#cannibal-corpse — Public Fediverse posts

“Scordatura” is an Italian word that means “mistuning.” This is a technique used for stringed instruments to allow for bizarre chords, or to simplify progressions that would require a lot of tendon mutilation to achieve in normal tunings. It’s a dope name, a cool concept, and an example of metal’s infinite ability to make badass monikers out of otherwise clinical, innocent terminology. Hailing from Scotland, rather than the land of leaning towers and opera, Scordatura have arrived with their 4th opus, Led Into Oblivion. Between their choice of title and their selection of album name, what sort of hellish soundscape awaits within?

With a name rooted in deep music theory, you’d expect an assault in the vein of Replicant or modern Pestilence. This is not the case. Scordatura lay their foundations off a respectable set of giant shoulders, featuring a high octane assault flavored primarily with the self-titled era of Cryptopsy. Drums are blasted, guitar strings are shredded, and the tempo maintains a consistently blurry pace. “Retali(H)ate” and “Led Into Oblivion” feature start-stop riffing with vocalist Daryl Boyce sounding like the lost brother of Matt McGachy in his earlier days, with the occasional sustained chord letting drummer Tam Moran show off flair and chops with rapid-fire cymbal fills. Doses of classic Vader stomp pepper “Oppressed Repressed”, and nods to Suffocation run through “Echoes of a Fractured Mind”. The flavor of the olde and trve are deeply embedded throughout the construction of Led Into Oblivion, all filtered through an exuberant attack that rarely pauses for breath.

In keeping with the stylings, Led Into Oblivion also keeps up with the sound. This album is meaty, layered, and not the most dynamic beast, but all instruments are given room to breathe by brutal death standards. A healthy dollop of pinch harmonics flow throughout the riff construction, and bassist Liam McCafferty is constantly heard clanging away in the background with the occasional spotlight given for a fill or scale. The concise runtime (about the length of Reign in Blood, yet another nod to the building blocks of greats) ensures ear fatigue doesn’t set in despite the perpetually speedy approach. A good track order does keep variety from cut to cut, with “A Manic Indoctrination” featuring open chord progressions and our first dose of real mid-tempo sound before the drums resume blasting away under the building menace. While being a well-arranged list of brutal death tropes, Scordatura wisely leave the concrete brick styled production in the past.

The only major blemish on Led Into Oblivion is a common one, but one that cannot be overlooked. Scordatura have spent so much time distilling the essence of the greats into their overall sound without capturing the distinguishing factors that made them great. “Existential Termination” dalliances with downtempo Cannibal Corpse, and the grindier moments of WWtFW era Dying Fetus as well as Deicide raise their head, but these snapshots lack the staying power of those names. Led Into Oblivion is an enjoyable release without any significant flaws, but it’s difficult to recall any standout moments once the album reaches its conclusion. This is disappointing, as Scordatura clearly have the skills to emulate all of these bands, but can’t quite stick the landing on a stank face triggering “rewind it and listen again” moment to distinguish it from their mountain of peers. Closer “Begging to Die” is an easy illustration, goes full New York style with a bouncy main riff which smacks of modern Pyrexia groove before trying to drop an Archspire verse (sans the vocals) and leads the listener to a thunderous but blurred conclusion.

Despite a name implying forays into the more uncomfortable realms of death, Scordatura have offered up a platter of decent-grade tribute to the death of olde. Led Into Oblivion isn’t a bad album, and is definitely worth a casual listen or three. But the band is still on the hunt for the X Factor to push them beyond their influences. They certainly have the playing chops, and I believe the compositional ability to make it come together. For now, let yourself be Led Into Oblivion and hear a good combination of the sounds of yore; just don’t be surprised when you find yourself wishing you were listening to their influences instead.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Everlasting Spew Records
Website: Album Bandcamp
Releases Worldwide: June 19th, 2026

“Scordatura” is an Italian word that means “mistuning.” This is a technique used for stringed instruments to allow for bizarre chords, or to simplify progressions that would require a lot of tendon mutilation to achieve in normal tunings. It’s a dope name, a cool concept, and an example of metal’s infinite ability to make badass monikers out of otherwise clinical, innocent terminology. Hailing from Scotland, rather than the land of leaning towers and opera, Scordatura have arrived with their 4th opus, Led Into Oblivion. Between their choice of title and their selection of album name, what sort of hellish soundscape awaits within?

With a name rooted in deep music theory, you’d expect an assault in the vein of Replicant or modern Pestilence. This is not the case. Scordatura lay their foundations off a respectable set of giant shoulders, featuring a high octane assault flavored primarily with the self-titled era of Cryptopsy. Drums are blasted, guitar strings are shredded, and the tempo maintains a consistently blurry pace. “Retali(H)ate” and “Led Into Oblivion” feature start-stop riffing with vocalist Daryl Boyce sounding like the lost brother of Matt McGachy in his earlier days, with the occasional sustained chord letting drummer Tam Moran show off flair and chops with rapid-fire cymbal fills. Doses of classic Vader stomp pepper “Oppressed Repressed”, and nods to Suffocation run through “Echoes of a Fractured Mind”. The flavor of the olde and trve are deeply embedded throughout the construction of Led Into Oblivion, all filtered through an exuberant attack that rarely pauses for breath.

In keeping with the stylings, Led Into Oblivion also keeps up with the sound. This album is meaty, layered, and not the most dynamic beast, but all instruments are given room to breathe by brutal death standards. A healthy dollop of pinch harmonics flow throughout the riff construction, and bassist Liam McCafferty is constantly heard clanging away in the background with the occasional spotlight given for a fill or scale. The concise runtime (about the length of Reign in Blood, yet another nod to the building blocks of greats) ensures ear fatigue doesn’t set in despite the perpetually speedy approach. A good track order does keep variety from cut to cut, with “A Manic Indoctrination” featuring open chord progressions and our first dose of real mid-tempo sound before the drums resume blasting away under the building menace. While being a well-arranged list of brutal death tropes, Scordatura wisely leave the concrete brick styled production in the past.

The only major blemish on Led Into Oblivion is a common one, but one that cannot be overlooked. Scordatura have spent so much time distilling the essence of the greats into their overall sound without capturing the distinguishing factors that made them great. “Existential Termination” dalliances with downtempo Cannibal Corpse, and the grindier moments of WWtFW era Dying Fetus as well as Deicide raise their head, but these snapshots lack the staying power of those names. Led Into Oblivion is an enjoyable release without any significant flaws, but it’s difficult to recall any standout moments once the album reaches its conclusion. This is disappointing, as Scordatura clearly have the skills to emulate all of these bands, but can’t quite stick the landing on a stank face triggering “rewind it and listen again” moment to distinguish it from their mountain of peers. Closer “Begging to Die” is an easy illustration, goes full New York style with a bouncy main riff which smacks of modern Pyrexia groove before trying to drop an Archspire verse (sans the vocals) and leads the listener to a thunderous but blurred conclusion.

Despite a name implying forays into the more uncomfortable realms of death, Scordatura have offered up a platter of decent-grade tribute to the death of olde. Led Into Oblivion isn’t a bad album, and is definitely worth a casual listen or three. But the band is still on the hunt for the X Factor to push them beyond their influences. They certainly have the playing chops, and I believe the compositional ability to make it come together. For now, let yourself be Led Into Oblivion and hear a good combination of the sounds of yore; just don’t be surprised when you find yourself wishing you were listening to their influences instead.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Everlasting Spew Records
Website: Album Bandcamp
Releases Worldwide: June 19th, 2026

“Scordatura” is an Italian word that means “mistuning.” This is a technique used for stringed instruments to allow for bizarre chords, or to simplify progressions that would require a lot of tendon mutilation to achieve in normal tunings. It’s a dope name, a cool concept, and an example of metal’s infinite ability to make badass monikers out of otherwise clinical, innocent terminology. Hailing from Scotland, rather than the land of leaning towers and opera, Scordatura have arrived with their 4th opus, Led Into Oblivion. Between their choice of title and their selection of album name, what sort of hellish soundscape awaits within?

With a name rooted in deep music theory, you’d expect an assault in the vein of Replicant or modern Pestilence. This is not the case. Scordatura lay their foundations off a respectable set of giant shoulders, featuring a high octane assault flavored primarily with the self-titled era of Cryptopsy. Drums are blasted, guitar strings are shredded, and the tempo maintains a consistently blurry pace. “Retali(H)ate” and “Led Into Oblivion” feature start-stop riffing with vocalist Daryl Boyce sounding like the lost brother of Matt McGachy in his earlier days, with the occasional sustained chord letting drummer Tam Moran show off flair and chops with rapid-fire cymbal fills. Doses of classic Vader stomp pepper “Oppressed Repressed”, and nods to Suffocation run through “Echoes of a Fractured Mind”. The flavor of the olde and trve are deeply embedded throughout the construction of Led Into Oblivion, all filtered through an exuberant attack that rarely pauses for breath.

In keeping with the stylings, Led Into Oblivion also keeps up with the sound. This album is meaty, layered, and not the most dynamic beast, but all instruments are given room to breathe by brutal death standards. A healthy dollop of pinch harmonics flow throughout the riff construction, and bassist Liam McCafferty is constantly heard clanging away in the background with the occasional spotlight given for a fill or scale. The concise runtime (about the length of Reign in Blood, yet another nod to the building blocks of greats) ensures ear fatigue doesn’t set in despite the perpetually speedy approach. A good track order does keep variety from cut to cut, with “A Manic Indoctrination” featuring open chord progressions and our first dose of real mid-tempo sound before the drums resume blasting away under the building menace. While being a well-arranged list of brutal death tropes, Scordatura wisely leave the concrete brick styled production in the past.

The only major blemish on Led Into Oblivion is a common one, but one that cannot be overlooked. Scordatura have spent so much time distilling the essence of the greats into their overall sound without capturing the distinguishing factors that made them great. “Existential Termination” dalliances with downtempo Cannibal Corpse, and the grindier moments of WWtFW era Dying Fetus as well as Deicide raise their head, but these snapshots lack the staying power of those names. Led Into Oblivion is an enjoyable release without any significant flaws, but it’s difficult to recall any standout moments once the album reaches its conclusion. This is disappointing, as Scordatura clearly have the skills to emulate all of these bands, but can’t quite stick the landing on a stank face triggering “rewind it and listen again” moment to distinguish it from their mountain of peers. Closer “Begging to Die” is an easy illustration, goes full New York style with a bouncy main riff which smacks of modern Pyrexia groove before trying to drop an Archspire verse (sans the vocals) and leads the listener to a thunderous but blurred conclusion.

Despite a name implying forays into the more uncomfortable realms of death, Scordatura have offered up a platter of decent-grade tribute to the death of olde. Led Into Oblivion isn’t a bad album, and is definitely worth a casual listen or three. But the band is still on the hunt for the X Factor to push them beyond their influences. They certainly have the playing chops, and I believe the compositional ability to make it come together. For now, let yourself be Led Into Oblivion and hear a good combination of the sounds of yore; just don’t be surprised when you find yourself wishing you were listening to their influences instead.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Everlasting Spew Records
Website: Album Bandcamp
Releases Worldwide: June 19th, 2026

“Scordatura” is an Italian word that means “mistuning.” This is a technique used for stringed instruments to allow for bizarre chords, or to simplify progressions that would require a lot of tendon mutilation to achieve in normal tunings. It’s a dope name, a cool concept, and an example of metal’s infinite ability to make badass monikers out of otherwise clinical, innocent terminology. Hailing from Scotland, rather than the land of leaning towers and opera, Scordatura have arrived with their 4th opus, Led Into Oblivion. Between their choice of title and their selection of album name, what sort of hellish soundscape awaits within?

With a name rooted in deep music theory, you’d expect an assault in the vein of Replicant or modern Pestilence. This is not the case. Scordatura lay their foundations off a respectable set of giant shoulders, featuring a high octane assault flavored primarily with the self-titled era of Cryptopsy. Drums are blasted, guitar strings are shredded, and the tempo maintains a consistently blurry pace. “Retali(H)ate” and “Led Into Oblivion” feature start-stop riffing with vocalist Daryl Boyce sounding like the lost brother of Matt McGachy in his earlier days, with the occasional sustained chord letting drummer Tam Moran show off flair and chops with rapid-fire cymbal fills. Doses of classic Vader stomp pepper “Oppressed Repressed”, and nods to Suffocation run through “Echoes of a Fractured Mind”. The flavor of the olde and trve are deeply embedded throughout the construction of Led Into Oblivion, all filtered through an exuberant attack that rarely pauses for breath.

In keeping with the stylings, Led Into Oblivion also keeps up with the sound. This album is meaty, layered, and not the most dynamic beast, but all instruments are given room to breathe by brutal death standards. A healthy dollop of pinch harmonics flow throughout the riff construction, and bassist Liam McCafferty is constantly heard clanging away in the background with the occasional spotlight given for a fill or scale. The concise runtime (about the length of Reign in Blood, yet another nod to the building blocks of greats) ensures ear fatigue doesn’t set in despite the perpetually speedy approach. A good track order does keep variety from cut to cut, with “A Manic Indoctrination” featuring open chord progressions and our first dose of real mid-tempo sound before the drums resume blasting away under the building menace. While being a well-arranged list of brutal death tropes, Scordatura wisely leave the concrete brick styled production in the past.

The only major blemish on Led Into Oblivion is a common one, but one that cannot be overlooked. Scordatura have spent so much time distilling the essence of the greats into their overall sound without capturing the distinguishing factors that made them great. “Existential Termination” dalliances with downtempo Cannibal Corpse, and the grindier moments of WWtFW era Dying Fetus as well as Deicide raise their head, but these snapshots lack the staying power of those names. Led Into Oblivion is an enjoyable release without any significant flaws, but it’s difficult to recall any standout moments once the album reaches its conclusion. This is disappointing, as Scordatura clearly have the skills to emulate all of these bands, but can’t quite stick the landing on a stank face triggering “rewind it and listen again” moment to distinguish it from their mountain of peers. Closer “Begging to Die” is an easy illustration, goes full New York style with a bouncy main riff which smacks of modern Pyrexia groove before trying to drop an Archspire verse (sans the vocals) and leads the listener to a thunderous but blurred conclusion.

Despite a name implying forays into the more uncomfortable realms of death, Scordatura have offered up a platter of decent-grade tribute to the death of olde. Led Into Oblivion isn’t a bad album, and is definitely worth a casual listen or three. But the band is still on the hunt for the X Factor to push them beyond their influences. They certainly have the playing chops, and I believe the compositional ability to make it come together. For now, let yourself be Led Into Oblivion and hear a good combination of the sounds of yore; just don’t be surprised when you find yourself wishing you were listening to their influences instead.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Everlasting Spew Records
Website: Album Bandcamp
Releases Worldwide: June 19th, 2026

“Scordatura” is an Italian word that means “mistuning.” This is a technique used for stringed instruments to allow for bizarre chords, or to simplify progressions that would require a lot of tendon mutilation to achieve in normal tunings. It’s a dope name, a cool concept, and an example of metal’s infinite ability to make badass monikers out of otherwise clinical, innocent terminology. Hailing from Scotland, rather than the land of leaning towers and opera, Scordatura have arrived with their 4th opus, Led Into Oblivion. Between their choice of title and their selection of album name, what sort of hellish soundscape awaits within?

With a name rooted in deep music theory, you’d expect an assault in the vein of Replicant or modern Pestilence. This is not the case. Scordatura lay their foundations off a respectable set of giant shoulders, featuring a high octane assault flavored primarily with the self-titled era of Cryptopsy. Drums are blasted, guitar strings are shredded, and the tempo maintains a consistently blurry pace. “Retali(H)ate” and “Led Into Oblivion” feature start-stop riffing with vocalist Daryl Boyce sounding like the lost brother of Matt McGachy in his earlier days, with the occasional sustained chord letting drummer Tam Moran show off flair and chops with rapid-fire cymbal fills. Doses of classic Vader stomp pepper “Oppressed Repressed”, and nods to Suffocation run through “Echoes of a Fractured Mind”. The flavor of the olde and trve are deeply embedded throughout the construction of Led Into Oblivion, all filtered through an exuberant attack that rarely pauses for breath.

In keeping with the stylings, Led Into Oblivion also keeps up with the sound. This album is meaty, layered, and not the most dynamic beast, but all instruments are given room to breathe by brutal death standards. A healthy dollop of pinch harmonics flow throughout the riff construction, and bassist Liam McCafferty is constantly heard clanging away in the background with the occasional spotlight given for a fill or scale. The concise runtime (about the length of Reign in Blood, yet another nod to the building blocks of greats) ensures ear fatigue doesn’t set in despite the perpetually speedy approach. A good track order does keep variety from cut to cut, with “A Manic Indoctrination” featuring open chord progressions and our first dose of real mid-tempo sound before the drums resume blasting away under the building menace. While being a well-arranged list of brutal death tropes, Scordatura wisely leave the concrete brick styled production in the past.

The only major blemish on Led Into Oblivion is a common one, but one that cannot be overlooked. Scordatura have spent so much time distilling the essence of the greats into their overall sound without capturing the distinguishing factors that made them great. “Existential Termination” dalliances with downtempo Cannibal Corpse, and the grindier moments of WWtFW era Dying Fetus as well as Deicide raise their head, but these snapshots lack the staying power of those names. Led Into Oblivion is an enjoyable release without any significant flaws, but it’s difficult to recall any standout moments once the album reaches its conclusion. This is disappointing, as Scordatura clearly have the skills to emulate all of these bands, but can’t quite stick the landing on a stank face triggering “rewind it and listen again” moment to distinguish it from their mountain of peers. Closer “Begging to Die” is an easy illustration, goes full New York style with a bouncy main riff which smacks of modern Pyrexia groove before trying to drop an Archspire verse (sans the vocals) and leads the listener to a thunderous but blurred conclusion.

Despite a name implying forays into the more uncomfortable realms of death, Scordatura have offered up a platter of decent-grade tribute to the death of olde. Led Into Oblivion isn’t a bad album, and is definitely worth a casual listen or three. But the band is still on the hunt for the X Factor to push them beyond their influences. They certainly have the playing chops, and I believe the compositional ability to make it come together. For now, let yourself be Led Into Oblivion and hear a good combination of the sounds of yore; just don’t be surprised when you find yourself wishing you were listening to their influences instead.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Everlasting Spew Records
Website: Album Bandcamp
Releases Worldwide: June 19th, 2026

Goreworm – Miasmic Solitude Review

After releasing debut LP Prodigy of the Grotesque in 2020, Canada’s Goreworm re-emerges from their burrow with follow-up…
#NewsBeep #News #Music #2.5 #2026 #AbysmalDawn #Archspire #CanadianMetal #CannibalCorpse #DeathMetal #Entertainment #Goreworm #Jun26 #MiasmicSolitude #Necrophagist #Obscura #review #Reviews #technicaldeathmetal #TheBlackDahliaMurder #TranscendingObscurityRecords #UK #UnitedKingdom #ValeofPnath
https://www.newsbeep.com/uk/639146/

Goreworm – Miasmic Solitude Review

After releasing debut LP Prodigy of the Grotesque in 2020, Canada’s Goreworm re-emerges from their burrow with follow-up…
#NewsBeep #News #Music #2.5 #2026 #AbysmalDawn #Archspire #AU #Australia #CanadianMetal #CannibalCorpse #DeathMetal #Entertainment #Goreworm #Jun26 #MiasmicSolitude #Necrophagist #Obscura #review #reviews #TechnicalDeathMetal #TheBlackDahliaMurder #TranscendingObscurityRecords #ValeofPnath
https://www.newsbeep.com/au/736440/

Goreworm – Miasmic Solitude Review

After releasing debut LP Prodigy of the Grotesque in 2020, Canada’s Goreworm re-emerges from their burrow with follow-up…
#NewsBeep #News #Music #2.5 #2026 #AbysmalDawn #Archspire #AU #Australia #CanadianMetal #CannibalCorpse #DeathMetal #Entertainment #Goreworm #Jun26 #MiasmicSolitude #Necrophagist #Obscura #review #reviews #TechnicalDeathMetal #TheBlackDahliaMurder #TranscendingObscurityRecords #ValeofPnath
https://www.newsbeep.com/au/736440/

Goreworm – Miasmic Solitude Review

After releasing debut LP Prodigy of the Grotesque in 2020, Canada’s Goreworm re-emerges from their burrow with follow-up…
#NewsBeep #News #Music #2.5 #2026 #AbysmalDawn #Archspire #CA #Canada #CanadianMetal #CannibalCorpse #DeathMetal #Entertainment #Goreworm #Jun26 #MiasmicSolitude #Necrophagist #Obscura #review #reviews #TechnicalDeathMetal #TheBlackDahliaMurder #TranscendingObscurityRecords #ValeofPnath
https://www.newsbeep.com/ca/736507/

https://www.europesays.com/ie/534990/ Goreworm – Miasmic Solitude Review #25 #2026 #AbysmalDawn #Archspire #CanadianMetal #CannibalCorpse #DeathMetal #Éire #Entertainment #Goreworm #IE #Ireland #Jun26 #MiasmicSolitude #Music #Necrophagist #Obscura #Review #Reviews #TechnicalDeathMetal #TheBlackDahliaMurder #TranscendingObscurityRecords #ValeOfPnath

After releasing debut LP Prodigy of the Grotesque in 2020, Canada’s Goreworm re-emerges from their burrow with follow-up full-length Miasmic Solitude. Prodigy of the Grotesque enchanted me when I ran across it a few years ago—sweeping guitars, slick bass grooves, and a deliciously vigorous percussive cannonade made for a tasty tech death treat. Now six years later, Goreworm has metamorphosed from the band that dropped Prodigy. Vocalist Jesse Suess and founding members drummer Sean Bruce and bassist Derek Gibbs bid adieu, leaving guitarists Jordan Estrela and Brent Moerschfelder to carry the torch. For Miasmic Solitude, Goreworm rounds out the ensemble with session drummer Robin Stone (Ashen Horde, Chestcrush), who flayed the skins on 2021 EP Plague of Shadows, and vocalist Robert Miller (Antheraea). With a revitalized crew and a fresh batch of jams in hand, can Miasmic Solitude worm its way into your heart?

Technical death metal can be a tough genre to craft thoughtful songs within. The most immediate hurdle is technical chops—if you can’t muster the dexterity to pull off instrumental mayhem, you’re sunk. Yet the ability to play at blistering speeds with robotic fidelity isn’t enough on its own; it’s merely the price of admission. To transcend in the genre as the best from Necrophagist, Obscura, and Archspire have, you need crystalline mechanics embedded within engrossing and memorable compositions. Goreworm’s brand of death metal lands amidst the likes of The Black Dahlia Murder, Vale of Pnath and Abysmal Dawn, sporting burly riffs played at head-spinning velocity with occasional splashes of neoclassical color. This, at least, ensures the price of admission has been paid in full.

Goreworm members old and new unleash the razzle-dazzle on Miasmic Solitude as they pump gallons of adrenalized ear candy into its compositions. Estrela and Moerschfelder beget a sinewy string section, uncorking spidery leads that dash along fretboards with muscle and venom (“Monuments to Murdering,” “Miasmic Solitude”). Moerschfelder pulls double duty on the low-end, too, clanging and banging with satisfying heft. I only wish he broke away more from playing under the guitars and locking into root notes. To be clear, this is a nitpick on style and not a comment on his ability to bring the thunder. It’s just that compared to Gibbs’ bass on Prodigy of the Grotesque, Miasmic Solitude loses a dimension that helped set Goreworm’s debut apart. Meanwhile, Stone supplies a magnificent performance behind the kit, unfettering smooth rolls à la Chris Adler (“Amor Vincit Omnia”) and hammer-smashing cavalcades that recall the ferocity of Cannibal Corpse’s Paul Marzurkiewicz fused with the grace of Dirk Verbeuren (“No Reprieve”). Robert Miller proves a capable vocalist, and though his performance isn’t particularly dynamic, he supports the music well and sounds credibly savage throughout.

Goreworm crackles with vitality throughout Miasmic Solitude, yet the entirety falls short of the promise of its performances. The production proves a mixed bag, allowing the guitars and vocals to shine at the expense of the drums, which sometimes cut through but often become muddled during furious blasts, obscuring the pop of robust drum tones I loved on the debut. Perhaps the intent was to thematically embrace what a cloudy, claustrophobic atmosphere achieves, shining the spotlight on a single focus at a time. If so, I can appreciate the attempt, but it fails to properly incorporate all the ingredients into what Goreworm is cooking. Besides the mix, the songwriting highlights Goreworm’s technical acumen without sharpening their hooks enough to reel me back in once the music fades. To be fair, Miasmic Solitude rips throughout its runtime and is a qualified neck-wrecker—I just don’t feel compelled to revisit it afterwards.

Ultimately, Goreworm exhibits a myriad of traits I love to hear in technical death metal. With a more well-rounded production and carefully honed compositions that transcend being platforms for flexing technical mastery, Goreworm bears all the potential to annihilate expectations. As it stands, after several listens through Miasmic Solitude, there’s no doubt that Goreworm possesses the prowess necessary to deliver on the technical front. I’m just unconvinced of the magnetism their material yields to keep me coming back past the pyrotechnics.

Rating: Mixed
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Transcending Obscurity Records
Websites: Bandcamp | Facebook
Releases Worldwide: June 12th, 2026

After releasing debut LP Prodigy of the Grotesque in 2020, Canada’s Goreworm re-emerges from their burrow with follow-up full-length Miasmic Solitude. Prodigy of the Grotesque enchanted me when I ran across it a few years ago—sweeping guitars, slick bass grooves, and a deliciously vigorous percussive cannonade made for a tasty tech death treat. Now six years later, Goreworm has metamorphosed from the band that dropped Prodigy. Vocalist Jesse Suess and founding members drummer Sean Bruce and bassist Derek Gibbs bid adieu, leaving guitarists Jordan Estrela and Brent Moerschfelder to carry the torch. For Miasmic Solitude, Goreworm rounds out the ensemble with session drummer Robin Stone (Ashen Horde, Chestcrush), who flayed the skins on 2021 EP Plague of Shadows, and vocalist Robert Miller (Antheraea). With a revitalized crew and a fresh batch of jams in hand, can Miasmic Solitude worm its way into your heart?

Technical death metal can be a tough genre to craft thoughtful songs within. The most immediate hurdle is technical chops—if you can’t muster the dexterity to pull off instrumental mayhem, you’re sunk. Yet the ability to play at blistering speeds with robotic fidelity isn’t enough on its own; it’s merely the price of admission. To transcend in the genre as the best from Necrophagist, Obscura, and Archspire have, you need crystalline mechanics embedded within engrossing and memorable compositions. Goreworm’s brand of death metal lands amidst the likes of The Black Dahlia Murder, Vale of Pnath and Abysmal Dawn, sporting burly riffs played at head-spinning velocity with occasional splashes of neoclassical color. This, at least, ensures the price of admission has been paid in full.

Goreworm members old and new unleash the razzle-dazzle on Miasmic Solitude as they pump gallons of adrenalized ear candy into its compositions. Estrela and Moerschfelder beget a sinewy string section, uncorking spidery leads that dash along fretboards with muscle and venom (“Monuments to Murdering,” “Miasmic Solitude”). Moerschfelder pulls double duty on the low-end, too, clanging and banging with satisfying heft. I only wish he broke away more from playing under the guitars and locking into root notes. To be clear, this is a nitpick on style and not a comment on his ability to bring the thunder. It’s just that compared to Gibbs’ bass on Prodigy of the Grotesque, Miasmic Solitude loses a dimension that helped set Goreworm’s debut apart. Meanwhile, Stone supplies a magnificent performance behind the kit, unfettering smooth rolls à la Chris Adler (“Amor Vincit Omnia”) and hammer-smashing cavalcades that recall the ferocity of Cannibal Corpse’s Paul Marzurkiewicz fused with the grace of Dirk Verbeuren (“No Reprieve”). Robert Miller proves a capable vocalist, and though his performance isn’t particularly dynamic, he supports the music well and sounds credibly savage throughout.

Goreworm crackles with vitality throughout Miasmic Solitude, yet the entirety falls short of the promise of its performances. The production proves a mixed bag, allowing the guitars and vocals to shine at the expense of the drums, which sometimes cut through but often become muddled during furious blasts, obscuring the pop of robust drum tones I loved on the debut. Perhaps the intent was to thematically embrace what a cloudy, claustrophobic atmosphere achieves, shining the spotlight on a single focus at a time. If so, I can appreciate the attempt, but it fails to properly incorporate all the ingredients into what Goreworm is cooking. Besides the mix, the songwriting highlights Goreworm’s technical acumen without sharpening their hooks enough to reel me back in once the music fades. To be fair, Miasmic Solitude rips throughout its runtime and is a qualified neck-wrecker—I just don’t feel compelled to revisit it afterwards.

Ultimately, Goreworm exhibits a myriad of traits I love to hear in technical death metal. With a more well-rounded production and carefully honed compositions that transcend being platforms for flexing technical mastery, Goreworm bears all the potential to annihilate expectations. As it stands, after several listens through Miasmic Solitude, there’s no doubt that Goreworm possesses the prowess necessary to deliver on the technical front. I’m just unconvinced of the magnetism their material yields to keep me coming back past the pyrotechnics.

Rating: Mixed
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Transcending Obscurity Records
Websites: Bandcamp | Facebook
Releases Worldwide: June 12th, 2026

After releasing debut LP Prodigy of the Grotesque in 2020, Canada’s Goreworm re-emerges from their burrow with follow-up full-length Miasmic Solitude. Prodigy of the Grotesque enchanted me when I ran across it a few years ago—sweeping guitars, slick bass grooves, and a deliciously vigorous percussive cannonade made for a tasty tech death treat. Now six years later, Goreworm has metamorphosed from the band that dropped Prodigy. Vocalist Jesse Suess and founding members drummer Sean Bruce and bassist Derek Gibbs bid adieu, leaving guitarists Jordan Estrela and Brent Moerschfelder to carry the torch. For Miasmic Solitude, Goreworm rounds out the ensemble with session drummer Robin Stone (Ashen Horde, Chestcrush), who flayed the skins on 2021 EP Plague of Shadows, and vocalist Robert Miller (Antheraea). With a revitalized crew and a fresh batch of jams in hand, can Miasmic Solitude worm its way into your heart?

Technical death metal can be a tough genre to craft thoughtful songs within. The most immediate hurdle is technical chops—if you can’t muster the dexterity to pull off instrumental mayhem, you’re sunk. Yet the ability to play at blistering speeds with robotic fidelity isn’t enough on its own; it’s merely the price of admission. To transcend in the genre as the best from Necrophagist, Obscura, and Archspire have, you need crystalline mechanics embedded within engrossing and memorable compositions. Goreworm’s brand of death metal lands amidst the likes of The Black Dahlia Murder, Vale of Pnath and Abysmal Dawn, sporting burly riffs played at head-spinning velocity with occasional splashes of neoclassical color. This, at least, ensures the price of admission has been paid in full.

Goreworm members old and new unleash the razzle-dazzle on Miasmic Solitude as they pump gallons of adrenalized ear candy into its compositions. Estrela and Moerschfelder beget a sinewy string section, uncorking spidery leads that dash along fretboards with muscle and venom (“Monuments to Murdering,” “Miasmic Solitude”). Moerschfelder pulls double duty on the low-end, too, clanging and banging with satisfying heft. I only wish he broke away more from playing under the guitars and locking into root notes. To be clear, this is a nitpick on style and not a comment on his ability to bring the thunder. It’s just that compared to Gibbs’ bass on Prodigy of the Grotesque, Miasmic Solitude loses a dimension that helped set Goreworm’s debut apart. Meanwhile, Stone supplies a magnificent performance behind the kit, unfettering smooth rolls à la Chris Adler (“Amor Vincit Omnia”) and hammer-smashing cavalcades that recall the ferocity of Cannibal Corpse’s Paul Marzurkiewicz fused with the grace of Dirk Verbeuren (“No Reprieve”). Robert Miller proves a capable vocalist, and though his performance isn’t particularly dynamic, he supports the music well and sounds credibly savage throughout.

Goreworm crackles with vitality throughout Miasmic Solitude, yet the entirety falls short of the promise of its performances. The production proves a mixed bag, allowing the guitars and vocals to shine at the expense of the drums, which sometimes cut through but often become muddled during furious blasts, obscuring the pop of robust drum tones I loved on the debut. Perhaps the intent was to thematically embrace what a cloudy, claustrophobic atmosphere achieves, shining the spotlight on a single focus at a time. If so, I can appreciate the attempt, but it fails to properly incorporate all the ingredients into what Goreworm is cooking. Besides the mix, the songwriting highlights Goreworm’s technical acumen without sharpening their hooks enough to reel me back in once the music fades. To be fair, Miasmic Solitude rips throughout its runtime and is a qualified neck-wrecker—I just don’t feel compelled to revisit it afterwards.

Ultimately, Goreworm exhibits a myriad of traits I love to hear in technical death metal. With a more well-rounded production and carefully honed compositions that transcend being platforms for flexing technical mastery, Goreworm bears all the potential to annihilate expectations. As it stands, after several listens through Miasmic Solitude, there’s no doubt that Goreworm possesses the prowess necessary to deliver on the technical front. I’m just unconvinced of the magnetism their material yields to keep me coming back past the pyrotechnics.

Rating: Mixed
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Transcending Obscurity Records
Websites: Bandcamp | Facebook
Releases Worldwide: June 12th, 2026

After releasing debut LP Prodigy of the Grotesque in 2020, Canada’s Goreworm re-emerges from their burrow with follow-up full-length Miasmic Solitude. Prodigy of the Grotesque enchanted me when I ran across it a few years ago—sweeping guitars, slick bass grooves, and a deliciously vigorous percussive cannonade made for a tasty tech death treat. Now six years later, Goreworm has metamorphosed from the band that dropped Prodigy. Vocalist Jesse Suess and founding members drummer Sean Bruce and bassist Derek Gibbs bid adieu, leaving guitarists Jordan Estrela and Brent Moerschfelder to carry the torch. For Miasmic Solitude, Goreworm rounds out the ensemble with session drummer Robin Stone (Ashen Horde, Chestcrush), who flayed the skins on 2021 EP Plague of Shadows, and vocalist Robert Miller (Antheraea). With a revitalized crew and a fresh batch of jams in hand, can Miasmic Solitude worm its way into your heart?

Technical death metal can be a tough genre to craft thoughtful songs within. The most immediate hurdle is technical chops—if you can’t muster the dexterity to pull off instrumental mayhem, you’re sunk. Yet the ability to play at blistering speeds with robotic fidelity isn’t enough on its own; it’s merely the price of admission. To transcend in the genre as the best from Necrophagist, Obscura, and Archspire have, you need crystalline mechanics embedded within engrossing and memorable compositions. Goreworm’s brand of death metal lands amidst the likes of The Black Dahlia Murder, Vale of Pnath and Abysmal Dawn, sporting burly riffs played at head-spinning velocity with occasional splashes of neoclassical color. This, at least, ensures the price of admission has been paid in full.

Goreworm members old and new unleash the razzle-dazzle on Miasmic Solitude as they pump gallons of adrenalized ear candy into its compositions. Estrela and Moerschfelder beget a sinewy string section, uncorking spidery leads that dash along fretboards with muscle and venom (“Monuments to Murdering,” “Miasmic Solitude”). Moerschfelder pulls double duty on the low-end, too, clanging and banging with satisfying heft. I only wish he broke away more from playing under the guitars and locking into root notes. To be clear, this is a nitpick on style and not a comment on his ability to bring the thunder. It’s just that compared to Gibbs’ bass on Prodigy of the Grotesque, Miasmic Solitude loses a dimension that helped set Goreworm’s debut apart. Meanwhile, Stone supplies a magnificent performance behind the kit, unfettering smooth rolls à la Chris Adler (“Amor Vincit Omnia”) and hammer-smashing cavalcades that recall the ferocity of Cannibal Corpse’s Paul Marzurkiewicz fused with the grace of Dirk Verbeuren (“No Reprieve”). Robert Miller proves a capable vocalist, and though his performance isn’t particularly dynamic, he supports the music well and sounds credibly savage throughout.

Goreworm crackles with vitality throughout Miasmic Solitude, yet the entirety falls short of the promise of its performances. The production proves a mixed bag, allowing the guitars and vocals to shine at the expense of the drums, which sometimes cut through but often become muddled during furious blasts, obscuring the pop of robust drum tones I loved on the debut. Perhaps the intent was to thematically embrace what a cloudy, claustrophobic atmosphere achieves, shining the spotlight on a single focus at a time. If so, I can appreciate the attempt, but it fails to properly incorporate all the ingredients into what Goreworm is cooking. Besides the mix, the songwriting highlights Goreworm’s technical acumen without sharpening their hooks enough to reel me back in once the music fades. To be fair, Miasmic Solitude rips throughout its runtime and is a qualified neck-wrecker—I just don’t feel compelled to revisit it afterwards.

Ultimately, Goreworm exhibits a myriad of traits I love to hear in technical death metal. With a more well-rounded production and carefully honed compositions that transcend being platforms for flexing technical mastery, Goreworm bears all the potential to annihilate expectations. As it stands, after several listens through Miasmic Solitude, there’s no doubt that Goreworm possesses the prowess necessary to deliver on the technical front. I’m just unconvinced of the magnetism their material yields to keep me coming back past the pyrotechnics.

Rating: Mixed
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Transcending Obscurity Records
Websites: Bandcamp | Facebook
Releases Worldwide: June 12th, 2026

After releasing debut LP Prodigy of the Grotesque in 2020, Canada’s Goreworm re-emerges from their burrow with follow-up full-length Miasmic Solitude. Prodigy of the Grotesque enchanted me when I ran across it a few years ago—sweeping guitars, slick bass grooves, and a deliciously vigorous percussive cannonade made for a tasty tech death treat. Now six years later, Goreworm has metamorphosed from the band that dropped Prodigy. Vocalist Jesse Suess and founding members drummer Sean Bruce and bassist Derek Gibbs bid adieu, leaving guitarists Jordan Estrela and Brent Moerschfelder to carry the torch. For Miasmic Solitude, Goreworm rounds out the ensemble with session drummer Robin Stone (Ashen Horde, Chestcrush), who flayed the skins on 2021 EP Plague of Shadows, and vocalist Robert Miller (Antheraea). With a revitalized crew and a fresh batch of jams in hand, can Miasmic Solitude worm its way into your heart?

Technical death metal can be a tough genre to craft thoughtful songs within. The most immediate hurdle is technical chops—if you can’t muster the dexterity to pull off instrumental mayhem, you’re sunk. Yet the ability to play at blistering speeds with robotic fidelity isn’t enough on its own; it’s merely the price of admission. To transcend in the genre as the best from Necrophagist, Obscura, and Archspire have, you need crystalline mechanics embedded within engrossing and memorable compositions. Goreworm’s brand of death metal lands amidst the likes of The Black Dahlia Murder, Vale of Pnath and Abysmal Dawn, sporting burly riffs played at head-spinning velocity with occasional splashes of neoclassical color. This, at least, ensures the price of admission has been paid in full.

Goreworm members old and new unleash the razzle-dazzle on Miasmic Solitude as they pump gallons of adrenalized ear candy into its compositions. Estrela and Moerschfelder beget a sinewy string section, uncorking spidery leads that dash along fretboards with muscle and venom (“Monuments to Murdering,” “Miasmic Solitude”). Moerschfelder pulls double duty on the low-end, too, clanging and banging with satisfying heft. I only wish he broke away more from playing under the guitars and locking into root notes. To be clear, this is a nitpick on style and not a comment on his ability to bring the thunder. It’s just that compared to Gibbs’ bass on Prodigy of the Grotesque, Miasmic Solitude loses a dimension that helped set Goreworm’s debut apart. Meanwhile, Stone supplies a magnificent performance behind the kit, unfettering smooth rolls à la Chris Adler (“Amor Vincit Omnia”) and hammer-smashing cavalcades that recall the ferocity of Cannibal Corpse’s Paul Marzurkiewicz fused with the grace of Dirk Verbeuren (“No Reprieve”). Robert Miller proves a capable vocalist, and though his performance isn’t particularly dynamic, he supports the music well and sounds credibly savage throughout.

Goreworm crackles with vitality throughout Miasmic Solitude, yet the entirety falls short of the promise of its performances. The production proves a mixed bag, allowing the guitars and vocals to shine at the expense of the drums, which sometimes cut through but often become muddled during furious blasts, obscuring the pop of robust drum tones I loved on the debut. Perhaps the intent was to thematically embrace what a cloudy, claustrophobic atmosphere achieves, shining the spotlight on a single focus at a time. If so, I can appreciate the attempt, but it fails to properly incorporate all the ingredients into what Goreworm is cooking. Besides the mix, the songwriting highlights Goreworm’s technical acumen without sharpening their hooks enough to reel me back in once the music fades. To be fair, Miasmic Solitude rips throughout its runtime and is a qualified neck-wrecker—I just don’t feel compelled to revisit it afterwards.

Ultimately, Goreworm exhibits a myriad of traits I love to hear in technical death metal. With a more well-rounded production and carefully honed compositions that transcend being platforms for flexing technical mastery, Goreworm bears all the potential to annihilate expectations. As it stands, after several listens through Miasmic Solitude, there’s no doubt that Goreworm possesses the prowess necessary to deliver on the technical front. I’m just unconvinced of the magnetism their material yields to keep me coming back past the pyrotechnics.

Rating: Mixed
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Transcending Obscurity Records
Websites: Bandcamp | Facebook
Releases Worldwide: June 12th, 2026

écouté pour la première fois il y a environ vingt ans. Honnêtement j'ai pas compris grand chose aux premières écoutes! Mais définitivement une légende ❤️ #deathmetal #cannibalcorpse https://www.youtube.com/watch?v=xZX2dmKh0fk

Quiz: Cannibal Corpse Song Title or Stephen Miller’s Pornhub Search History?

https://web.brid.gy/r/https://thehardtimes.net/blog/quiz-cannibal-corpse-song-title-or-stephen-millers-pornhub-search-history/

Quiz: Cannibal Corpse Song Title or Stephen Miller’s Pornhub Search History?

https://web.brid.gy/r/https://thehardtimes.net/blog/quiz-cannibal-corpse-song-title-or-stephen-millers-pornhub-search-history/

Quiz: Cannibal Corpse Song Title or Stephen Miller’s Pornhub Search History?

https://web.brid.gy/r/https://thehardtimes.net/blog/quiz-cannibal-corpse-song-title-or-stephen-millers-pornhub-search-history/

Quiz: Cannibal Corpse Song Title or Stephen Miller’s Pornhub Search History?

https://web.brid.gy/r/https://thehardtimes.net/blog/quiz-cannibal-corpse-song-title-or-stephen-millers-pornhub-search-history/

Quiz: Cannibal Corpse Song Title or Stephen Miller’s Pornhub Search History?

https://web.brid.gy/r/https://thehardtimes.net/blog/quiz-cannibal-corpse-song-title-or-stephen-millers-pornhub-search-history/

https://www.europesays.com/uk/898776/ Foetorem – Incongruous Forms of Evergrowing Rot Review #2026 #30 #CannibalCorpse #DanishMetal #DeathMetal #DoomMetal #Entertainment #Foetorem #GatesOfIshtar #IncongruousFormsOfEvergrowingRot #Mar26 #music #Phobophilic #Review #Reviews #Sanctuarium #Sedimentum #UK #UnitedKingdom #Vader

I am writing this review with tequila and lime salt still oozing out of my pores. My eyeballs each have a different heartbeat, and I am honestly amazed (if not a little disappointed) that I began the day with my pants still on. And yet the call of the promo pit continues, as I was shaken out of my birthday-shenanigans-induced stupor by the smell of gorilla breath outside my lion’s den, and something rancid chucked at its entrance. The Ape being pleased post-album release usually means great news for hopeful bands and an increased labor for those under his watchful and merciless eye, and one peep at this moldy art spelled out the whole mission statement from the get-go. Denmark’s Foetorem are a very young outfit, having just penned their sole demo last year1 before unleashing their debut full-length Incongruous Forms of Evergrowing Rot on the unsuspecting masses. I hope you’re hungry, because we’ve got some leftovers from rotsgiving waiting for you!

Foetorem specialize in a refreshingly energetic breed of death/doom. Blasts feature aplenty, but are typically used as points of transition or introduction/outro to songs. Most of Incongruous Forms of Evergrowing Rot operates on second and third gear, with the sustained open chords you’d expect often molding into mid-paced chugging savagery. Indeed, if you’re a sucker for mid-paced chuggathons, this will be a euphoric experience for you as the overwhelming backbone of most of the songs rely on such a trope. Imagine the most downtempo moments of Cannibal Corpse with a lot of atmospheric high-trem plucking for atmospherics and run through some extra fresh grave soil—something between Phobophilic and SEDIMENTUM—and you have a good idea of what’s waiting. The high note musings are a great addition, giving whiffs of melancholy and gloom to the proceedings, which might otherwise threaten to be an overly simplistic sound with their engaging melodies (“Mors Viaturis – The Death Traveler”) before collapsing into the next jackhammer assault.

Incongruous Forms Of Evergrowing Rot by Foetorem

And boy howdy, jackhammers are aplenty. Despite the relative simplicity of the approach, a great deal of thought has gone into each arrangement to keep one concrete-burrowing assault after another fresh and engaging. “Tapestries of Misery” commands with a gripping 6/8 time signature and a whiff of unexpected SKRONK, while “Oozing with Pustulent Fluids” keeps burrowing into the earth’s crust with a classic Vader riff played at half speed while drummer Geistaz keeps things engaging with an ever-shifting focus between creative bass fills and high-hat ting-and-tangs. His drumming is part of what keeps the Foetorem recipe so engaging (“Rebirth in Morbid Disgust”) as no chug sounds exactly the same despite the band drawing so deeply from what is a usually very narrowly defined well.

If you’re about that chug life, the death here is excellent; the only real stumbling block comes from some of the doomier elements. Foetorem have improved on the Sanctuarium formula of sandwiching their blasts and chugs between sudden slowdowns, but there’s no escaping that some moments are real momentum killers. “Oozing…” drops down to bare-minimum quarter note walks lacking any weight to carry the empty space, while “Decay of the Flesh” throws in some harmonized leads that don’t quite overcome the lack of progression in the songs. Not every doom element is poor, by any means, but it happens enough to degrade decompose Incongruous Forms of Evergrowing Rot” to an album more memorable by its moments than by the wholeness of its songs. And yet, those highlights are plenty, and it’s great to hear when the band really stick the landing, like in album finale “Peeled Face Mask”. This is a contender for the top of the song pile, with the most ruthless chugs, groovy riffing, great doomy moments, and even a major dollop of leads sounding pulled from Gates of Ishtar.2 This track shows the band have a great grasp of what makes their sound a success, and more of this across the whole body of work would lead to a real RotM contender.

Incongruous Forms of Evergrowing Rot is less an excellent debut and more an excellent debut. It shows a band with a clear purpose and musical vision, but a vision not free of warts and rough edges. When it hits, though, it hits. Foetorem have erupted from the grave, covered in fluid and mold, ready to make their deathly mark on the world. With enough force to change cave structure and a grasp of atmosphere beyond their youth, the band have announced their presence in style, and I believe the best is yet to come for their cemetery anthems. Now, if you’ll excuse me, I need to get myself some coffee and some food. Preferably, something a little extra raw and rotted…

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Everlasting Spew Records
Website: Album Bandcamp
Releases Worldwide: March 27th, 2026

I am writing this review with tequila and lime salt still oozing out of my pores. My eyeballs each have a different heartbeat, and I am honestly amazed (if not a little disappointed) that I began the day with my pants still on. And yet the call of the promo pit continues, as I was shaken out of my birthday-shenanigans-induced stupor by the smell of gorilla breath outside my lion’s den, and something rancid chucked at its entrance. The Ape being pleased post-album release usually means great news for hopeful bands and an increased labor for those under his watchful and merciless eye, and one peep at this moldy art spelled out the whole mission statement from the get-go. Denmark’s Foetorem are a very young outfit, having just penned their sole demo last year1 before unleashing their debut full-length Incongruous Forms of Evergrowing Rot on the unsuspecting masses. I hope you’re hungry, because we’ve got some leftovers from rotsgiving waiting for you!

Foetorem specialize in a refreshingly energetic breed of death/doom. Blasts feature aplenty, but are typically used as points of transition or introduction/outro to songs. Most of Incongruous Forms of Evergrowing Rot operates on second and third gear, with the sustained open chords you’d expect often molding into mid-paced chugging savagery. Indeed, if you’re a sucker for mid-paced chuggathons, this will be a euphoric experience for you as the overwhelming backbone of most of the songs rely on such a trope. Imagine the most downtempo moments of Cannibal Corpse with a lot of atmospheric high-trem plucking for atmospherics and run through some extra fresh grave soil—something between Phobophilic and SEDIMENTUM—and you have a good idea of what’s waiting. The high note musings are a great addition, giving whiffs of melancholy and gloom to the proceedings, which might otherwise threaten to be an overly simplistic sound with their engaging melodies (“Mors Viaturis – The Death Traveler”) before collapsing into the next jackhammer assault.

Incongruous Forms Of Evergrowing Rot by Foetorem

And boy howdy, jackhammers are aplenty. Despite the relative simplicity of the approach, a great deal of thought has gone into each arrangement to keep one concrete-burrowing assault after another fresh and engaging. “Tapestries of Misery” commands with a gripping 6/8 time signature and a whiff of unexpected SKRONK, while “Oozing with Pustulent Fluids” keeps burrowing into the earth’s crust with a classic Vader riff played at half speed while drummer Geistaz keeps things engaging with an ever-shifting focus between creative bass fills and high-hat ting-and-tangs. His drumming is part of what keeps the Foetorem recipe so engaging (“Rebirth in Morbid Disgust”) as no chug sounds exactly the same despite the band drawing so deeply from what is a usually very narrowly defined well.

If you’re about that chug life, the death here is excellent; the only real stumbling block comes from some of the doomier elements. Foetorem have improved on the Sanctuarium formula of sandwiching their blasts and chugs between sudden slowdowns, but there’s no escaping that some moments are real momentum killers. “Oozing…” drops down to bare-minimum quarter note walks lacking any weight to carry the empty space, while “Decay of the Flesh” throws in some harmonized leads that don’t quite overcome the lack of progression in the songs. Not every doom element is poor, by any means, but it happens enough to degrade decompose Incongruous Forms of Evergrowing Rot” to an album more memorable by its moments than by the wholeness of its songs. And yet, those highlights are plenty, and it’s great to hear when the band really stick the landing, like in album finale “Peeled Face Mask”. This is a contender for the top of the song pile, with the most ruthless chugs, groovy riffing, great doomy moments, and even a major dollop of leads sounding pulled from Gates of Ishtar.2 This track shows the band have a great grasp of what makes their sound a success, and more of this across the whole body of work would lead to a real RotM contender.

Incongruous Forms of Evergrowing Rot is less an excellent debut and more an excellent debut. It shows a band with a clear purpose and musical vision, but a vision not free of warts and rough edges. When it hits, though, it hits. Foetorem have erupted from the grave, covered in fluid and mold, ready to make their deathly mark on the world. With enough force to change cave structure and a grasp of atmosphere beyond their youth, the band have announced their presence in style, and I believe the best is yet to come for their cemetery anthems. Now, if you’ll excuse me, I need to get myself some coffee and some food. Preferably, something a little extra raw and rotted…

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Everlasting Spew Records
Website: Album Bandcamp
Releases Worldwide: March 27th, 2026

I am writing this review with tequila and lime salt still oozing out of my pores. My eyeballs each have a different heartbeat, and I am honestly amazed (if not a little disappointed) that I began the day with my pants still on. And yet the call of the promo pit continues, as I was shaken out of my birthday-shenanigans-induced stupor by the smell of gorilla breath outside my lion’s den, and something rancid chucked at its entrance. The Ape being pleased post-album release usually means great news for hopeful bands and an increased labor for those under his watchful and merciless eye, and one peep at this moldy art spelled out the whole mission statement from the get-go. Denmark’s Foetorem are a very young outfit, having just penned their sole demo last year1 before unleashing their debut full-length Incongruous Forms of Evergrowing Rot on the unsuspecting masses. I hope you’re hungry, because we’ve got some leftovers from rotsgiving waiting for you!

Foetorem specialize in a refreshingly energetic breed of death/doom. Blasts feature aplenty, but are typically used as points of transition or introduction/outro to songs. Most of Incongruous Forms of Evergrowing Rot operates on second and third gear, with the sustained open chords you’d expect often molding into mid-paced chugging savagery. Indeed, if you’re a sucker for mid-paced chuggathons, this will be a euphoric experience for you as the overwhelming backbone of most of the songs rely on such a trope. Imagine the most downtempo moments of Cannibal Corpse with a lot of atmospheric high-trem plucking for atmospherics and run through some extra fresh grave soil—something between Phobophilic and SEDIMENTUM—and you have a good idea of what’s waiting. The high note musings are a great addition, giving whiffs of melancholy and gloom to the proceedings, which might otherwise threaten to be an overly simplistic sound with their engaging melodies (“Mors Viaturis – The Death Traveler”) before collapsing into the next jackhammer assault.

Incongruous Forms Of Evergrowing Rot by Foetorem

And boy howdy, jackhammers are aplenty. Despite the relative simplicity of the approach, a great deal of thought has gone into each arrangement to keep one concrete-burrowing assault after another fresh and engaging. “Tapestries of Misery” commands with a gripping 6/8 time signature and a whiff of unexpected SKRONK, while “Oozing with Pustulent Fluids” keeps burrowing into the earth’s crust with a classic Vader riff played at half speed while drummer Geistaz keeps things engaging with an ever-shifting focus between creative bass fills and high-hat ting-and-tangs. His drumming is part of what keeps the Foetorem recipe so engaging (“Rebirth in Morbid Disgust”) as no chug sounds exactly the same despite the band drawing so deeply from what is a usually very narrowly defined well.

If you’re about that chug life, the death here is excellent; the only real stumbling block comes from some of the doomier elements. Foetorem have improved on the Sanctuarium formula of sandwiching their blasts and chugs between sudden slowdowns, but there’s no escaping that some moments are real momentum killers. “Oozing…” drops down to bare-minimum quarter note walks lacking any weight to carry the empty space, while “Decay of the Flesh” throws in some harmonized leads that don’t quite overcome the lack of progression in the songs. Not every doom element is poor, by any means, but it happens enough to degrade decompose Incongruous Forms of Evergrowing Rot” to an album more memorable by its moments than by the wholeness of its songs. And yet, those highlights are plenty, and it’s great to hear when the band really stick the landing, like in album finale “Peeled Face Mask”. This is a contender for the top of the song pile, with the most ruthless chugs, groovy riffing, great doomy moments, and even a major dollop of leads sounding pulled from Gates of Ishtar.2 This track shows the band have a great grasp of what makes their sound a success, and more of this across the whole body of work would lead to a real RotM contender.

Incongruous Forms of Evergrowing Rot is less an excellent debut and more an excellent debut. It shows a band with a clear purpose and musical vision, but a vision not free of warts and rough edges. When it hits, though, it hits. Foetorem have erupted from the grave, covered in fluid and mold, ready to make their deathly mark on the world. With enough force to change cave structure and a grasp of atmosphere beyond their youth, the band have announced their presence in style, and I believe the best is yet to come for their cemetery anthems. Now, if you’ll excuse me, I need to get myself some coffee and some food. Preferably, something a little extra raw and rotted…

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Everlasting Spew Records
Website: Album Bandcamp
Releases Worldwide: March 27th, 2026

I am writing this review with tequila and lime salt still oozing out of my pores. My eyeballs each have a different heartbeat, and I am honestly amazed (if not a little disappointed) that I began the day with my pants still on. And yet the call of the promo pit continues, as I was shaken out of my birthday-shenanigans-induced stupor by the smell of gorilla breath outside my lion’s den, and something rancid chucked at its entrance. The Ape being pleased post-album release usually means great news for hopeful bands and an increased labor for those under his watchful and merciless eye, and one peep at this moldy art spelled out the whole mission statement from the get-go. Denmark’s Foetorem are a very young outfit, having just penned their sole demo last year1 before unleashing their debut full-length Incongruous Forms of Evergrowing Rot on the unsuspecting masses. I hope you’re hungry, because we’ve got some leftovers from rotsgiving waiting for you!

Foetorem specialize in a refreshingly energetic breed of death/doom. Blasts feature aplenty, but are typically used as points of transition or introduction/outro to songs. Most of Incongruous Forms of Evergrowing Rot operates on second and third gear, with the sustained open chords you’d expect often molding into mid-paced chugging savagery. Indeed, if you’re a sucker for mid-paced chuggathons, this will be a euphoric experience for you as the overwhelming backbone of most of the songs rely on such a trope. Imagine the most downtempo moments of Cannibal Corpse with a lot of atmospheric high-trem plucking for atmospherics and run through some extra fresh grave soil—something between Phobophilic and SEDIMENTUM—and you have a good idea of what’s waiting. The high note musings are a great addition, giving whiffs of melancholy and gloom to the proceedings, which might otherwise threaten to be an overly simplistic sound with their engaging melodies (“Mors Viaturis – The Death Traveler”) before collapsing into the next jackhammer assault.

Incongruous Forms Of Evergrowing Rot by Foetorem

And boy howdy, jackhammers are aplenty. Despite the relative simplicity of the approach, a great deal of thought has gone into each arrangement to keep one concrete-burrowing assault after another fresh and engaging. “Tapestries of Misery” commands with a gripping 6/8 time signature and a whiff of unexpected SKRONK, while “Oozing with Pustulent Fluids” keeps burrowing into the earth’s crust with a classic Vader riff played at half speed while drummer Geistaz keeps things engaging with an ever-shifting focus between creative bass fills and high-hat ting-and-tangs. His drumming is part of what keeps the Foetorem recipe so engaging (“Rebirth in Morbid Disgust”) as no chug sounds exactly the same despite the band drawing so deeply from what is a usually very narrowly defined well.

If you’re about that chug life, the death here is excellent; the only real stumbling block comes from some of the doomier elements. Foetorem have improved on the Sanctuarium formula of sandwiching their blasts and chugs between sudden slowdowns, but there’s no escaping that some moments are real momentum killers. “Oozing…” drops down to bare-minimum quarter note walks lacking any weight to carry the empty space, while “Decay of the Flesh” throws in some harmonized leads that don’t quite overcome the lack of progression in the songs. Not every doom element is poor, by any means, but it happens enough to degrade decompose Incongruous Forms of Evergrowing Rot” to an album more memorable by its moments than by the wholeness of its songs. And yet, those highlights are plenty, and it’s great to hear when the band really stick the landing, like in album finale “Peeled Face Mask”. This is a contender for the top of the song pile, with the most ruthless chugs, groovy riffing, great doomy moments, and even a major dollop of leads sounding pulled from Gates of Ishtar.2 This track shows the band have a great grasp of what makes their sound a success, and more of this across the whole body of work would lead to a real RotM contender.

Incongruous Forms of Evergrowing Rot is less an excellent debut and more an excellent debut. It shows a band with a clear purpose and musical vision, but a vision not free of warts and rough edges. When it hits, though, it hits. Foetorem have erupted from the grave, covered in fluid and mold, ready to make their deathly mark on the world. With enough force to change cave structure and a grasp of atmosphere beyond their youth, the band have announced their presence in style, and I believe the best is yet to come for their cemetery anthems. Now, if you’ll excuse me, I need to get myself some coffee and some food. Preferably, something a little extra raw and rotted…

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Everlasting Spew Records
Website: Album Bandcamp
Releases Worldwide: March 27th, 2026

I am writing this review with tequila and lime salt still oozing out of my pores. My eyeballs each have a different heartbeat, and I am honestly amazed (if not a little disappointed) that I began the day with my pants still on. And yet the call of the promo pit continues, as I was shaken out of my birthday-shenanigans-induced stupor by the smell of gorilla breath outside my lion’s den, and something rancid chucked at its entrance. The Ape being pleased post-album release usually means great news for hopeful bands and an increased labor for those under his watchful and merciless eye, and one peep at this moldy art spelled out the whole mission statement from the get-go. Denmark’s Foetorem are a very young outfit, having just penned their sole demo last year1 before unleashing their debut full-length Incongruous Forms of Evergrowing Rot on the unsuspecting masses. I hope you’re hungry, because we’ve got some leftovers from rotsgiving waiting for you!

Foetorem specialize in a refreshingly energetic breed of death/doom. Blasts feature aplenty, but are typically used as points of transition or introduction/outro to songs. Most of Incongruous Forms of Evergrowing Rot operates on second and third gear, with the sustained open chords you’d expect often molding into mid-paced chugging savagery. Indeed, if you’re a sucker for mid-paced chuggathons, this will be a euphoric experience for you as the overwhelming backbone of most of the songs rely on such a trope. Imagine the most downtempo moments of Cannibal Corpse with a lot of atmospheric high-trem plucking for atmospherics and run through some extra fresh grave soil—something between Phobophilic and SEDIMENTUM—and you have a good idea of what’s waiting. The high note musings are a great addition, giving whiffs of melancholy and gloom to the proceedings, which might otherwise threaten to be an overly simplistic sound with their engaging melodies (“Mors Viaturis – The Death Traveler”) before collapsing into the next jackhammer assault.

Incongruous Forms Of Evergrowing Rot by Foetorem

And boy howdy, jackhammers are aplenty. Despite the relative simplicity of the approach, a great deal of thought has gone into each arrangement to keep one concrete-burrowing assault after another fresh and engaging. “Tapestries of Misery” commands with a gripping 6/8 time signature and a whiff of unexpected SKRONK, while “Oozing with Pustulent Fluids” keeps burrowing into the earth’s crust with a classic Vader riff played at half speed while drummer Geistaz keeps things engaging with an ever-shifting focus between creative bass fills and high-hat ting-and-tangs. His drumming is part of what keeps the Foetorem recipe so engaging (“Rebirth in Morbid Disgust”) as no chug sounds exactly the same despite the band drawing so deeply from what is a usually very narrowly defined well.

If you’re about that chug life, the death here is excellent; the only real stumbling block comes from some of the doomier elements. Foetorem have improved on the Sanctuarium formula of sandwiching their blasts and chugs between sudden slowdowns, but there’s no escaping that some moments are real momentum killers. “Oozing…” drops down to bare-minimum quarter note walks lacking any weight to carry the empty space, while “Decay of the Flesh” throws in some harmonized leads that don’t quite overcome the lack of progression in the songs. Not every doom element is poor, by any means, but it happens enough to degrade decompose Incongruous Forms of Evergrowing Rot” to an album more memorable by its moments than by the wholeness of its songs. And yet, those highlights are plenty, and it’s great to hear when the band really stick the landing, like in album finale “Peeled Face Mask”. This is a contender for the top of the song pile, with the most ruthless chugs, groovy riffing, great doomy moments, and even a major dollop of leads sounding pulled from Gates of Ishtar.2 This track shows the band have a great grasp of what makes their sound a success, and more of this across the whole body of work would lead to a real RotM contender.

Incongruous Forms of Evergrowing Rot is less an excellent debut and more an excellent debut. It shows a band with a clear purpose and musical vision, but a vision not free of warts and rough edges. When it hits, though, it hits. Foetorem have erupted from the grave, covered in fluid and mold, ready to make their deathly mark on the world. With enough force to change cave structure and a grasp of atmosphere beyond their youth, the band have announced their presence in style, and I believe the best is yet to come for their cemetery anthems. Now, if you’ll excuse me, I need to get myself some coffee and some food. Preferably, something a little extra raw and rotted…

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Everlasting Spew Records
Website: Album Bandcamp
Releases Worldwide: March 27th, 2026

This week's #ThursdayFiveList theme is #AlliterativeTitle. Had to dig a bit, but found five bangers.

Restraining Order - Future Fortune
https://www.youtube.com/watch?v=A4KuovpzlY8

Cannibal Corpse - Caged... Contorted
https://www.youtube.com/watch?v=MMtUWZgwtro

KMFDM - Juke Joint Jezebel
https://www.youtube.com/watch?v=91w6Q2tytLc

Ramones - Bad Brain
https://www.youtube.com/watch?v=WI_12UC2tp8

Butthole Surfers - Dust Devil
https://www.youtube.com/watch?v=mmiLPlB-MoY

#punk #PunkRock #metal #DeathMetal #psych #Ramones #CannibalCorpse #ButtholeSurfers #KMFDM

This week's #ThursdayFiveList theme is #AlliterativeTitle. Had to dig a bit, but found five bangers.

Restraining Order - Future Fortune
https://www.youtube.com/watch?v=A4KuovpzlY8

Cannibal Corpse - Caged... Contorted
https://www.youtube.com/watch?v=MMtUWZgwtro

KMFDM - Juke Joint Jezebel
https://www.youtube.com/watch?v=91w6Q2tytLc

Ramones - Bad Brain
https://www.youtube.com/watch?v=WI_12UC2tp8

Butthole Surfers - Dust Devil
https://www.youtube.com/watch?v=mmiLPlB-MoY

#punk #PunkRock #metal #DeathMetal #psych #Ramones #CannibalCorpse #ButtholeSurfers #KMFDM

This week's #ThursdayFiveList theme is #AlliterativeTitle. Had to dig a bit, but found five bangers.

Restraining Order - Future Fortune
https://www.youtube.com/watch?v=A4KuovpzlY8

Cannibal Corpse - Caged... Contorted
https://www.youtube.com/watch?v=MMtUWZgwtro

KMFDM - Juke Joint Jezebel
https://www.youtube.com/watch?v=91w6Q2tytLc

Ramones - Bad Brain
https://www.youtube.com/watch?v=WI_12UC2tp8

Butthole Surfers - Dust Devil
https://www.youtube.com/watch?v=mmiLPlB-MoY

#punk #PunkRock #metal #DeathMetal #psych #Ramones #CannibalCorpse #ButtholeSurfers #KMFDM

This week's #ThursdayFiveList theme is #AlliterativeTitle. Had to dig a bit, but found five bangers.

Restraining Order - Future Fortune
https://www.youtube.com/watch?v=A4KuovpzlY8

Cannibal Corpse - Caged... Contorted
https://www.youtube.com/watch?v=MMtUWZgwtro

KMFDM - Juke Joint Jezebel
https://www.youtube.com/watch?v=91w6Q2tytLc

Ramones - Bad Brain
https://www.youtube.com/watch?v=WI_12UC2tp8

Butthole Surfers - Dust Devil
https://www.youtube.com/watch?v=mmiLPlB-MoY

#punk #PunkRock #metal #DeathMetal #psych #Ramones #CannibalCorpse #ButtholeSurfers #KMFDM

This week's #ThursdayFiveList theme is #AlliterativeTitle. Had to dig a bit, but found five bangers.

Restraining Order - Future Fortune
https://www.youtube.com/watch?v=A4KuovpzlY8

Cannibal Corpse - Caged... Contorted
https://www.youtube.com/watch?v=MMtUWZgwtro

KMFDM - Juke Joint Jezebel
https://www.youtube.com/watch?v=91w6Q2tytLc

Ramones - Bad Brain
https://www.youtube.com/watch?v=WI_12UC2tp8

Butthole Surfers - Dust Devil
https://www.youtube.com/watch?v=mmiLPlB-MoY

#punk #PunkRock #metal #DeathMetal #psych #Ramones #CannibalCorpse #ButtholeSurfers #KMFDM

The U.S. Military’s Defense Advanced Research Project Agency (DARPA) was forced to perform an emergency shutdown of its experimental combat-focused AI program after it attempted to weaponize former Cannibal Corpse and current Six Feet Under vocalist Chris Barnes’ pig squeals into a lethal sound beam. Had the AI program successfully executed this plan for a terrifying new weapons system, experts theorize it could have resulted in a global extinction-level event.

An experienced combat trauma surgeon who was willing to speak off the record explained that humans aren’t equipped physiologically to process these kinds of high-intensity, abrasive sounds, and even limited exposure could cause brain damage, organ failure, erectile dysfunction, Pygmalionism and the condition known as Hammer Smashed Ear Canal Syndrome.

Upon learning that his vocals were being used in a top-secret weapons program without his knowledge or legal consent, Chris Barnes remarked, “This should end the fucking debate over who’s the better Cannibal Corpse vocalist, right? Fuck yeah, eat it Corpsefisher! EEEEEEEEEEEEEEEE!”

HEADLINES:

Metallica’s residency in the Las Vegas Sphere cut short by the requirement that the 24 agreed-upon shows be performed in the same decade.

Arch Enemy announces new vocalist Pippa Emeritus III

The U.S. Military’s Defense Advanced Research Project Agency (DARPA) was forced to perform an emergency shutdown of its experimental combat-focused AI program after it attempted to weaponize former Cannibal Corpse and current Six Feet Under vocalist Chris Barnes’ pig squeals into a lethal sound beam. Had the AI program successfully executed this plan for a terrifying new weapons system, experts theorize it could have resulted in a global extinction-level event.

An experienced combat trauma surgeon who was willing to speak off the record explained that humans aren’t equipped physiologically to process these kinds of high-intensity, abrasive sounds, and even limited exposure could cause brain damage, organ failure, erectile dysfunction, Pygmalionism and the condition known as Hammer Smashed Ear Canal Syndrome.

Upon learning that his vocals were being used in a top-secret weapons program without his knowledge or legal consent, Chris Barnes remarked, “This should end the fucking debate over who’s the better Cannibal Corpse vocalist, right? Fuck yeah, eat it Corpsefisher! EEEEEEEEEEEEEEEE!”

HEADLINES:

Metallica’s residency in the Las Vegas Sphere cut short by the requirement that the 24 agreed-upon shows be performed in the same decade.

Arch Enemy announces new vocalist Pippa Emeritus III

The U.S. Military’s Defense Advanced Research Project Agency (DARPA) was forced to perform an emergency shutdown of its experimental combat-focused AI program after it attempted to weaponize former Cannibal Corpse and current Six Feet Under vocalist Chris Barnes’ pig squeals into a lethal sound beam. Had the AI program successfully executed this plan for a terrifying new weapons system, experts theorize it could have resulted in a global extinction-level event.

An experienced combat trauma surgeon who was willing to speak off the record explained that humans aren’t equipped physiologically to process these kinds of high-intensity, abrasive sounds, and even limited exposure could cause brain damage, organ failure, erectile dysfunction, Pygmalionism and the condition known as Hammer Smashed Ear Canal Syndrome.

Upon learning that his vocals were being used in a top-secret weapons program without his knowledge or legal consent, Chris Barnes remarked, “This should end the fucking debate over who’s the better Cannibal Corpse vocalist, right? Fuck yeah, eat it Corpsefisher! EEEEEEEEEEEEEEEE!”

HEADLINES:

Metallica’s residency in the Las Vegas Sphere cut short by the requirement that the 24 agreed-upon shows be performed in the same decade.

Arch Enemy announces new vocalist Pippa Emeritus III

The U.S. Military’s Defense Advanced Research Project Agency (DARPA) was forced to perform an emergency shutdown of its experimental combat-focused AI program after it attempted to weaponize former Cannibal Corpse and current Six Feet Under vocalist Chris Barnes’ pig squeals into a lethal sound beam. Had the AI program successfully executed this plan for a terrifying new weapons system, experts theorize it could have resulted in a global extinction-level event.

An experienced combat trauma surgeon who was willing to speak off the record explained that humans aren’t equipped physiologically to process these kinds of high-intensity, abrasive sounds, and even limited exposure could cause brain damage, organ failure, erectile dysfunction, Pygmalionism and the condition known as Hammer Smashed Ear Canal Syndrome.

Upon learning that his vocals were being used in a top-secret weapons program without his knowledge or legal consent, Chris Barnes remarked, “This should end the fucking debate over who’s the better Cannibal Corpse vocalist, right? Fuck yeah, eat it Corpsefisher! EEEEEEEEEEEEEEEE!”

HEADLINES:

Metallica’s residency in the Las Vegas Sphere cut short by the requirement that the 24 agreed-upon shows be performed in the same decade.

Arch Enemy announces new vocalist Pippa Emeritus III

The U.S. Military’s Defense Advanced Research Project Agency (DARPA) was forced to perform an emergency shutdown of its experimental combat-focused AI program after it attempted to weaponize former Cannibal Corpse and current Six Feet Under vocalist Chris Barnes’ pig squeals into a lethal sound beam. Had the AI program successfully executed this plan for a terrifying new weapons system, experts theorize it could have resulted in a global extinction-level event.

An experienced combat trauma surgeon who was willing to speak off the record explained that humans aren’t equipped physiologically to process these kinds of high-intensity, abrasive sounds, and even limited exposure could cause brain damage, organ failure, erectile dysfunction, Pygmalionism and the condition known as Hammer Smashed Ear Canal Syndrome.

Upon learning that his vocals were being used in a top-secret weapons program without his knowledge or legal consent, Chris Barnes remarked, “This should end the fucking debate over who’s the better Cannibal Corpse vocalist, right? Fuck yeah, eat it Corpsefisher! EEEEEEEEEEEEEEEE!”

HEADLINES:

Metallica’s residency in the Las Vegas Sphere cut short by the requirement that the 24 agreed-upon shows be performed in the same decade.

Arch Enemy announces new vocalist Pippa Emeritus III

UK disgusting death metal fiends Cryptworm have been quite prolific since 2022. Featuring members of Cryptic Shift and Rothadas, their Spewing Mephitic Putridity debut was a nauseating dose of raw sewagecore that made Autopsy seem hygienic by comparison. They followed that up barely a year later with Oozing Radioactive Vomition, and things felt a bit rushed and less impactful. They wisely took some time off thereafter, and now they return with third outing, Infectious Pathological Waste. While their overall approach hasn’t changed much from album to album, the quality of the writing has varied. This time, it feels like they put a bit more thought into the compositions, and some of the vile charm of the debut resurfaces through the slime and scuzz. Nothing does the heart good quite like seeing a happy Cryptworm!

Opener “Gallons of Molten Hominal Goo” greets you like a decaying old friend, and the gruesome, repulsive sounds contain the distinct aroma of early Carcass. This lump of excrement could have appeared on Symphonies of Sickness and fit like a maggot in a gunshot wound. The riffs are fairly rudimentary but have weight, and the vocals by Hanyi Tibor (Rothadas) are a cross between an industrial garbage disposal and a frat-house beer-belching contest. They are fucking disgusting, purulent, and utterly incomprehensible, but damn if they aren’t entertaining. “Maimed and Gutted” is a standout, going for a frantic thrashy panic attack with Cannibal Corpse-isms buried in the basement. It’s a road-grader of a brutal death song that veers into slam territory at times, and the riffs are greasy, sticky, and bellicose. My favorite macabre ditty is “Embedded with Parasitic Larvae,” where, intentionally or not, Tibor sounds like an undead version of the Swedish Chef from The Muppet Show. I cannot tell you why this enhances my enjoyment as much as it does, but fuck yes, Chef!

Infectious Pathological Waste by Cryptworm

On “Drowning in Purulent Excrementia,” they go extra slammy, and kitman Jamie Wintle starts to hit something that should be the pong snare, but it sounds like he’s beating on a skull or a femur. It’s weird, but I kinda like it, and it’s way better than that godawful PONG-PONG-PONG sound some tech and slam bands foist on you. Not every track is a sure-fire hit though, with “Gastrointestinal Seepage” feeling a bit too leaden and lethargic, though I appreciate Tibor’s extra nasty vocals where he seems to be coughing up a hairball full of razor blades and asbestos. I could complain that this feels like a very one-note album, but what death metal album isn’t really? At a tight 32 minutes, it goes by fast enough, though several tracks do have bloat issues that crimp enjoyment. The style Cryptworm opt to play necessitates keeping things in a 3-4 minute window, and when they push further, things get ropey and dopey.

Tibor does a tremendous, unpleasant job on vocals, sounding completely inhuman at all times. His unbelievably cartoonish subterranean croaks are a thing of hideous beauty, and I can’t get enough of them. His guitarwork is also to be applauded, borrowing the most objectionable bits of gristle from Autopsy, Cannibal Corpse, and Incantation to fuel the Cryptworm diet. Some of the leads are quite hooky, and I especially love the big beefy power chugs that dot the landscape. As on Oozing Radioactive Vomition, however, the songwriting can be inconsistent, and they don’t always know when enough is enough. There are some sick burners here to aggravate the savage altered beast, but a few tracks feel underbaked and deliver weaker tentacle slaps.

Cryptworm are a band I can’t help but root for as I root around in their repellant leavings, but I want them to be MOAR consistently deadly with their offal hammer. There’s plenty of fun stuff on Infectious Pathological Waste to marinate in, and it all reeks of the slaughterhouse. When it’s good, it’s rurl good. When it’s just okay, it’s still pretty fookin’ entertaining. Someday these chaps are gonna get their maggot larvae in a row and then, watch out! Until then, there are worse ways to kill brain cells than these odious odes to the grave.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Me Saco Un Ojo
Websites: cryptworm.bandcamp.com | facebook.com/cryptworm | instagram.com/cryptwormofficial
Releases Worldwide: March 27th, 2026

UK disgusting death metal fiends Cryptworm have been quite prolific since 2022. Featuring members of Cryptic Shift and Rothadas, their Spewing Mephitic Putridity debut was a nauseating dose of raw sewagecore that made Autopsy seem hygienic by comparison. They followed that up barely a year later with Oozing Radioactive Vomition, and things felt a bit rushed and less impactful. They wisely took some time off thereafter, and now they return with third outing, Infectious Pathological Waste. While their overall approach hasn’t changed much from album to album, the quality of the writing has varied. This time, it feels like they put a bit more thought into the compositions, and some of the vile charm of the debut resurfaces through the slime and scuzz. Nothing does the heart good quite like seeing a happy Cryptworm!

Opener “Gallons of Molten Hominal Goo” greets you like a decaying old friend, and the gruesome, repulsive sounds contain the distinct aroma of early Carcass. This lump of excrement could have appeared on Symphonies of Sickness and fit like a maggot in a gunshot wound. The riffs are fairly rudimentary but have weight, and the vocals by Hanyi Tibor (Rothadas) are a cross between an industrial garbage disposal and a frat-house beer-belching contest. They are fucking disgusting, purulent, and utterly incomprehensible, but damn if they aren’t entertaining. “Maimed and Gutted” is a standout, going for a frantic thrashy panic attack with Cannibal Corpse-isms buried in the basement. It’s a road-grader of a brutal death song that veers into slam territory at times, and the riffs are greasy, sticky, and bellicose. My favorite macabre ditty is “Embedded with Parasitic Larvae,” where, intentionally or not, Tibor sounds like an undead version of the Swedish Chef from The Muppet Show. I cannot tell you why this enhances my enjoyment as much as it does, but fuck yes, Chef!

Infectious Pathological Waste by Cryptworm

On “Drowning in Purulent Excrementia,” they go extra slammy, and kitman Jamie Wintle starts to hit something that should be the pong snare, but it sounds like he’s beating on a skull or a femur. It’s weird, but I kinda like it, and it’s way better than that godawful PONG-PONG-PONG sound some tech and slam bands foist on you. Not every track is a sure-fire hit though, with “Gastrointestinal Seepage” feeling a bit too leaden and lethargic, though I appreciate Tibor’s extra nasty vocals where he seems to be coughing up a hairball full of razor blades and asbestos. I could complain that this feels like a very one-note album, but what death metal album isn’t really? At a tight 32 minutes, it goes by fast enough, though several tracks do have bloat issues that crimp enjoyment. The style Cryptworm opt to play necessitates keeping things in a 3-4 minute window, and when they push further, things get ropey and dopey.

Tibor does a tremendous, unpleasant job on vocals, sounding completely inhuman at all times. His unbelievably cartoonish subterranean croaks are a thing of hideous beauty, and I can’t get enough of them. His guitarwork is also to be applauded, borrowing the most objectionable bits of gristle from Autopsy, Cannibal Corpse, and Incantation to fuel the Cryptworm diet. Some of the leads are quite hooky, and I especially love the big beefy power chugs that dot the landscape. As on Oozing Radioactive Vomition, however, the songwriting can be inconsistent, and they don’t always know when enough is enough. There are some sick burners here to aggravate the savage altered beast, but a few tracks feel underbaked and deliver weaker tentacle slaps.

Cryptworm are a band I can’t help but root for as I root around in their repellant leavings, but I want them to be MOAR consistently deadly with their offal hammer. There’s plenty of fun stuff on Infectious Pathological Waste to marinate in, and it all reeks of the slaughterhouse. When it’s good, it’s rurl good. When it’s just okay, it’s still pretty fookin’ entertaining. Someday these chaps are gonna get their maggot larvae in a row and then, watch out! Until then, there are worse ways to kill brain cells than these odious odes to the grave.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Me Saco Un Ojo
Websites: cryptworm.bandcamp.com | facebook.com/cryptworm | instagram.com/cryptwormofficial
Releases Worldwide: March 27th, 2026

UK disgusting death metal fiends Cryptworm have been quite prolific since 2022. Featuring members of Cryptic Shift and Rothadas, their Spewing Mephitic Putridity debut was a nauseating dose of raw sewagecore that made Autopsy seem hygienic by comparison. They followed that up barely a year later with Oozing Radioactive Vomition, and things felt a bit rushed and less impactful. They wisely took some time off thereafter, and now they return with third outing, Infectious Pathological Waste. While their overall approach hasn’t changed much from album to album, the quality of the writing has varied. This time, it feels like they put a bit more thought into the compositions, and some of the vile charm of the debut resurfaces through the slime and scuzz. Nothing does the heart good quite like seeing a happy Cryptworm!

Opener “Gallons of Molten Hominal Goo” greets you like a decaying old friend, and the gruesome, repulsive sounds contain the distinct aroma of early Carcass. This lump of excrement could have appeared on Symphonies of Sickness and fit like a maggot in a gunshot wound. The riffs are fairly rudimentary but have weight, and the vocals by Hanyi Tibor (Rothadas) are a cross between an industrial garbage disposal and a frat-house beer-belching contest. They are fucking disgusting, purulent, and utterly incomprehensible, but damn if they aren’t entertaining. “Maimed and Gutted” is a standout, going for a frantic thrashy panic attack with Cannibal Corpse-isms buried in the basement. It’s a road-grader of a brutal death song that veers into slam territory at times, and the riffs are greasy, sticky, and bellicose. My favorite macabre ditty is “Embedded with Parasitic Larvae,” where, intentionally or not, Tibor sounds like an undead version of the Swedish Chef from The Muppet Show. I cannot tell you why this enhances my enjoyment as much as it does, but fuck yes, Chef!

Infectious Pathological Waste by Cryptworm

On “Drowning in Purulent Excrementia,” they go extra slammy, and kitman Jamie Wintle starts to hit something that should be the pong snare, but it sounds like he’s beating on a skull or a femur. It’s weird, but I kinda like it, and it’s way better than that godawful PONG-PONG-PONG sound some tech and slam bands foist on you. Not every track is a sure-fire hit though, with “Gastrointestinal Seepage” feeling a bit too leaden and lethargic, though I appreciate Tibor’s extra nasty vocals where he seems to be coughing up a hairball full of razor blades and asbestos. I could complain that this feels like a very one-note album, but what death metal album isn’t really? At a tight 32 minutes, it goes by fast enough, though several tracks do have bloat issues that crimp enjoyment. The style Cryptworm opt to play necessitates keeping things in a 3-4 minute window, and when they push further, things get ropey and dopey.

Tibor does a tremendous, unpleasant job on vocals, sounding completely inhuman at all times. His unbelievably cartoonish subterranean croaks are a thing of hideous beauty, and I can’t get enough of them. His guitarwork is also to be applauded, borrowing the most objectionable bits of gristle from Autopsy, Cannibal Corpse, and Incantation to fuel the Cryptworm diet. Some of the leads are quite hooky, and I especially love the big beefy power chugs that dot the landscape. As on Oozing Radioactive Vomition, however, the songwriting can be inconsistent, and they don’t always know when enough is enough. There are some sick burners here to aggravate the savage altered beast, but a few tracks feel underbaked and deliver weaker tentacle slaps.

Cryptworm are a band I can’t help but root for as I root around in their repellant leavings, but I want them to be MOAR consistently deadly with their offal hammer. There’s plenty of fun stuff on Infectious Pathological Waste to marinate in, and it all reeks of the slaughterhouse. When it’s good, it’s rurl good. When it’s just okay, it’s still pretty fookin’ entertaining. Someday these chaps are gonna get their maggot larvae in a row and then, watch out! Until then, there are worse ways to kill brain cells than these odious odes to the grave.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Me Saco Un Ojo
Websites: cryptworm.bandcamp.com | facebook.com/cryptworm | instagram.com/cryptwormofficial
Releases Worldwide: March 27th, 2026

UK disgusting death metal fiends Cryptworm have been quite prolific since 2022. Featuring members of Cryptic Shift and Rothadas, their Spewing Mephitic Putridity debut was a nauseating dose of raw sewagecore that made Autopsy seem hygienic by comparison. They followed that up barely a year later with Oozing Radioactive Vomition, and things felt a bit rushed and less impactful. They wisely took some time off thereafter, and now they return with third outing, Infectious Pathological Waste. While their overall approach hasn’t changed much from album to album, the quality of the writing has varied. This time, it feels like they put a bit more thought into the compositions, and some of the vile charm of the debut resurfaces through the slime and scuzz. Nothing does the heart good quite like seeing a happy Cryptworm!

Opener “Gallons of Molten Hominal Goo” greets you like a decaying old friend, and the gruesome, repulsive sounds contain the distinct aroma of early Carcass. This lump of excrement could have appeared on Symphonies of Sickness and fit like a maggot in a gunshot wound. The riffs are fairly rudimentary but have weight, and the vocals by Hanyi Tibor (Rothadas) are a cross between an industrial garbage disposal and a frat-house beer-belching contest. They are fucking disgusting, purulent, and utterly incomprehensible, but damn if they aren’t entertaining. “Maimed and Gutted” is a standout, going for a frantic thrashy panic attack with Cannibal Corpse-isms buried in the basement. It’s a road-grader of a brutal death song that veers into slam territory at times, and the riffs are greasy, sticky, and bellicose. My favorite macabre ditty is “Embedded with Parasitic Larvae,” where, intentionally or not, Tibor sounds like an undead version of the Swedish Chef from The Muppet Show. I cannot tell you why this enhances my enjoyment as much as it does, but fuck yes, Chef!

Infectious Pathological Waste by Cryptworm

On “Drowning in Purulent Excrementia,” they go extra slammy, and kitman Jamie Wintle starts to hit something that should be the pong snare, but it sounds like he’s beating on a skull or a femur. It’s weird, but I kinda like it, and it’s way better than that godawful PONG-PONG-PONG sound some tech and slam bands foist on you. Not every track is a sure-fire hit though, with “Gastrointestinal Seepage” feeling a bit too leaden and lethargic, though I appreciate Tibor’s extra nasty vocals where he seems to be coughing up a hairball full of razor blades and asbestos. I could complain that this feels like a very one-note album, but what death metal album isn’t really? At a tight 32 minutes, it goes by fast enough, though several tracks do have bloat issues that crimp enjoyment. The style Cryptworm opt to play necessitates keeping things in a 3-4 minute window, and when they push further, things get ropey and dopey.

Tibor does a tremendous, unpleasant job on vocals, sounding completely inhuman at all times. His unbelievably cartoonish subterranean croaks are a thing of hideous beauty, and I can’t get enough of them. His guitarwork is also to be applauded, borrowing the most objectionable bits of gristle from Autopsy, Cannibal Corpse, and Incantation to fuel the Cryptworm diet. Some of the leads are quite hooky, and I especially love the big beefy power chugs that dot the landscape. As on Oozing Radioactive Vomition, however, the songwriting can be inconsistent, and they don’t always know when enough is enough. There are some sick burners here to aggravate the savage altered beast, but a few tracks feel underbaked and deliver weaker tentacle slaps.

Cryptworm are a band I can’t help but root for as I root around in their repellant leavings, but I want them to be MOAR consistently deadly with their offal hammer. There’s plenty of fun stuff on Infectious Pathological Waste to marinate in, and it all reeks of the slaughterhouse. When it’s good, it’s rurl good. When it’s just okay, it’s still pretty fookin’ entertaining. Someday these chaps are gonna get their maggot larvae in a row and then, watch out! Until then, there are worse ways to kill brain cells than these odious odes to the grave.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Me Saco Un Ojo
Websites: cryptworm.bandcamp.com | facebook.com/cryptworm | instagram.com/cryptwormofficial
Releases Worldwide: March 27th, 2026

UK disgusting death metal fiends Cryptworm have been quite prolific since 2022. Featuring members of Cryptic Shift and Rothadas, their Spewing Mephitic Putridity debut was a nauseating dose of raw sewagecore that made Autopsy seem hygienic by comparison. They followed that up barely a year later with Oozing Radioactive Vomition, and things felt a bit rushed and less impactful. They wisely took some time off thereafter, and now they return with third outing, Infectious Pathological Waste. While their overall approach hasn’t changed much from album to album, the quality of the writing has varied. This time, it feels like they put a bit more thought into the compositions, and some of the vile charm of the debut resurfaces through the slime and scuzz. Nothing does the heart good quite like seeing a happy Cryptworm!

Opener “Gallons of Molten Hominal Goo” greets you like a decaying old friend, and the gruesome, repulsive sounds contain the distinct aroma of early Carcass. This lump of excrement could have appeared on Symphonies of Sickness and fit like a maggot in a gunshot wound. The riffs are fairly rudimentary but have weight, and the vocals by Hanyi Tibor (Rothadas) are a cross between an industrial garbage disposal and a frat-house beer-belching contest. They are fucking disgusting, purulent, and utterly incomprehensible, but damn if they aren’t entertaining. “Maimed and Gutted” is a standout, going for a frantic thrashy panic attack with Cannibal Corpse-isms buried in the basement. It’s a road-grader of a brutal death song that veers into slam territory at times, and the riffs are greasy, sticky, and bellicose. My favorite macabre ditty is “Embedded with Parasitic Larvae,” where, intentionally or not, Tibor sounds like an undead version of the Swedish Chef from The Muppet Show. I cannot tell you why this enhances my enjoyment as much as it does, but fuck yes, Chef!

Infectious Pathological Waste by Cryptworm

On “Drowning in Purulent Excrementia,” they go extra slammy, and kitman Jamie Wintle starts to hit something that should be the pong snare, but it sounds like he’s beating on a skull or a femur. It’s weird, but I kinda like it, and it’s way better than that godawful PONG-PONG-PONG sound some tech and slam bands foist on you. Not every track is a sure-fire hit though, with “Gastrointestinal Seepage” feeling a bit too leaden and lethargic, though I appreciate Tibor’s extra nasty vocals where he seems to be coughing up a hairball full of razor blades and asbestos. I could complain that this feels like a very one-note album, but what death metal album isn’t really? At a tight 32 minutes, it goes by fast enough, though several tracks do have bloat issues that crimp enjoyment. The style Cryptworm opt to play necessitates keeping things in a 3-4 minute window, and when they push further, things get ropey and dopey.

Tibor does a tremendous, unpleasant job on vocals, sounding completely inhuman at all times. His unbelievably cartoonish subterranean croaks are a thing of hideous beauty, and I can’t get enough of them. His guitarwork is also to be applauded, borrowing the most objectionable bits of gristle from Autopsy, Cannibal Corpse, and Incantation to fuel the Cryptworm diet. Some of the leads are quite hooky, and I especially love the big beefy power chugs that dot the landscape. As on Oozing Radioactive Vomition, however, the songwriting can be inconsistent, and they don’t always know when enough is enough. There are some sick burners here to aggravate the savage altered beast, but a few tracks feel underbaked and deliver weaker tentacle slaps.

Cryptworm are a band I can’t help but root for as I root around in their repellant leavings, but I want them to be MOAR consistently deadly with their offal hammer. There’s plenty of fun stuff on Infectious Pathological Waste to marinate in, and it all reeks of the slaughterhouse. When it’s good, it’s rurl good. When it’s just okay, it’s still pretty fookin’ entertaining. Someday these chaps are gonna get their maggot larvae in a row and then, watch out! Until then, there are worse ways to kill brain cells than these odious odes to the grave.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Me Saco Un Ojo
Websites: cryptworm.bandcamp.com | facebook.com/cryptworm | instagram.com/cryptwormofficial
Releases Worldwide: March 27th, 2026

https://www.europesays.com/at/61595/ Chris Barnes glaubt nicht an Versöhnung mit Cannibal Corpse #AlexWebster #AT #Austria #CannibalCorpse #ChrisBarnes #Entertainment #JackOwen #Konflikt #Music #Musik #Österreich #PaulMazurkiewicz #RobBarrett #SixFeetUnder #streit #Unterhaltung

https://www.europesays.com/at/58529/ KILL (2006) brachte neuen Wind in die Segel #2006 #AlexWebster #AT #Austria #CannibalCorpse #Entertainment #JackOwen #Jahrestag #Kill #Music #Musik #Österreich #RobBarrett #Unterhaltung

One of my favorite Cannibal Corpse records, 'Kill' was released 20 years ago today (March 20, 2006). 🔥

It was actually my favorite album of 2006, as I discovered as I made my 'favorite album every year I've been alive' list (https://record.club/jake4480/lists/one-album-for-every-year-ive-been-alive).

#metal #DeathMetal #CannibalCorpse

One of my favorite Cannibal Corpse records, 'Kill' was released 20 years ago today (March 20, 2006). 🔥

It was actually my favorite album of 2006, as I discovered as I made my 'favorite album every year I've been alive' list (https://record.club/jake4480/lists/one-album-for-every-year-ive-been-alive).

#metal #DeathMetal #CannibalCorpse

One of my favorite Cannibal Corpse records, 'Kill' was released 20 years ago today (March 20, 2006). 🔥

It was actually my favorite album of 2006, as I discovered as I made my 'favorite album every year I've been alive' list (https://record.club/jake4480/lists/one-album-for-every-year-ive-been-alive).

#metal #DeathMetal #CannibalCorpse

One of my favorite Cannibal Corpse records, 'Kill' was released 20 years ago today (March 20, 2006). 🔥

It was actually my favorite album of 2006, as I discovered as I made my 'favorite album every year I've been alive' list (https://record.club/jake4480/lists/one-album-for-every-year-ive-been-alive).

#metal #DeathMetal #CannibalCorpse

One of my favorite Cannibal Corpse records, 'Kill' was released 20 years ago today (March 20, 2006). 🔥

It was actually my favorite album of 2006, as I discovered as I made my 'favorite album every year I've been alive' list (https://record.club/jake4480/lists/one-album-for-every-year-ive-been-alive).

#metal #DeathMetal #CannibalCorpse

Vom Kollegen Musiktipp bekommen: "Built to Spill" - ruhiger Indie Rock
Dann für Frau eine Playlist mit ruhiger Meditationsmusik rausgesucht.

Nun unweigerlich vor der Frage:
#Immortal oder #CannibalCorpse

Ausgleich muss her.

Vom Kollegen Musiktipp bekommen: "Built to Spill" - ruhiger Indie Rock
Dann für Frau eine Playlist mit ruhiger Meditationsmusik rausgesucht.

Nun unweigerlich vor der Frage:
#Immortal oder #CannibalCorpse

Ausgleich muss her.

Song: Evisceration plague
Band: #CannibalCorpse
Album: Evisceration plague
Year: 2009
Genre: #DeathMetal

"Disease will spread and cover the world
Mass insanity, the end of our time
Scavengers will eat the remains of man
Our extinction was by our design"

https://www.youtube.com/watch?v=482tDopNzoc

Full playlist here: https://open.spotify.com/playlist/14jd7IW32OZtlmXiOfz4eG?si=75e2be480c9a487b

Song: Evisceration plague
Band: #CannibalCorpse
Album: Evisceration plague
Year: 2009
Genre: #DeathMetal

"Disease will spread and cover the world
Mass insanity, the end of our time
Scavengers will eat the remains of man
Our extinction was by our design"

https://www.youtube.com/watch?v=482tDopNzoc

Full playlist here: https://open.spotify.com/playlist/14jd7IW32OZtlmXiOfz4eG?si=75e2be480c9a487b

Song: Evisceration plague
Band: #CannibalCorpse
Album: Evisceration plague
Year: 2009
Genre: #DeathMetal

"Disease will spread and cover the world
Mass insanity, the end of our time
Scavengers will eat the remains of man
Our extinction was by our design"

https://www.youtube.com/watch?v=482tDopNzoc

Full playlist here: https://open.spotify.com/playlist/14jd7IW32OZtlmXiOfz4eG?si=75e2be480c9a487b

This week's #ThursDayFiveList theme is #ColorfulPictures:

Pixies - Oyster Beds
https://www.youtube.com/watch?v=UhnOjRjuKhM

The Smithereens - Blues Before and After
https://www.youtube.com/watch?v=AO4C70gfQ3g

Beck - Colors
https://www.youtube.com/watch?v=WRCA_Fo0rWA

Cannibal Corpse - Red Before Black
https://www.youtube.com/watch?v=lmisXDtaF_s

Type O Negative - Green Man
https://www.youtube.com/watch?v=JWiDauyEDv0

#metal #DeathMetal #doom #DoomMetal #80s #Pixies #TheSmithereens #Beck #CannibalCorpse #TypeONegative

This week's #ThursDayFiveList theme is #ColorfulPictures:

Pixies - Oyster Beds
https://www.youtube.com/watch?v=UhnOjRjuKhM

The Smithereens - Blues Before and After
https://www.youtube.com/watch?v=AO4C70gfQ3g

Beck - Colors
https://www.youtube.com/watch?v=WRCA_Fo0rWA

Cannibal Corpse - Red Before Black
https://www.youtube.com/watch?v=lmisXDtaF_s

Type O Negative - Green Man
https://www.youtube.com/watch?v=JWiDauyEDv0

#metal #DeathMetal #doom #DoomMetal #80s #Pixies #TheSmithereens #Beck #CannibalCorpse #TypeONegative

This week's #ThursDayFiveList theme is #ColorfulPictures:

Pixies - Oyster Beds
https://www.youtube.com/watch?v=UhnOjRjuKhM

The Smithereens - Blues Before and After
https://www.youtube.com/watch?v=AO4C70gfQ3g

Beck - Colors
https://www.youtube.com/watch?v=WRCA_Fo0rWA

Cannibal Corpse - Red Before Black
https://www.youtube.com/watch?v=lmisXDtaF_s

Type O Negative - Green Man
https://www.youtube.com/watch?v=JWiDauyEDv0

#metal #DeathMetal #doom #DoomMetal #80s #Pixies #TheSmithereens #Beck #CannibalCorpse #TypeONegative

This week's #ThursDayFiveList theme is #ColorfulPictures:

Pixies - Oyster Beds
https://www.youtube.com/watch?v=UhnOjRjuKhM

The Smithereens - Blues Before and After
https://www.youtube.com/watch?v=AO4C70gfQ3g

Beck - Colors
https://www.youtube.com/watch?v=WRCA_Fo0rWA

Cannibal Corpse - Red Before Black
https://www.youtube.com/watch?v=lmisXDtaF_s

Type O Negative - Green Man
https://www.youtube.com/watch?v=JWiDauyEDv0

#metal #DeathMetal #doom #DoomMetal #80s #Pixies #TheSmithereens #Beck #CannibalCorpse #TypeONegative

This week's #ThursDayFiveList theme is #ColorfulPictures:

Pixies - Oyster Beds
https://www.youtube.com/watch?v=UhnOjRjuKhM

The Smithereens - Blues Before and After
https://www.youtube.com/watch?v=AO4C70gfQ3g

Beck - Colors
https://www.youtube.com/watch?v=WRCA_Fo0rWA

Cannibal Corpse - Red Before Black
https://www.youtube.com/watch?v=lmisXDtaF_s

Type O Negative - Green Man
https://www.youtube.com/watch?v=JWiDauyEDv0

#metal #DeathMetal #doom #DoomMetal #80s #Pixies #TheSmithereens #Beck #CannibalCorpse #TypeONegative

New post: Classic Cover: Mass Insanity – “An Experiment In Homicide” (original by Cannibal Corpse) https://moshville.co.uk/feature/classic-covers/2026/02/classic-cover-mass-insanity-an-experiment-in-homicide-original-by-cannibal-corpse/ #CannibalCorpse #MassInsanity