#cannibalcorpse — Public Fediverse posts

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

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

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

Scythe – Boiled Alive Review

In the midst of a recent metal deep-dive, Romania’s Scythe skulked out from a Bandcamp back alley and…
#NewsBeep #News #Music #2026 #4.0 #Asphyx #Autopsy #BoiledAlive #CannibalCorpse #DeathMetal #Dismember #Entertainment #Feb26 #INVICTUS #JudasPriest #Merciless #OldSchoolDeathMetal #OSDM #Pestilence #review #Reviews #RomanianMetal #Scythe #SelfReleased #UK #UnitedKingdom
https://www.newsbeep.com/uk/424365/

https://www.europesays.com/uk/762690/ Scythe – Boiled Alive Review #2026 #40 #Asphyx #Autopsy #BoiledAlive #CannibalCorpse #DeathMetal #Dismember #Entertainment #Feb26 #invictus #JudasPriest #Merciless #music #OldSchoolDeathMetal #OSDM #Pestilence #Review #Reviews #RomanianMetal #Scythe #SelfReleased #UK #UnitedKingdom

In the midst of a recent metal deep-dive, Romania’s Scythe skulked out from a Bandcamp back alley and bludgeoned me with the flat side of their blade, knocking me senseless with scuzzy shenanigans. We weren’t graced with a promo for Scythe’s self-released debut, but Boiled Alive packs in so much grimy panache that after my first listen, I had it shortlisted as someThing You Might Have Missed. Rather than wait several months before bringing attention to Boiled Alive, though, I volunteered to burn some midnight oil and write about this quartet from Constanța. Why did Boiled Alive get me so hot and bothered? Scythe’s brand of death metal grips you by the throat and never relents, evoking many influences while creating something uniquely their own. After the dry spell I’ve had with death metal lately, I finally found something I unapologetically adore. So step right up, put your head on the chopping block, and let Scythe have a whack at your earhole.

Scythe doesn’t make grand statements about existentialism or introspection, nor do they redefine a genre. First and foremost, Scythe is here to serve up sickly, sticky licks with blithe recklessness. This fearsome foursome drops track titles that ooze with enough viscera (“Liquified Entrails,” “Of Pure Goriness”) to squelch onto a Cannibal Corpse setlist while harkening to soundscapes defined by Pestilence and Autopsy. Throughout Boiled Alive, the pace oscillates between frenzied paroxysms and plodding crawls, often within the same song (“Necrophilic Corpse Orgies”). Though it would be easy for these dynamics to jostle listeners, the savvy songwriting avoids clumsy transitions and affords an entrancing experience. Ultimately, Scythe guides listeners through a curated gallery of horror that’s as thrilling as it is fulfilling.

Boiled Alive by Scythe

Interweaving Asphyxiating drudges with Mercilessly hectic eruptions, Scythe concocts a unique brew all their own. Boiled Alive simmers with ever-shifting tempos, imbuing the album with vivacity and a disarming blend of chops and accessibility.1 Where “Liquified Entrails” opens with a cannonade evoking an unholy union of Priest’s “Riding on the Wind” and Merciless’ “Souls of the Dead,” “Of Pure Goriness” flits between a mid-paced slink and rabid surges of hostility, and sounds like the crossbred bastard of Cannibal Corpse and Dismember. “Necrophilic Corpse Orgies” and “Tenebrous Decease” expose Scythe’s ability to nimbly jump between accelerated clips and more measured velocities, electrifying with their seamless agility as they navigate whipsawing tempo changes with a sophistication that is all the more impressive considering the band has no other projects or credits to their names.2

The musicianship on Boiled Alive is especially tight for a band formed just three years ago, and the mix highlights the band’s technical acumen. Rather than feature the glossy veneer popular with bigger labels, Boiled Alive sports a dry, natural texture that allows Scythe’s instrumentation to glisten. Reminiscent of the production on Invictus’s release last month, every whack on a tom and clang on the bass is afforded an organic timbre, imparting a raw aesthetic that lets Scythe sizzle. Whether rattling off meticulous snare rolls (“Necrophilic Corpse Orgies”), punky, snare-kick combos (“Plastered in Phlegm”), or playful cymbal splashes (“Of Pure Goriness”), David Rolea flays the skins on every track. Meanwhile, bassist and vocalist Andrei Constandache wields a gorgeously fat low-end tone3 as he assaults the mic with a menacing rasp. Not to be outdone, guitarists Mihai Panait and Andrei Oglan buzzsaw their way through Boiled Alive’s eight tracks, focusing on knotty riffs over wankfest solos. While the drums are the star of the show, Scythe suffers no weak links.

Part-thrashy, part-doomy, and all deathly, Scythe swings for the fences on Boiled Alive. And dammit, it’s Great. This beast writhes and squirms with purulent pizzazz, and I’m guilty many times over of restarting Boiled Alive as soon as the final track concludes. I wish solos were more prevalent across the album, and Constandache’s vocals, while effective, could use some variety, but these nitpicks should be taken as wishlist items for ol’ Grin rather than anything inherently off with Boiled Alive. Scythe discharges riffs and fun with an enviable effortlessness that should have death metal dealers and appreciators paying attention. In a genre with so much competition, Boiled Alive stands above the rabble, and I anxiously await the next time the Scythe comes down.

Rating: Great
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Self-Released
Websites: Bandcamp | Instagram
Releases Worldwide: February 1st, 2026