely hear more than two notes when I know A.L. is playing several more.

Would that the woes of Manor of Primitive Anticreation stopped there. Ignobleth includes an intro and three separate interludes on an album spanning only 11 tracks (“Intro,” “Spores,” “Interlude: Lecherous Sex Magick,” and “Manor of Primitive Anticreation”1). Interludes and ambient pieces can work, but here, they’re little more than minorly spooky synths, garbled spoken word, and choral bits that annoyingly interrupt the main course. Manor of Primitive Anticreation boldly includes even more ambience in the outro of “And the Lunar Mass Shatters,” and the last two minutes of album closer, “Among the Seventy-Two Embalmed Ekpyrotic Gods.” Even if the pacing were tighter and less stilted, the songwriting itself leaves much to be desired. Repetition runs rampant through the album (“Among…,” “Proselyte Pig I,” “Obelisk of Deformity”), blunting riffs and passages that could have bitten much harder. There’s also an overreliance on wordless howls over mildly furious instrumental sections. It’s so frequent that song structures seem composed almost entirely of bridges and solos with few verses or choruses to be found, compounding the album’s repetitive tendencies.

This has been a frustrating album to work with. While Ignobleth’s tone is deliciously vile, the songwriting and production leave me deeply disappointed. Over several spins, I got the distinct impression that Manor of Primitive Anticreation isn’t blackened death metal so much as something that sounds vaguely like it. It’s fine in the background, but direct attention reveals it to be a shallow imitation. Much of Manor of Primitive Anticreation seems geared toward a live audience—song structures, tone, prevalence of blast beats—and I have no doubt that it fucks quite hard in such a setting. Unfortunately, this style does not translate well to a studio production, much less the review process.

Rating: 1.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Caligari Records
Websites: Bandcamp | Instagram
Releases Worldwide: April 17th, 2026

Dwellnought – Monolith of Ephemerality Review

In my hitherto short stint of indefinite indentured servitude in the hall, I’ve frequently noted the importance of…
#NewsBeep #News #Music #2.0 #2026 #BellWitch #blackeneddoommetal #BlutAusNord #CaligariRecords #Cough #Dwellnought #Entertainment #Feb26 #ItalianMetal #MonolithofEphemerality #Ossuary #review #Reviews #SufferingHour #Teitanblood #UK #UnitedKingdom
https://www.newsbeep.com/uk/493429/

https://www.europesays.com/uk/848014/ Dwellnought – Monolith of Ephemerality Review #20 #2026 #BellWitch #BlackenedDoomMetal #BlutAusNord #CaligariRecords #Cough #Dwellnought #Entertainment #Feb26 #ItalianMetal #MonolithOfEphemerality #music #Ossuary #Review #Reviews #SufferingHour #Teitanblood #UK #UnitedKingdom

In my hitherto short stint of indefinite indentured servitude in the hall, I’ve frequently noted the importance of albums with narrative. In my younger days, I was a simp for albums with as many tracks as I could find. Deluxe editions? Yes please. Reissues, demos, covers, unreleased bonus cuts? Heck yeah, inject that right into my veins. It’s only as the responsibilities of adulthood overtook casual listening time that I began to appreciate albums with brevity, direction, and a distinct sense of a complete, full-bodied work. Well, everybody buckle in, because somewhere in the ether a big middle finger on a monkey’s paw has curled in my direction, by way of Italy’s Dwellnought, presenting their debut album Monolith of Ephemerality. Oh, we will go on a journey together, alright, but will there be anything left worth recounting of this Monolith on our return?

Despite an album title seemingly indebted to the more thesaurus-riddled branches of slam, Dwellnought actually traffic in a brand of feedback-drenched blackened doom. Atmospheric theatrics are the name of the game, with an album that seeks to deprive the listener of anything approaching light, optimism, or major keys. Rumbling feedback collapses into slow bpm plods with sustained trem-chords filling in the negative spaces in time for single cymbal/bass drum hits before eventually metamorphosing into an earthquake shattering riff while vocalist S bellows and wails from just beyond the mix. The doom takes the biggest prevalence as Monolith of Ephemerality rarely exceeds a brisk trot in pace, with any spurts of speed eventually devolving back into exhausted continuations.

Monolith of Ephemerality by DWELLNOUGHT

Such commitment to crippling atmosphere is admirable, but it comes at the expense of almost everything else. Dwellnought have attempted an unusual formula, channeling the claustrophobia of Teitanblood in production but channeled through an almost Bell Witch chord pacing with occasional flourishes of Ossuary crust-heaving. The formula finds its peak at the beginning, with long-form intro “Slumbering Through the Dream of Impermanence” flowing seamlessly into massive 17-minute barnburner “The Final Desire is Unbeing.” Here is the Dwellnought recipe at its most refined. The otherwise needlessly lengthy intro is atmospheric and mood-setting, with the oscillation of tempo and tone in its follow-up masterfully executed. Within this lengthy run comes segments heavily indebted to drum-machine era Blut Aus Nord gelling into a barbaric Cough waltz with effortlessness. This 20-minute kickoff shows real promise, evoking the abyss with texture as much as color, or lack thereof.

If only the rest of the album followed suit. The quality dip in the back three-fifths represents not a slope as much as a sudden drop-off where memorable songwriting is sacrificed utterly at the altar of mood. The dedication to the mood is palpable, as not one note approaches anything optimistic or upbeat, but in their avoidance of such things, Dwellnought also sidestep memorability or impact. “Crystalized Flesh Identities Condensed into Wombs of Matter” can’t make up its mind whether it wants to be fast or slow and has tempo changes marked more by indecision than deliberate arrangement. Both this and “Ill Whispers” frequently rely on chords ringing out via prolonged strum with minimalized drumbeats, but the notes are mixed so homogenously I struggle to tell if there are actual riffs or if Dwellnought are riding atonality into oblivion. The opening to both tracks borders on self-plagiarism in their similarity, and no single moment of menace comes close to matching the peak of the preceding songs. Additionally, Monolith of Ephemerality ends on a 6-minute assault of nothing but static and a grumbly voice speaking out of the void, which is wild since that’s exactly how “Crystalized Flesh…” ends as well. An attempt at a narrative is clear, and yet this climax is far from earned, given the drought of memorable set pieces to justify such a noise-rooted outro.

And yet, I keep coming back to those first twenty minutes. It takes balls the size of a bird of a plane of ClarkKent1 to open up your already longform album with your highest quality riffs. Had these two songs made up all of Monolith of Ephemerality as a single-track ep (not dissimilar to Suffering Hour’s Dwell, for example), this would make an excellent addition to the end-of-the-year EP roundups. There’s a genuine seed of promise in how Dwellnought have put their best foot forward, but the collapse in quality as the album continues cannot be denied. The mix is massive, the tone dark, the atmosphere oppressive, and the influences are a recipe for a good time. But somewhere along the way, Dwellnought stared so hard into the abyss that eventually even the abyss stopped staring back. All atmosphere and very little riffage, this album is an excellent reminder to be careful what we wish for.

Rating: 2.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Caligari Records
Website: Album Bandcamp
Releases Worldwide: February 20th, 2026

In my hitherto short stint of indefinite indentured servitude in the hall, I’ve frequently noted the importance of albums with narrative. In my younger days, I was a simp for albums with as many tracks as I could find. Deluxe editions? Yes please. Reissues, demos, covers, unreleased bonus cuts? Heck yeah, inject that right into my veins. It’s only as the responsibilities of adulthood overtook casual listening time that I began to appreciate albums with brevity, direction, and a distinct sense of a complete, full-bodied work. Well, everybody buckle in, because somewhere in the ether a big middle finger on a monkey’s paw has curled in my direction, by way of Italy’s Dwellnought, presenting their debut album Monolith of Ephemerality. Oh, we will go on a journey together, alright, but will there be anything left worth recounting of this Monolith on our return?

Despite an album title seemingly indebted to the more thesaurus-riddled branches of slam, Dwellnought actually traffic in a brand of feedback-drenched blackened doom. Atmospheric theatrics are the name of the game, with an album that seeks to deprive the listener of anything approaching light, optimism, or major keys. Rumbling feedback collapses into slow bpm plods with sustained trem-chords filling in the negative spaces in time for single cymbal/bass drum hits before eventually metamorphosing into an earthquake shattering riff while vocalist S bellows and wails from just beyond the mix. The doom takes the biggest prevalence as Monolith of Ephemerality rarely exceeds a brisk trot in pace, with any spurts of speed eventually devolving back into exhausted continuations.

Monolith of Ephemerality by DWELLNOUGHT

Such commitment to crippling atmosphere is admirable, but it comes at the expense of almost everything else. Dwellnought have attempted an unusual formula, channeling the claustrophobia of Teitanblood in production but channeled through an almost Bell Witch chord pacing with occasional flourishes of Ossuary crust-heaving. The formula finds its peak at the beginning, with long-form intro “Slumbering Through the Dream of Impermanence” flowing seamlessly into massive 17-minute barnburner “The Final Desire is Unbeing.” Here is the Dwellnought recipe at its most refined. The otherwise needlessly lengthy intro is atmospheric and mood-setting, with the oscillation of tempo and tone in its follow-up masterfully executed. Within this lengthy run comes segments heavily indebted to drum-machine era Blut Aus Nord gelling into a barbaric Cough waltz with effortlessness. This 20-minute kickoff shows real promise, evoking the abyss with texture as much as color, or lack thereof.

If only the rest of the album followed suit. The quality dip in the back three-fifths represents not a slope as much as a sudden drop-off where memorable songwriting is sacrificed utterly at the altar of mood. The dedication to the mood is palpable, as not one note approaches anything optimistic or upbeat, but in their avoidance of such things, Dwellnought also sidestep memorability or impact. “Crystalized Flesh Identities Condensed into Wombs of Matter” can’t make up its mind whether it wants to be fast or slow and has tempo changes marked more by indecision than deliberate arrangement. Both this and “Ill Whispers” frequently rely on chords ringing out via prolonged strum with minimalized drumbeats, but the notes are mixed so homogenously I struggle to tell if there are actual riffs or if Dwellnought are riding atonality into oblivion. The opening to both tracks borders on self-plagiarism in their similarity, and no single moment of menace comes close to matching the peak of the preceding songs. Additionally, Monolith of Ephemerality ends on a 6-minute assault of nothing but static and a grumbly voice speaking out of the void, which is wild since that’s exactly how “Crystalized Flesh…” ends as well. An attempt at a narrative is clear, and yet this climax is far from earned, given the drought of memorable set pieces to justify such a noise-rooted outro.

And yet, I keep coming back to those first twenty minutes. It takes balls the size of a bird of a plane of ClarkKent1 to open up your already longform album with your highest quality riffs. Had these two songs made up all of Monolith of Ephemerality as a single-track ep (not dissimilar to Suffering Hour’s Dwell, for example), this would make an excellent addition to the end-of-the-year EP roundups. There’s a genuine seed of promise in how Dwellnought have put their best foot forward, but the collapse in quality as the album continues cannot be denied. The mix is massive, the tone dark, the atmosphere oppressive, and the influences are a recipe for a good time. But somewhere along the way, Dwellnought stared so hard into the abyss that eventually even the abyss stopped staring back. All atmosphere and very little riffage, this album is an excellent reminder to be careful what we wish for.

Rating: 2.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Caligari Records
Website: Album Bandcamp
Releases Worldwide: February 20th, 2026

In my hitherto short stint of indefinite indentured servitude in the hall, I’ve frequently noted the importance of albums with narrative. In my younger days, I was a simp for albums with as many tracks as I could find. Deluxe editions? Yes please. Reissues, demos, covers, unreleased bonus cuts? Heck yeah, inject that right into my veins. It’s only as the responsibilities of adulthood overtook casual listening time that I began to appreciate albums with brevity, direction, and a distinct sense of a complete, full-bodied work. Well, everybody buckle in, because somewhere in the ether a big middle finger on a monkey’s paw has curled in my direction, by way of Italy’s Dwellnought, presenting their debut album Monolith of Ephemerality. Oh, we will go on a journey together, alright, but will there be anything left worth recounting of this Monolith on our return?

Despite an album title seemingly indebted to the more thesaurus-riddled branches of slam, Dwellnought actually traffic in a brand of feedback-drenched blackened doom. Atmospheric theatrics are the name of the game, with an album that seeks to deprive the listener of anything approaching light, optimism, or major keys. Rumbling feedback collapses into slow bpm plods with sustained trem-chords filling in the negative spaces in time for single cymbal/bass drum hits before eventually metamorphosing into an earthquake shattering riff while vocalist S bellows and wails from just beyond the mix. The doom takes the biggest prevalence as Monolith of Ephemerality rarely exceeds a brisk trot in pace, with any spurts of speed eventually devolving back into exhausted continuations.

Monolith of Ephemerality by DWELLNOUGHT

Such commitment to crippling atmosphere is admirable, but it comes at the expense of almost everything else. Dwellnought have attempted an unusual formula, channeling the claustrophobia of Teitanblood in production but channeled through an almost Bell Witch chord pacing with occasional flourishes of Ossuary crust-heaving. The formula finds its peak at the beginning, with long-form intro “Slumbering Through the Dream of Impermanence” flowing seamlessly into massive 17-minute barnburner “The Final Desire is Unbeing.” Here is the Dwellnought recipe at its most refined. The otherwise needlessly lengthy intro is atmospheric and mood-setting, with the oscillation of tempo and tone in its follow-up masterfully executed. Within this lengthy run comes segments heavily indebted to drum-machine era Blut Aus Nord gelling into a barbaric Cough waltz with effortlessness. This 20-minute kickoff shows real promise, evoking the abyss with texture as much as color, or lack thereof.

If only the rest of the album followed suit. The quality dip in the back three-fifths represents not a slope as much as a sudden drop-off where memorable songwriting is sacrificed utterly at the altar of mood. The dedication to the mood is palpable, as not one note approaches anything optimistic or upbeat, but in their avoidance of such things, Dwellnought also sidestep memorability or impact. “Crystalized Flesh Identities Condensed into Wombs of Matter” can’t make up its mind whether it wants to be fast or slow and has tempo changes marked more by indecision than deliberate arrangement. Both this and “Ill Whispers” frequently rely on chords ringing out via prolonged strum with minimalized drumbeats, but the notes are mixed so homogenously I struggle to tell if there are actual riffs or if Dwellnought are riding atonality into oblivion. The opening to both tracks borders on self-plagiarism in their similarity, and no single moment of menace comes close to matching the peak of the preceding songs. Additionally, Monolith of Ephemerality ends on a 6-minute assault of nothing but static and a grumbly voice speaking out of the void, which is wild since that’s exactly how “Crystalized Flesh…” ends as well. An attempt at a narrative is clear, and yet this climax is far from earned, given the drought of memorable set pieces to justify such a noise-rooted outro.

And yet, I keep coming back to those first twenty minutes. It takes balls the size of a bird of a plane of ClarkKent1 to open up your already longform album with your highest quality riffs. Had these two songs made up all of Monolith of Ephemerality as a single-track ep (not dissimilar to Suffering Hour’s Dwell, for example), this would make an excellent addition to the end-of-the-year EP roundups. There’s a genuine seed of promise in how Dwellnought have put their best foot forward, but the collapse in quality as the album continues cannot be denied. The mix is massive, the tone dark, the atmosphere oppressive, and the influences are a recipe for a good time. But somewhere along the way, Dwellnought stared so hard into the abyss that eventually even the abyss stopped staring back. All atmosphere and very little riffage, this album is an excellent reminder to be careful what we wish for.

Rating: 2.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Caligari Records
Website: Album Bandcamp
Releases Worldwide: February 20th, 2026

In my hitherto short stint of indefinite indentured servitude in the hall, I’ve frequently noted the importance of albums with narrative. In my younger days, I was a simp for albums with as many tracks as I could find. Deluxe editions? Yes please. Reissues, demos, covers, unreleased bonus cuts? Heck yeah, inject that right into my veins. It’s only as the responsibilities of adulthood overtook casual listening time that I began to appreciate albums with brevity, direction, and a distinct sense of a complete, full-bodied work. Well, everybody buckle in, because somewhere in the ether a big middle finger on a monkey’s paw has curled in my direction, by way of Italy’s Dwellnought, presenting their debut album Monolith of Ephemerality. Oh, we will go on a journey together, alright, but will there be anything left worth recounting of this Monolith on our return?

Despite an album title seemingly indebted to the more thesaurus-riddled branches of slam, Dwellnought actually traffic in a brand of feedback-drenched blackened doom. Atmospheric theatrics are the name of the game, with an album that seeks to deprive the listener of anything approaching light, optimism, or major keys. Rumbling feedback collapses into slow bpm plods with sustained trem-chords filling in the negative spaces in time for single cymbal/bass drum hits before eventually metamorphosing into an earthquake shattering riff while vocalist S bellows and wails from just beyond the mix. The doom takes the biggest prevalence as Monolith of Ephemerality rarely exceeds a brisk trot in pace, with any spurts of speed eventually devolving back into exhausted continuations.

Monolith of Ephemerality by DWELLNOUGHT

Such commitment to crippling atmosphere is admirable, but it comes at the expense of almost everything else. Dwellnought have attempted an unusual formula, channeling the claustrophobia of Teitanblood in production but channeled through an almost Bell Witch chord pacing with occasional flourishes of Ossuary crust-heaving. The formula finds its peak at the beginning, with long-form intro “Slumbering Through the Dream of Impermanence” flowing seamlessly into massive 17-minute barnburner “The Final Desire is Unbeing.” Here is the Dwellnought recipe at its most refined. The otherwise needlessly lengthy intro is atmospheric and mood-setting, with the oscillation of tempo and tone in its follow-up masterfully executed. Within this lengthy run comes segments heavily indebted to drum-machine era Blut Aus Nord gelling into a barbaric Cough waltz with effortlessness. This 20-minute kickoff shows real promise, evoking the abyss with texture as much as color, or lack thereof.

If only the rest of the album followed suit. The quality dip in the back three-fifths represents not a slope as much as a sudden drop-off where memorable songwriting is sacrificed utterly at the altar of mood. The dedication to the mood is palpable, as not one note approaches anything optimistic or upbeat, but in their avoidance of such things, Dwellnought also sidestep memorability or impact. “Crystalized Flesh Identities Condensed into Wombs of Matter” can’t make up its mind whether it wants to be fast or slow and has tempo changes marked more by indecision than deliberate arrangement. Both this and “Ill Whispers” frequently rely on chords ringing out via prolonged strum with minimalized drumbeats, but the notes are mixed so homogenously I struggle to tell if there are actual riffs or if Dwellnought are riding atonality into oblivion. The opening to both tracks borders on self-plagiarism in their similarity, and no single moment of menace comes close to matching the peak of the preceding songs. Additionally, Monolith of Ephemerality ends on a 6-minute assault of nothing but static and a grumbly voice speaking out of the void, which is wild since that’s exactly how “Crystalized Flesh…” ends as well. An attempt at a narrative is clear, and yet this climax is far from earned, given the drought of memorable set pieces to justify such a noise-rooted outro.

And yet, I keep coming back to those first twenty minutes. It takes balls the size of a bird of a plane of ClarkKent1 to open up your already longform album with your highest quality riffs. Had these two songs made up all of Monolith of Ephemerality as a single-track ep (not dissimilar to Suffering Hour’s Dwell, for example), this would make an excellent addition to the end-of-the-year EP roundups. There’s a genuine seed of promise in how Dwellnought have put their best foot forward, but the collapse in quality as the album continues cannot be denied. The mix is massive, the tone dark, the atmosphere oppressive, and the influences are a recipe for a good time. But somewhere along the way, Dwellnought stared so hard into the abyss that eventually even the abyss stopped staring back. All atmosphere and very little riffage, this album is an excellent reminder to be careful what we wish for.

Rating: 2.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Caligari Records
Website: Album Bandcamp
Releases Worldwide: February 20th, 2026

In my hitherto short stint of indefinite indentured servitude in the hall, I’ve frequently noted the importance of albums with narrative. In my younger days, I was a simp for albums with as many tracks as I could find. Deluxe editions? Yes please. Reissues, demos, covers, unreleased bonus cuts? Heck yeah, inject that right into my veins. It’s only as the responsibilities of adulthood overtook casual listening time that I began to appreciate albums with brevity, direction, and a distinct sense of a complete, full-bodied work. Well, everybody buckle in, because somewhere in the ether a big middle finger on a monkey’s paw has curled in my direction, by way of Italy’s Dwellnought, presenting their debut album Monolith of Ephemerality. Oh, we will go on a journey together, alright, but will there be anything left worth recounting of this Monolith on our return?

Despite an album title seemingly indebted to the more thesaurus-riddled branches of slam, Dwellnought actually traffic in a brand of feedback-drenched blackened doom. Atmospheric theatrics are the name of the game, with an album that seeks to deprive the listener of anything approaching light, optimism, or major keys. Rumbling feedback collapses into slow bpm plods with sustained trem-chords filling in the negative spaces in time for single cymbal/bass drum hits before eventually metamorphosing into an earthquake shattering riff while vocalist S bellows and wails from just beyond the mix. The doom takes the biggest prevalence as Monolith of Ephemerality rarely exceeds a brisk trot in pace, with any spurts of speed eventually devolving back into exhausted continuations.

Monolith of Ephemerality by DWELLNOUGHT

Such commitment to crippling atmosphere is admirable, but it comes at the expense of almost everything else. Dwellnought have attempted an unusual formula, channeling the claustrophobia of Teitanblood in production but channeled through an almost Bell Witch chord pacing with occasional flourishes of Ossuary crust-heaving. The formula finds its peak at the beginning, with long-form intro “Slumbering Through the Dream of Impermanence” flowing seamlessly into massive 17-minute barnburner “The Final Desire is Unbeing.” Here is the Dwellnought recipe at its most refined. The otherwise needlessly lengthy intro is atmospheric and mood-setting, with the oscillation of tempo and tone in its follow-up masterfully executed. Within this lengthy run comes segments heavily indebted to drum-machine era Blut Aus Nord gelling into a barbaric Cough waltz with effortlessness. This 20-minute kickoff shows real promise, evoking the abyss with texture as much as color, or lack thereof.

If only the rest of the album followed suit. The quality dip in the back three-fifths represents not a slope as much as a sudden drop-off where memorable songwriting is sacrificed utterly at the altar of mood. The dedication to the mood is palpable, as not one note approaches anything optimistic or upbeat, but in their avoidance of such things, Dwellnought also sidestep memorability or impact. “Crystalized Flesh Identities Condensed into Wombs of Matter” can’t make up its mind whether it wants to be fast or slow and has tempo changes marked more by indecision than deliberate arrangement. Both this and “Ill Whispers” frequently rely on chords ringing out via prolonged strum with minimalized drumbeats, but the notes are mixed so homogenously I struggle to tell if there are actual riffs or if Dwellnought are riding atonality into oblivion. The opening to both tracks borders on self-plagiarism in their similarity, and no single moment of menace comes close to matching the peak of the preceding songs. Additionally, Monolith of Ephemerality ends on a 6-minute assault of nothing but static and a grumbly voice speaking out of the void, which is wild since that’s exactly how “Crystalized Flesh…” ends as well. An attempt at a narrative is clear, and yet this climax is far from earned, given the drought of memorable set pieces to justify such a noise-rooted outro.

And yet, I keep coming back to those first twenty minutes. It takes balls the size of a bird of a plane of ClarkKent1 to open up your already longform album with your highest quality riffs. Had these two songs made up all of Monolith of Ephemerality as a single-track ep (not dissimilar to Suffering Hour’s Dwell, for example), this would make an excellent addition to the end-of-the-year EP roundups. There’s a genuine seed of promise in how Dwellnought have put their best foot forward, but the collapse in quality as the album continues cannot be denied. The mix is massive, the tone dark, the atmosphere oppressive, and the influences are a recipe for a good time. But somewhere along the way, Dwellnought stared so hard into the abyss that eventually even the abyss stopped staring back. All atmosphere and very little riffage, this album is an excellent reminder to be careful what we wish for.

Rating: 2.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Caligari Records
Website: Album Bandcamp
Releases Worldwide: February 20th, 2026

Burning Death – Burning Death Review

By Spicie Forrest

In the prehistoric era known in academic circles as “the 80s,” metal had not yet splintered into the myriad microgenres we know today. Even our ten-ish main subgenres, while beginning to differentiate themselves, were still fairly grey. Within this primordial soup floated the building blocks that would one day give rise to modern black metal, including, among others, the early works of Slayer, Kreator, and Vulcano. This evil-sounding, satanic/anti-Christian thrash metal is also the inspiration for Nashville newcomers, Burning Death. Ethan Rock and Jerry Garner of Act of Impalement, along with a drummer known only as Gore, seek to recreate that raw, calamitous energy on their self-titled debut. Can these retro thrashers induce another Satanic Panic, or are they just playing at hating God?

Once upon a time, the Son of the Morning and His faithful were banished from Heaven and cast into Pandaemonium below. I suspect Burning Death may have been part of the soundtrack. Rock and Garner launch riff after cataclysmic riff, each seared in the Lake of Everlasting Fire. Whether streaking through the Firmament (“Vengeance of the Inferno,” “Severed”), landing in the underworld and surveying the surrounding horrors (“Death is Salvation”), or convening the first Infernal Council (“Revel in Violence”), Burning Death encapsulates the fervor of these most crucial moments in Christian lore.1 Infernal skank and blast beats give Gore the means to conduct this tour of the hellish landscape. By lagging or anticipating riff changes, Gore—in concert with vocalist Rock—guides listeners through both Satan’s abyssal Cathedral (“Cold Bite of Steel”) and blasted, Vulcanic wastes (“Lusting for Death”) with a sure and smooth confidence. From the Deathly opening riff of “Genocidal Litany” onward, Burning Death absolutely nails Christ to the cross their intended sound.

At its core, Burning Death’s debut is an act of homage paid. Much like Slayer’s Tom Araya, Rock both channels the wails of the damned and the gruff shouts of their demonic torturers. The controlled recklessness of his style matches his bandmates well, often elevating their performances by underscoring the stygian atmosphere of Burning Death. “Revel in Violence” emerges from Sodom’s shadow, possessing a militaristic and almost classical feel, while the opening riff of “Vengeance of the Inferno” could pass for something on Kill ‘Em All. Insofar as Burning Death’s particular flavor of thrash isn’t something I often hear modernized, this is refreshing. In terms of innovation or originality, however, Burning Death falls short. Burning Death is undoubtedly competent, but there’s precious little here that builds on what’s already established. This isn’t a criticism per se, but it does preclude Burning Death from reaching greater heights.

An album is more than just the band’s ability to write and play music, and it’s in these peripheral aspects that much of my criticism lies. While “Final Sacrament” is a good track in itself, it fails as a closer—title notwithstanding. As Burning Death ends, there’s no sense of closure, and I often accidentally circle back to “Genocidal Litany” before realizing what’s happened. Either “Cold Bite of Steel” or “Revel in Violence” would have been more satisfying conclusions. My second, broader criticism is of the mix. Buried bass aside, instruments and vocals seem to stand side by side throughout the whole album. Unchanging and two-dimensional, the mix reduces Burning Death to its composite elements. A soundstage with more depth would have allowed musicians to pass the spotlight more effectively, creating a more dynamic and compelling experience.

On their self-titled debut, Burning Death has crafted a commendable tribute to early thrash and its more violent, evil iterations. Scorched, descending riffs and tortured howls are stitched together with urgent, almost panicked percussive thread. The risk of following one’s idols so closely is failing to develop your own unique sound, and into this pit Burning Death falls. Combined with a suboptimal song order and a flat, static mix, there’s ample room for Burning Death to improve on future releases. Of course, if you’re in the mood for some new Kreator– or Sarcófago-core, none of this should stop you from picking up Burning Death.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Caligari Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: December 5th, 2025

#2025 #30 #ActOfImpalement #AmericanMetal #BurningDeath #CaligariRecords #Cathedral #Death #Dec25 #Kreator #Metallica #Review #Reviews #Sarcófago #Slayer #Sodom #ThrashMetal #Vulcano

Act of Impalement – Profane Altar Review

By Dear Hollow

Nashville trio Act of Impalement’s sophomore release Infernal Ordinance, in spite of the low-hanging HOA jokes, was badass. Its unfuckwithable blend of death and crust styles led to a sore neck from endless headbanging, while its passages of doom tempos and thick weight did the sludge and doom influences justice. I still spin the likes of “Summoning the Final Conflagration” and “Erased,” reliving that pummeling that hurts so good again and again. You can imagine how excited I was, then, to discover Act of Impalement has a new album.

To accurately sum up Act of Impalement’s musical arsenal is an exercise in futility, and Profane Altar amps the obscurity – although the trademark groove remains stalwart. While Ethan Rock remains the band’s pivot point as primary songwriter, vocalist, and guitarist, a revamped lineup replacing bassist Jimmy Grogan and longtime drummer Zack Ledbetter emerges with its own streamlined take. As such, while Infernal Ordinance felt almost entirely like the one-man Ethan Rock show, Profane Altar finds bassist Jerry Garner adding more rumbling weight to the riffs while drummer Aaron Hortman brings a newfound manic energy and mania to the rhythms. While the influences remain the same in death metal royalty Bolt Thrower, Incantation, Entombed, and Asphyx – and the sound is deceptively straightforward – the streamlined approach, more pronounced black metal influence, and filthier riffs offer new planes for Act of Impalement.

Act of Impalement’s biggest change is a more cohesive fusing of its sludge and death metal influences alongside its newfound obscure black metal bleakness. While opener “Summoning the Final Conflagration” from its predecessor set a precedent of buzzsaw riffs driven to a sludgy end, Profane Altar opens with “Apparition” – while the groove and riffs are similar, they are absolutely suffocating, a swampy tar filling every crevice of the sound. Act of Impalement is down with the thickness, and it grants them a fluidity that kept the disjointedness of its predecessor from truly soaring. From ten-ton bruisers dripping with patient swagger (“Apparition,” “Final Sacrifice”), filthy 6/8 death metal waltzes (“Sanguine Rites,” “Gnashing Teeth”) to vicious crust punk-influenced black metal beatdowns laden with blastbeats and shred (“Piercing the Heavens,” “Deities of the Weak”), their potentially disconnected collection of blasting and bruising is blessedly woven together by its all-consuming weight.

Brevity is the name of Act of Impalement’s game, and it no longer feels like a one-man show. No track exceeds five minutes for a total of thirty-one minutes, which is absolutely reasonable and almost necessary for this breed of intensity. While the professed styles don’t feel particularly unique, Act of Impalement manages to lay them atop the incredibly sturdy foundation of groove, which serves the brevity extremely well – the album hits hard and fast and never overstays its welcome. Better still, Garner’s bass shines throughout and Hortman’s percussion feels both unhinged in its blastbeats and steadfastly reliable in its plodding groove – both members shining alongside Rock’s riffs and hellish roars. That being said, Act of Impalement offers a brutal riff-fest with elements borrowed from death, death/doom, crust punk, and black metal, a tribute to the hallowed halls of metal history – but the product is remarkably straightforward in its punishing groove.

If you’re looking for a nuanced album that showcases a rich and layered approach to its songwriting, Profane Altar is not for you. However, if you’re okay seeing all its influences as riders of the one-trick pony called groove, it doesn’t get much better than Act of Impalement’s breed of pummeling. Profane Altar is fucking heavy, simultaneously a more in-your-face and obscure release for a band renowned for their breakneck intensity. Balance and the bravery to embrace its disparate blend of influences sets it apart from its already formidable predecessor, even though the shortsighted groove makes it blackened, deathened, crusty, doomy ear candy. Infectiously groovy ear candy.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Caligari Records
Websites: instagram.com/actofimpalement | facebook.com/ActOfImpalement
Releases Worldwide: February 28th, 2025

#2025 #35 #ActOfImpalement #AmericanMetal #Asphyx #BlackMetal #BlackenedDeathMetal #BoltThrower #CaligariRecords #CrustPunk #DeathMetal #DeathDoomMetal #DoomMetal #Entombed #Feb25 #Incantation #ProfaneAltar #Review #Reviews

Act of Impalement – Profane Altar Review

By Dear Hollow

Nashville trio Act of Impalement’s sophomore release Infernal Ordinance, in spite of the low-hanging HOA jokes, was badass. Its unfuckwithable blend of death and crust styles led to a sore neck from endless headbanging, while its passages of doom tempos and thick weight did the sludge and doom influences justice. I still spin the likes of “Summoning the Final Conflagration” and “Erased,” reliving that pummeling that hurts so good again and again. You can imagine how excited I was, then, to discover Act of Impalement has a new album.

To accurately sum up Act of Impalement’s musical arsenal is an exercise in futility, and Profane Altar amps the obscurity – although the trademark groove remains stalwart. While Ethan Rock remains the band’s pivot point as primary songwriter, vocalist, and guitarist, a revamped lineup replacing bassist Jimmy Grogan and longtime drummer Zack Ledbetter emerges with its own streamlined take. As such, while Infernal Ordinance felt almost entirely like the one-man Ethan Rock show, Profane Altar finds bassist Jerry Garner adding more rumbling weight to the riffs while drummer Aaron Hortman brings a newfound manic energy and mania to the rhythms. While the influences remain the same in death metal royalty Bolt Thrower, Incantation, Entombed, and Asphyx – and the sound is deceptively straightforward – the streamlined approach, more pronounced black metal influence, and filthier riffs offer new planes for Act of Impalement.

Act of Impalement’s biggest change is a more cohesive fusing of its sludge and death metal influences alongside its newfound obscure black metal bleakness. While opener “Summoning the Final Conflagration” from its predecessor set a precedent of buzzsaw riffs driven to a sludgy end, Profane Altar opens with “Apparition” – while the groove and riffs are similar, they are absolutely suffocating, a swampy tar filling every crevice of the sound. Act of Impalement is down with the thickness, and it grants them a fluidity that kept the disjointedness of its predecessor from truly soaring. From ten-ton bruisers dripping with patient swagger (“Apparition,” “Final Sacrifice”), filthy 6/8 death metal waltzes (“Sanguine Rites,” “Gnashing Teeth”) to vicious crust punk-influenced black metal beatdowns laden with blastbeats and shred (“Piercing the Heavens,” “Deities of the Weak”), their potentially disconnected collection of blasting and bruising is blessedly woven together by its all-consuming weight.

Brevity is the name of Act of Impalement’s game, and it no longer feels like a one-man show. No track exceeds five minutes for a total of thirty-one minutes, which is absolutely reasonable and almost necessary for this breed of intensity. While the professed styles don’t feel particularly unique, Act of Impalement manages to lay them atop the incredibly sturdy foundation of groove, which serves the brevity extremely well – the album hits hard and fast and never overstays its welcome. Better still, Garner’s bass shines throughout and Hortman’s percussion feels both unhinged in its blastbeats and steadfastly reliable in its plodding groove – both members shining alongside Rock’s riffs and hellish roars. That being said, Act of Impalement offers a brutal riff-fest with elements borrowed from death, death/doom, crust punk, and black metal, a tribute to the hallowed halls of metal history – but the product is remarkably straightforward in its punishing groove.

If you’re looking for a nuanced album that showcases a rich and layered approach to its songwriting, Profane Altar is not for you. However, if you’re okay seeing all its influences as riders of the one-trick pony called groove, it doesn’t get much better than Act of Impalement’s breed of pummeling. Profane Altar is fucking heavy, simultaneously a more in-your-face and obscure release for a band renowned for their breakneck intensity. Balance and the bravery to embrace its disparate blend of influences sets it apart from its already formidable predecessor, even though the shortsighted groove makes it blackened, deathened, crusty, doomy ear candy. Infectiously groovy ear candy.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Caligari Records
Websites: instagram.com/actofimpalement | facebook.com/ActOfImpalement
Releases Worldwide: February 28th, 2025

#2025 #35 #ActOfImpalement #AmericanMetal #Asphyx #BlackMetal #BlackenedDeathMetal #BoltThrower #CaligariRecords #CrustPunk #DeathMetal #DeathDoomMetal #DoomMetal #Entombed #Feb25 #Incantation #ProfaneAltar #Review #Reviews

Act of Impalement – Profane Altar Review

By Dear Hollow

Nashville trio Act of Impalement’s sophomore release Infernal Ordinance, in spite of the low-hanging HOA jokes, was badass. Its unfuckwithable blend of death and crust styles led to a sore neck from endless headbanging, while its passages of doom tempos and thick weight did the sludge and doom influences justice. I still spin the likes of “Summoning the Final Conflagration” and “Erased,” reliving that pummeling that hurts so good again and again. You can imagine how excited I was, then, to discover Act of Impalement has a new album.

To accurately sum up Act of Impalement’s musical arsenal is an exercise in futility, and Profane Altar amps the obscurity – although the trademark groove remains stalwart. While Ethan Rock remains the band’s pivot point as primary songwriter, vocalist, and guitarist, a revamped lineup replacing bassist Jimmy Grogan and longtime drummer Zack Ledbetter emerges with its own streamlined take. As such, while Infernal Ordinance felt almost entirely like the one-man Ethan Rock show, Profane Altar finds bassist Jerry Garner adding more rumbling weight to the riffs while drummer Aaron Hortman brings a newfound manic energy and mania to the rhythms. While the influences remain the same in death metal royalty Bolt Thrower, Incantation, Entombed, and Asphyx – and the sound is deceptively straightforward – the streamlined approach, more pronounced black metal influence, and filthier riffs offer new planes for Act of Impalement.

Act of Impalement’s biggest change is a more cohesive fusing of its sludge and death metal influences alongside its newfound obscure black metal bleakness. While opener “Summoning the Final Conflagration” from its predecessor set a precedent of buzzsaw riffs driven to a sludgy end, Profane Altar opens with “Apparition” – while the groove and riffs are similar, they are absolutely suffocating, a swampy tar filling every crevice of the sound. Act of Impalement is down with the thickness, and it grants them a fluidity that kept the disjointedness of its predecessor from truly soaring. From ten-ton bruisers dripping with patient swagger (“Apparition,” “Final Sacrifice”), filthy 6/8 death metal waltzes (“Sanguine Rites,” “Gnashing Teeth”) to vicious crust punk-influenced black metal beatdowns laden with blastbeats and shred (“Piercing the Heavens,” “Deities of the Weak”), their potentially disconnected collection of blasting and bruising is blessedly woven together by its all-consuming weight.

Brevity is the name of Act of Impalement’s game, and it no longer feels like a one-man show. No track exceeds five minutes for a total of thirty-one minutes, which is absolutely reasonable and almost necessary for this breed of intensity. While the professed styles don’t feel particularly unique, Act of Impalement manages to lay them atop the incredibly sturdy foundation of groove, which serves the brevity extremely well – the album hits hard and fast and never overstays its welcome. Better still, Garner’s bass shines throughout and Hortman’s percussion feels both unhinged in its blastbeats and steadfastly reliable in its plodding groove – both members shining alongside Rock’s riffs and hellish roars. That being said, Act of Impalement offers a brutal riff-fest with elements borrowed from death, death/doom, crust punk, and black metal, a tribute to the hallowed halls of metal history – but the product is remarkably straightforward in its punishing groove.

If you’re looking for a nuanced album that showcases a rich and layered approach to its songwriting, Profane Altar is not for you. However, if you’re okay seeing all its influences as riders of the one-trick pony called groove, it doesn’t get much better than Act of Impalement’s breed of pummeling. Profane Altar is fucking heavy, simultaneously a more in-your-face and obscure release for a band renowned for their breakneck intensity. Balance and the bravery to embrace its disparate blend of influences sets it apart from its already formidable predecessor, even though the shortsighted groove makes it blackened, deathened, crusty, doomy ear candy. Infectiously groovy ear candy.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Caligari Records
Websites: instagram.com/actofimpalement | facebook.com/ActOfImpalement
Releases Worldwide: February 28th, 2025

#2025 #35 #ActOfImpalement #AmericanMetal #Asphyx #BlackMetal #BlackenedDeathMetal #BoltThrower #CaligariRecords #CrustPunk #DeathMetal #DeathDoomMetal #DoomMetal #Entombed #Feb25 #Incantation #ProfaneAltar #Review #Reviews

Act of Impalement – Profane Altar Review

By Dear Hollow

Nashville trio Act of Impalement’s sophomore release Infernal Ordinance, in spite of the low-hanging HOA jokes, was badass. Its unfuckwithable blend of death and crust styles led to a sore neck from endless headbanging, while its passages of doom tempos and thick weight did the sludge and doom influences justice. I still spin the likes of “Summoning the Final Conflagration” and “Erased,” reliving that pummeling that hurts so good again and again. You can imagine how excited I was, then, to discover Act of Impalement has a new album.

To accurately sum up Act of Impalement’s musical arsenal is an exercise in futility, and Profane Altar amps the obscurity – although the trademark groove remains stalwart. While Ethan Rock remains the band’s pivot point as primary songwriter, vocalist, and guitarist, a revamped lineup replacing bassist Jimmy Grogan and longtime drummer Zack Ledbetter emerges with its own streamlined take. As such, while Infernal Ordinance felt almost entirely like the one-man Ethan Rock show, Profane Altar finds bassist Jerry Garner adding more rumbling weight to the riffs while drummer Aaron Hortman brings a newfound manic energy and mania to the rhythms. While the influences remain the same in death metal royalty Bolt Thrower, Incantation, Entombed, and Asphyx – and the sound is deceptively straightforward – the streamlined approach, more pronounced black metal influence, and filthier riffs offer new planes for Act of Impalement.

Act of Impalement’s biggest change is a more cohesive fusing of its sludge and death metal influences alongside its newfound obscure black metal bleakness. While opener “Summoning the Final Conflagration” from its predecessor set a precedent of buzzsaw riffs driven to a sludgy end, Profane Altar opens with “Apparition” – while the groove and riffs are similar, they are absolutely suffocating, a swampy tar filling every crevice of the sound. Act of Impalement is down with the thickness, and it grants them a fluidity that kept the disjointedness of its predecessor from truly soaring. From ten-ton bruisers dripping with patient swagger (“Apparition,” “Final Sacrifice”), filthy 6/8 death metal waltzes (“Sanguine Rites,” “Gnashing Teeth”) to vicious crust punk-influenced black metal beatdowns laden with blastbeats and shred (“Piercing the Heavens,” “Deities of the Weak”), their potentially disconnected collection of blasting and bruising is blessedly woven together by its all-consuming weight.

Brevity is the name of Act of Impalement’s game, and it no longer feels like a one-man show. No track exceeds five minutes for a total of thirty-one minutes, which is absolutely reasonable and almost necessary for this breed of intensity. While the professed styles don’t feel particularly unique, Act of Impalement manages to lay them atop the incredibly sturdy foundation of groove, which serves the brevity extremely well – the album hits hard and fast and never overstays its welcome. Better still, Garner’s bass shines throughout and Hortman’s percussion feels both unhinged in its blastbeats and steadfastly reliable in its plodding groove – both members shining alongside Rock’s riffs and hellish roars. That being said, Act of Impalement offers a brutal riff-fest with elements borrowed from death, death/doom, crust punk, and black metal, a tribute to the hallowed halls of metal history – but the product is remarkably straightforward in its punishing groove.

If you’re looking for a nuanced album that showcases a rich and layered approach to its songwriting, Profane Altar is not for you. However, if you’re okay seeing all its influences as riders of the one-trick pony called groove, it doesn’t get much better than Act of Impalement’s breed of pummeling. Profane Altar is fucking heavy, simultaneously a more in-your-face and obscure release for a band renowned for their breakneck intensity. Balance and the bravery to embrace its disparate blend of influences sets it apart from its already formidable predecessor, even though the shortsighted groove makes it blackened, deathened, crusty, doomy ear candy. Infectiously groovy ear candy.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Caligari Records
Websites: instagram.com/actofimpalement | facebook.com/ActOfImpalement
Releases Worldwide: February 28th, 2025

#2025 #35 #ActOfImpalement #AmericanMetal #Asphyx #BlackMetal #BlackenedDeathMetal #BoltThrower #CaligariRecords #CrustPunk #DeathMetal #DeathDoomMetal #DoomMetal #Entombed #Feb25 #Incantation #ProfaneAltar #Review #Reviews

ACT OF IMPALEMENT - Infernal Ordinance - Full Stream

https://youtu.be/Ke2lFe7FgH8

#music #metal #deathmetal #actofimpalement #caligarirecords