#castrator — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #castrator, aggregated by home.social.
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I'm not really into death metal, but then I found an interview in my inbox by Kim Kelly with feminist death metal band Castrator and, well, how can I not like this?!
Castrator - Coronation of the Grotesque (2025)
https://castrator.bandcamp.com/album/coronation-of-the-grotesque
https://salvo.ghost.io/castrator-sharpen-their-knives-interview-2025/
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Castrator – Coronation of the Grotesque Review
With Burdizzo‘s ready, New York’s female death metal foursome Castrator are back to crush spermatic cords and eviscerate…
#NewsBeep #News #Music #2025 #3.5 #Aug25 #CannibalCorpse #Castrator #CoronationoftheGrotesque #DarkDescentRecords #DeathMetal #Deicide #Entertainment #MorbidAngelDeathMetal #NewYorkDeathMetal #review #UK #UnitedKingdom
https://www.newsbeep.com/uk/61050/ -
Castrator – Coronation of the Grotesque Review
By Tyme
With Burdizzo‘s ready, New York’s female death metal foursome Castrator are back to crush spermatic cords and eviscerate eardrums with their second album, Coronation of the Grotesque. Despite forming in 2013, Castrator didn’t release Defiled in Oblivion until 2022, that debut finding its way into the hairy palms and ears of our very own, stun baton-wielding overlord Steel, who gave it a respectable 3.0/5.0. While founding drummer Carolina Peréz (Hypoxia, Mama Killa), bassist Robin Mazen (Derkéta, Gruesome), and Defiled in Oblivion vocalist Clarissa Badini (Vicious Blade)1 return for another go-round, guitarist Kimberly Orellana, lauded by Steel as one of Castrator’s biggest assets, was replaced by Sara Loerlein from The Breathing Process. With some concern about the impact this lineup change would have, I soldiered on to determine if Coronation of the Grotesque finds Castrator at their most vicious, or serves as a signal this beast needs spayed.
Clinging to many of the ’80s and ’90s death metal tropes that fueled the fires of their debut, Castrator didn’t steer Coronation of the Grotesque into any new, uncharted territory. Still sonically sliced from the same loins as Cannibal Corpse, Deicide, and Morbid Angel, the formula repeats as bludgeoning bass lines and battering ram drumming set the boundaries within which all the brutal riffs, shredding solos, chugging breakdowns, and bestial vocals do their work—standard fare, yes, but excellently executed. Within seconds of the opening throat punch that is “Fragments of Defiance,” a barbarous ballbuster full of powerhouse riffage and lots of Rick Rozz-inspired whammy dives, it’s apparent that Castrator has upped their game. Clarissa Badini, in particular, has further refined her technique, inflections of David Vincent and traces of Glen Benton intact; her gutturals are even more rib-rattling, and when positioned against or layered under her higher-pitched raspy screams, the effect is absolute devastation. Bucking the predominantly masculine milieu in which they operate, Castrator continues their march toward the death metal elite, and Coronation of the Grotesque is the staircase they ascend.
From performance to production, each aspect of Coronation of the Grotesque improves on Castrator’s past. As good as Orellana was on Defiled in Oblivion, Sara Loerlein completely shreds her way through Coronation of the Grotesque’s thirty-seven-minute runtime. From the frenzied, dissonant leads and Deicide-ic chugs of “I Am Eunuch” to the thrashy, speedy riffs and Celtic Frost-ian breakdowns of “Deviant Miscreant,” Loerlein proves an upgrade, and her soloing, whether melodically melancholic (“Remnants of Chaos”) or full-on fretboard furious (“Blood Bind’s Curse,” “Mortem Opeterie”), is excellent. Spotlighted in its space by Noah Buchanan’s great production work, which also manages to bring more power to Pérez’s drums and allows Manzen’s bass work to shine through in a way it never did on Defiled in Oblivion. Castrator infused Coronation of the Grotesque with an altogether better flow as well, filled with stronger songwriting.
From the tragic, ruthless killing of Mahsa Amini to the abhorrent deeds of predator Naasón Joaquín García (“Covenant of Deceit”) and the ancient Sumerian eunuchization of males meant for slavery and servitude (“I Am Eunuch”), Castrator forgoes pedestrian blood-n-guts to focus more on the societal ills of injustice and human suffering, which adds a layer of gravitas and intelligence to the proceedings. Coronation of the Grotesque packs a walloping punch, and my quibbles with it are few, my biggest being what seems to be Castrator’s habit of tacking a cover song on the end of their albums. Defiled in Oblivion’s version of “Countess Bathory” was fine but unnecessary, as too is the superfluous inclusion of Castrator’s version of Exodus’ excellent “Metal Command” here. I didn’t find it engaging at all, and it diminished what could have been a more visceral conclusion had “Discordant Rumination,” with its final bits sounding reminiscent of the mid-section in Pantera’s “Strength Beyond Strength,” ushered things to a close.
I walked away from Coronation of the Grotesque with the same “Fuck yah!” feeling I had when watching that scene from G.I. Jane, when a bloodied and beaten Demi Moore raises her battered head to scream “Suck my dick!” at her domineering master chief. Castrator are legit, no doubt, and their excellence shouldn’t be any more impressive because they’re all female, but it is, and I am here for it. If you liked Defiled in Oblivion, you’ll love this. If you’re hearing about Castrator for the first time, Coronation of the Grotesque is definitely worth spinning. I can’t wait to see what they do next.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320kbps mp3
Label: Dark Descent Records
Websites: Bandcamp | Facebook
Releases Worldwide: August 15th, 2025#2025 #35 #Aug25 #CannibalCorpse #Castrator #CoronationOfTheGrotesque #DarkDescentRecords #DeathMetal #Deicide #MorbidAngelDeathMetal #NewYorkDeathMetal #Review
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Castrator – Coronation of the Grotesque Review
By Tyme
With Burdizzo‘s ready, New York’s female death metal foursome Castrator are back to crush spermatic cords and eviscerate eardrums with their second album, Coronation of the Grotesque. Despite forming in 2013, Castrator didn’t release Defiled in Oblivion until 2022, that debut finding its way into the hairy palms and ears of our very own, stun baton-wielding overlord Steel, who gave it a respectable 3.0/5.0. While founding drummer Carolina Peréz (Hypoxia, Mama Killa), bassist Robin Mazen (Derkéta, Gruesome), and Defiled in Oblivion vocalist Clarissa Badini (Vicious Blade)1 return for another go-round, guitarist Kimberly Orellana, lauded by Steel as one of Castrator’s biggest assets, was replaced by Sara Loerlein from The Breathing Process. With some concern about the impact this lineup change would have, I soldiered on to determine if Coronation of the Grotesque finds Castrator at their most vicious, or serves as a signal this beast needs spayed.
Clinging to many of the ’80s and ’90s death metal tropes that fueled the fires of their debut, Castrator didn’t steer Coronation of the Grotesque into any new, uncharted territory. Still sonically sliced from the same loins as Cannibal Corpse, Deicide, and Morbid Angel, the formula repeats as bludgeoning bass lines and battering ram drumming set the boundaries within which all the brutal riffs, shredding solos, chugging breakdowns, and bestial vocals do their work—standard fare, yes, but excellently executed. Within seconds of the opening throat punch that is “Fragments of Defiance,” a barbarous ballbuster full of powerhouse riffage and lots of Rick Rozz-inspired whammy dives, it’s apparent that Castrator has upped their game. Clarissa Badini, in particular, has further refined her technique, inflections of David Vincent and traces of Glen Benton intact; her gutturals are even more rib-rattling, and when positioned against or layered under her higher-pitched raspy screams, the effect is absolute devastation. Bucking the predominantly masculine milieu in which they operate, Castrator continues their march toward the death metal elite, and Coronation of the Grotesque is the staircase they ascend.
From performance to production, each aspect of Coronation of the Grotesque improves on Castrator’s past. As good as Orellana was on Defiled in Oblivion, Sara Loerlein completely shreds her way through Coronation of the Grotesque’s thirty-seven-minute runtime. From the frenzied, dissonant leads and Deicide-ic chugs of “I Am Eunuch” to the thrashy, speedy riffs and Celtic Frost-ian breakdowns of “Deviant Miscreant,” Loerlein proves an upgrade, and her soloing, whether melodically melancholic (“Remnants of Chaos”) or full-on fretboard furious (“Blood Bind’s Curse,” “Mortem Opeterie”), is excellent. Spotlighted in its space by Noah Buchanan’s great production work, which also manages to bring more power to Pérez’s drums and allows Manzen’s bass work to shine through in a way it never did on Defiled in Oblivion. Castrator infused Coronation of the Grotesque with an altogether better flow as well, filled with stronger songwriting.
From the tragic, ruthless killing of Mahsa Amini to the abhorrent deeds of predator Naasón Joaquín García (“Covenant of Deceit”) and the ancient Sumerian eunuchization of males meant for slavery and servitude (“I Am Eunuch”), Castrator forgoes pedestrian blood-n-guts to focus more on the societal ills of injustice and human suffering, which adds a layer of gravitas and intelligence to the proceedings. Coronation of the Grotesque packs a walloping punch, and my quibbles with it are few, my biggest being what seems to be Castrator’s habit of tacking a cover song on the end of their albums. Defiled in Oblivion’s version of “Countess Bathory” was fine but unnecessary, as too is the superfluous inclusion of Castrator’s version of Exodus’ excellent “Metal Command” here. I didn’t find it engaging at all, and it diminished what could have been a more visceral conclusion had “Discordant Rumination,” with its final bits sounding reminiscent of the mid-section in Pantera’s “Strength Beyond Strength,” ushered things to a close.
I walked away from Coronation of the Grotesque with the same “Fuck yah!” feeling I had when watching that scene from G.I. Jane, when a bloodied and beaten Demi Moore raises her battered head to scream “Suck my dick!” at her domineering master chief. Castrator are legit, no doubt, and their excellence shouldn’t be any more impressive because they’re all female, but it is, and I am here for it. If you liked Defiled in Oblivion, you’ll love this. If you’re hearing about Castrator for the first time, Coronation of the Grotesque is definitely worth spinning. I can’t wait to see what they do next.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320kbps mp3
Label: Dark Descent Records
Websites: Bandcamp | Facebook
Releases Worldwide: August 15th, 2025#2025 #35 #Aug25 #CannibalCorpse #Castrator #CoronationOfTheGrotesque #DarkDescentRecords #DeathMetal #Deicide #MorbidAngelDeathMetal #NewYorkDeathMetal #Review
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Castrator – Coronation of the Grotesque Review
By Tyme
With Burdizzo‘s ready, New York’s female death metal foursome Castrator are back to crush spermatic cords and eviscerate eardrums with their second album, Coronation of the Grotesque. Despite forming in 2013, Castrator didn’t release Defiled in Oblivion until 2022, that debut finding its way into the hairy palms and ears of our very own, stun baton-wielding overlord Steel, who gave it a respectable 3.0/5.0. While founding drummer Carolina Peréz (Hypoxia, Mama Killa), bassist Robin Mazen (Derkéta, Gruesome), and Defiled in Oblivion vocalist Clarissa Badini (Vicious Blade)1 return for another go-round, guitarist Kimberly Orellana, lauded by Steel as one of Castrator’s biggest assets, was replaced by Sara Loerlein from The Breathing Process. With some concern about the impact this lineup change would have, I soldiered on to determine if Coronation of the Grotesque finds Castrator at their most vicious, or serves as a signal this beast needs spayed.
Clinging to many of the ’80s and ’90s death metal tropes that fueled the fires of their debut, Castrator didn’t steer Coronation of the Grotesque into any new, uncharted territory. Still sonically sliced from the same loins as Cannibal Corpse, Deicide, and Morbid Angel, the formula repeats as bludgeoning bass lines and battering ram drumming set the boundaries within which all the brutal riffs, shredding solos, chugging breakdowns, and bestial vocals do their work—standard fare, yes, but excellently executed. Within seconds of the opening throat punch that is “Fragments of Defiance,” a barbarous ballbuster full of powerhouse riffage and lots of Rick Rozz-inspired whammy dives, it’s apparent that Castrator has upped their game. Clarissa Badini, in particular, has further refined her technique, inflections of David Vincent and traces of Glen Benton intact; her gutturals are even more rib-rattling, and when positioned against or layered under her higher-pitched raspy screams, the effect is absolute devastation. Bucking the predominantly masculine milieu in which they operate, Castrator continues their march toward the death metal elite, and Coronation of the Grotesque is the staircase they ascend.
From performance to production, each aspect of Coronation of the Grotesque improves on Castrator’s past. As good as Orellana was on Defiled in Oblivion, Sara Loerlein completely shreds her way through Coronation of the Grotesque’s thirty-seven-minute runtime. From the frenzied, dissonant leads and Deicide-ic chugs of “I Am Eunuch” to the thrashy, speedy riffs and Celtic Frost-ian breakdowns of “Deviant Miscreant,” Loerlein proves an upgrade, and her soloing, whether melodically melancholic (“Remnants of Chaos”) or full-on fretboard furious (“Blood Bind’s Curse,” “Mortem Opeterie”), is excellent. Spotlighted in its space by Noah Buchanan’s great production work, which also manages to bring more power to Pérez’s drums and allows Manzen’s bass work to shine through in a way it never did on Defiled in Oblivion. Castrator infused Coronation of the Grotesque with an altogether better flow as well, filled with stronger songwriting.
From the tragic, ruthless killing of Mahsa Amini to the abhorrent deeds of predator Naasón Joaquín García (“Covenant of Deceit”) and the ancient Sumerian eunuchization of males meant for slavery and servitude (“I Am Eunuch”), Castrator forgoes pedestrian blood-n-guts to focus more on the societal ills of injustice and human suffering, which adds a layer of gravitas and intelligence to the proceedings. Coronation of the Grotesque packs a walloping punch, and my quibbles with it are few, my biggest being what seems to be Castrator’s habit of tacking a cover song on the end of their albums. Defiled in Oblivion’s version of “Countess Bathory” was fine but unnecessary, as too is the superfluous inclusion of Castrator’s version of Exodus’ excellent “Metal Command” here. I didn’t find it engaging at all, and it diminished what could have been a more visceral conclusion had “Discordant Rumination,” with its final bits sounding reminiscent of the mid-section in Pantera’s “Strength Beyond Strength,” ushered things to a close.
I walked away from Coronation of the Grotesque with the same “Fuck yah!” feeling I had when watching that scene from G.I. Jane, when a bloodied and beaten Demi Moore raises her battered head to scream “Suck my dick!” at her domineering master chief. Castrator are legit, no doubt, and their excellence shouldn’t be any more impressive because they’re all female, but it is, and I am here for it. If you liked Defiled in Oblivion, you’ll love this. If you’re hearing about Castrator for the first time, Coronation of the Grotesque is definitely worth spinning. I can’t wait to see what they do next.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320kbps mp3
Label: Dark Descent Records
Websites: Bandcamp | Facebook
Releases Worldwide: August 15th, 2025#2025 #35 #Aug25 #CannibalCorpse #Castrator #CoronationOfTheGrotesque #DarkDescentRecords #DeathMetal #Deicide #MorbidAngelDeathMetal #NewYorkDeathMetal #Review
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Castrator – Coronation of the Grotesque Review
By Tyme
With Burdizzo‘s ready, New York’s female death metal foursome Castrator are back to crush spermatic cords and eviscerate eardrums with their second album, Coronation of the Grotesque. Despite forming in 2013, Castrator didn’t release Defiled in Oblivion until 2022, that debut finding its way into the hairy palms and ears of our very own, stun baton-wielding overlord Steel, who gave it a respectable 3.0/5.0. While founding drummer Carolina Peréz (Hypoxia, Mama Killa), bassist Robin Mazen (Derkéta, Gruesome), and Defiled in Oblivion vocalist Clarissa Badini (Vicious Blade)1 return for another go-round, guitarist Kimberly Orellana, lauded by Steel as one of Castrator’s biggest assets, was replaced by Sara Loerlein from The Breathing Process. With some concern about the impact this lineup change would have, I soldiered on to determine if Coronation of the Grotesque finds Castrator at their most vicious, or serves as a signal this beast needs spayed.
Clinging to many of the ’80s and ’90s death metal tropes that fueled the fires of their debut, Castrator didn’t steer Coronation of the Grotesque into any new, uncharted territory. Still sonically sliced from the same loins as Cannibal Corpse, Deicide, and Morbid Angel, the formula repeats as bludgeoning bass lines and battering ram drumming set the boundaries within which all the brutal riffs, shredding solos, chugging breakdowns, and bestial vocals do their work—standard fare, yes, but excellently executed. Within seconds of the opening throat punch that is “Fragments of Defiance,” a barbarous ballbuster full of powerhouse riffage and lots of Rick Rozz-inspired whammy dives, it’s apparent that Castrator has upped their game. Clarissa Badini, in particular, has further refined her technique, inflections of David Vincent and traces of Glen Benton intact; her gutturals are even more rib-rattling, and when positioned against or layered under her higher-pitched raspy screams, the effect is absolute devastation. Bucking the predominantly masculine milieu in which they operate, Castrator continues their march toward the death metal elite, and Coronation of the Grotesque is the staircase they ascend.
From performance to production, each aspect of Coronation of the Grotesque improves on Castrator’s past. As good as Orellana was on Defiled in Oblivion, Sara Loerlein completely shreds her way through Coronation of the Grotesque’s thirty-seven-minute runtime. From the frenzied, dissonant leads and Deicide-ic chugs of “I Am Eunuch” to the thrashy, speedy riffs and Celtic Frost-ian breakdowns of “Deviant Miscreant,” Loerlein proves an upgrade, and her soloing, whether melodically melancholic (“Remnants of Chaos”) or full-on fretboard furious (“Blood Bind’s Curse,” “Mortem Opeterie”), is excellent. Spotlighted in its space by Noah Buchanan’s great production work, which also manages to bring more power to Pérez’s drums and allows Manzen’s bass work to shine through in a way it never did on Defiled in Oblivion. Castrator infused Coronation of the Grotesque with an altogether better flow as well, filled with stronger songwriting.
From the tragic, ruthless killing of Mahsa Amini to the abhorrent deeds of predator Naasón Joaquín García (“Covenant of Deceit”) and the ancient Sumerian eunuchization of males meant for slavery and servitude (“I Am Eunuch”), Castrator forgoes pedestrian blood-n-guts to focus more on the societal ills of injustice and human suffering, which adds a layer of gravitas and intelligence to the proceedings. Coronation of the Grotesque packs a walloping punch, and my quibbles with it are few, my biggest being what seems to be Castrator’s habit of tacking a cover song on the end of their albums. Defiled in Oblivion’s version of “Countess Bathory” was fine but unnecessary, as too is the superfluous inclusion of Castrator’s version of Exodus’ excellent “Metal Command” here. I didn’t find it engaging at all, and it diminished what could have been a more visceral conclusion had “Discordant Rumination,” with its final bits sounding reminiscent of the mid-section in Pantera’s “Strength Beyond Strength,” ushered things to a close.
I walked away from Coronation of the Grotesque with the same “Fuck yah!” feeling I had when watching that scene from G.I. Jane, when a bloodied and beaten Demi Moore raises her battered head to scream “Suck my dick!” at her domineering master chief. Castrator are legit, no doubt, and their excellence shouldn’t be any more impressive because they’re all female, but it is, and I am here for it. If you liked Defiled in Oblivion, you’ll love this. If you’re hearing about Castrator for the first time, Coronation of the Grotesque is definitely worth spinning. I can’t wait to see what they do next.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320kbps mp3
Label: Dark Descent Records
Websites: Bandcamp | Facebook
Releases Worldwide: August 15th, 2025#2025 #35 #Aug25 #CannibalCorpse #Castrator #CoronationOfTheGrotesque #DarkDescentRecords #DeathMetal #Deicide #MorbidAngelDeathMetal #NewYorkDeathMetal #Review
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Castrator – Coronation of the Grotesque Review
By Tyme
With Burdizzo‘s ready, New York’s female death metal foursome Castrator are back to crush spermatic cords and eviscerate eardrums with their second album, Coronation of the Grotesque. Despite forming in 2013, Castrator didn’t release Defiled in Oblivion until 2022, that debut finding its way into the hairy palms and ears of our very own, stun baton-wielding overlord Steel, who gave it a respectable 3.0/5.0. While founding drummer Carolina Peréz (Hypoxia, Mama Killa), bassist Robin Mazen (Derkéta, Gruesome), and Defiled in Oblivion vocalist Clarissa Badini (Vicious Blade)1 return for another go-round, guitarist Kimberly Orellana, lauded by Steel as one of Castrator’s biggest assets, was replaced by Sara Loerlein from The Breathing Process. With some concern about the impact this lineup change would have, I soldiered on to determine if Coronation of the Grotesque finds Castrator at their most vicious, or serves as a signal this beast needs spayed.
Clinging to many of the ’80s and ’90s death metal tropes that fueled the fires of their debut, Castrator didn’t steer Coronation of the Grotesque into any new, uncharted territory. Still sonically sliced from the same loins as Cannibal Corpse, Deicide, and Morbid Angel, the formula repeats as bludgeoning bass lines and battering ram drumming set the boundaries within which all the brutal riffs, shredding solos, chugging breakdowns, and bestial vocals do their work—standard fare, yes, but excellently executed. Within seconds of the opening throat punch that is “Fragments of Defiance,” a barbarous ballbuster full of powerhouse riffage and lots of Rick Rozz-inspired whammy dives, it’s apparent that Castrator has upped their game. Clarissa Badini, in particular, has further refined her technique, inflections of David Vincent and traces of Glen Benton intact; her gutturals are even more rib-rattling, and when positioned against or layered under her higher-pitched raspy screams, the effect is absolute devastation. Bucking the predominantly masculine milieu in which they operate, Castrator continues their march toward the death metal elite, and Coronation of the Grotesque is the staircase they ascend.
From performance to production, each aspect of Coronation of the Grotesque improves on Castrator’s past. As good as Orellana was on Defiled in Oblivion, Sara Loerlein completely shreds her way through Coronation of the Grotesque’s thirty-seven-minute runtime. From the frenzied, dissonant leads and Deicide-ic chugs of “I Am Eunuch” to the thrashy, speedy riffs and Celtic Frost-ian breakdowns of “Deviant Miscreant,” Loerlein proves an upgrade, and her soloing, whether melodically melancholic (“Remnants of Chaos”) or full-on fretboard furious (“Blood Bind’s Curse,” “Mortem Opeterie”), is excellent. Spotlighted in its space by Noah Buchanan’s great production work, which also manages to bring more power to Pérez’s drums and allows Manzen’s bass work to shine through in a way it never did on Defiled in Oblivion. Castrator infused Coronation of the Grotesque with an altogether better flow as well, filled with stronger songwriting.
From the tragic, ruthless killing of Mahsa Amini to the abhorrent deeds of predator Naasón Joaquín García (“Covenant of Deceit”) and the ancient Sumerian eunuchization of males meant for slavery and servitude (“I Am Eunuch”), Castrator forgoes pedestrian blood-n-guts to focus more on the societal ills of injustice and human suffering, which adds a layer of gravitas and intelligence to the proceedings. Coronation of the Grotesque packs a walloping punch, and my quibbles with it are few, my biggest being what seems to be Castrator’s habit of tacking a cover song on the end of their albums. Defiled in Oblivion’s version of “Countess Bathory” was fine but unnecessary, as too is the superfluous inclusion of Castrator’s version of Exodus’ excellent “Metal Command” here. I didn’t find it engaging at all, and it diminished what could have been a more visceral conclusion had “Discordant Rumination,” with its final bits sounding reminiscent of the mid-section in Pantera’s “Strength Beyond Strength,” ushered things to a close.
I walked away from Coronation of the Grotesque with the same “Fuck yah!” feeling I had when watching that scene from G.I. Jane, when a bloodied and beaten Demi Moore raises her battered head to scream “Suck my dick!” at her domineering master chief. Castrator are legit, no doubt, and their excellence shouldn’t be any more impressive because they’re all female, but it is, and I am here for it. If you liked Defiled in Oblivion, you’ll love this. If you’re hearing about Castrator for the first time, Coronation of the Grotesque is definitely worth spinning. I can’t wait to see what they do next.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320kbps mp3
Label: Dark Descent Records
Websites: Bandcamp | Facebook
Releases Worldwide: August 15th, 2025#2025 #35 #Aug25 #CannibalCorpse #Castrator #CoronationOfTheGrotesque #DarkDescentRecords #DeathMetal #Deicide #MorbidAngelDeathMetal #NewYorkDeathMetal #Review
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Ava Mendoza/Gabby Fluke-Mogul/Carolina Pérez – Mama Killa Review
By Angry Metal Guy
By: Nameless_n00b_601
The more experimental a piece of music is, the harder it must work to ground its artistic expression in an emotional or compositional core. Dazzling displays of aural innovation or sonic provocation still need a conceptual throughline—something for even the most open-minded listener to latch onto. As a fan of more “challenging” styles, I find there’s a fine line between music that feels like “artistic expression for its own sake” and music that offers “engaging tunes I actually want to listen to.” Mama Killa is the debut improvisational collaborative album from a trio with an impressive musical pedigree, consisting of guitarist Ava Mendoza (Bill Orcutt Guitar Quartet, Unnatural Ways), violinist Gabby Fluke-Mogul (Zoh Amba, Ivo Perelman, William Parker), and drummer Carolina Pérez (Hypoxia, Castrator). Named after the Incan goddess of the moon, the album promises “eight tracks of high-volume, riff-based guitar-violin improvisation bolstered by thunderous drumming.” Can this newly formed power trio avoid the common pitfalls of experimental music and deliver over 50 minutes of compelling, instrumental free jazz?
Mama Killa offers a set of compositions that resist easy classification. While “free jazz” is likely the closest label, the sound here is a novel fusion of dissonant aesthetics, ambient impulses, Afro-Latin grooves, and avant-garde metal. I’d point to John Zorn’s more metal-focused offerings, or the most recent Mamaleek albums as potential antecedents, but Mama Killa truly sounds like nothing else. Each player draws from their unique background to craft performances that exist at a stylistic crossroads. Mendoza’s guitar work ranges from off-kilter psychedelic blues riffs, effects-heavy noise, and introspective drone, punctuated by ethereal, tremolo-picked leads. Her ingenuity is matched by Fluke-Mogul, whose violin playing is both versatile and unpredictable. She uses an array of techniques and effects pedals to summon everything from shrieking wails to rhythmic plucking and somber melodies. Pérez, meanwhile, brings her death metal roots to the drum kit, incorporating double bass gallops and anchoring the string players with a solid, rock-oriented foundation. While her style may lack the finesse and tight precision of a traditional jazz drummer, her command of dynamics, fluidity, and aggression elevate the string pyrotechnics of her bandmates.
The album and its track list are held together by a close attention to dynamics, allowing the listener to distinguish peaks from valleys in what might otherwise feel like formless terrain. High-intensity, riff-driven tracks like raucous opener “Puma Punku,” the black metal-tinged “We Will Be Millions” and the krautrock-inspired “Nowhere but Here” are spaced out by slower, more contemplative pieces that highlight different elements of the trio’s artistry. “Trichocereus Pachanoi” places Pérez in the spotlight with an undulating drum solo that eventually gives way to Sunn O)))-like waves of guitar drone—a motif expanded in the tense and unsettling “Mama Huaco.” Meanwhile, “Partera Party” centers Fluke-Mogul, who begins with a sparse, exhilarating violin solo before easing into an almost playful groove once the drums enter. This sense of contrast lends Mama Killa a strong pacing. Whenever the trio’s intensity hits a peak, it is soon tempered by several minutes of minimalist reflection. While some of the quieter moments occasionally linger a bit too long, the album overall offers a surprisingly well-balanced listening experience, especially for a genre so rooted in unpredictability.
It helps that Mama Killa features a raw, no-frills production style that not only highlights its careful use of dynamics but also brings sonic clarity to its adventurous performances. Legendary engineer Martin Bisi (Sonic Youth, Swans, Boredoms) captures everything from the subtle hiss of Mendosa’s amps to the soft timbre of Pérez’s cymbal wash, placing the listener firmly in the room without relying on studio tricks that might dilute the emotion of these pieces. This allows the gorgeous violin melody of “Amazing Graces” and the slow-burn, post-rock build of the closer “Mama Coco” to truly resonate. Unfortunately, the production does highlight a somewhat weak vocal performance on 2 tracks (“Puma Punku” and “Nowhere but Here”), where improvised blackened yelps appear to distract from the stellar instrumental parts. This is ultimately a small complaint, but it does detract slightly from an otherwise impressive work.
Mama Killa is an exciting debut that manages to both chart new sonic territory and entertain while doing so. It certainly stands as a challenging work which listeners might not be keen to partake in regularly, but for those willing to embark, Mama Killa offers a unique and varied work of experimental music with a sly thematic core. It’s an album where each contributor’s artistic voice is clearly discernible, and their cohesion elevates this collection of improvised music beyond typical genre pitfalls. If the trio finds time amid their busy musical schedules to release another project, it will be exciting to see how they might further develop an already compelling formula.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: Lossless
Label: Burning Ambulance Music
Website: mendozaflukemogulperez.bandcamp.com
Releases Worldwide: July 11th, 2025#2025 #AvaMendozaGabbyFlukeMogulCarolinaPérez #Castrator #FreeJazz #Hypoxia #JohnZorn #Jul25 #Mamaleek #Progressive #Review #Reviews #Sunn #SunnO_ #Swans
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Ava Mendoza/Gabby Fluke-Mogul/Carolina Pérez – Mama Killa Review
By Angry Metal Guy
By: Nameless_n00b_601
The more experimental a piece of music is, the harder it must work to ground its artistic expression in an emotional or compositional core. Dazzling displays of aural innovation or sonic provocation still need a conceptual throughline—something for even the most open-minded listener to latch onto. As a fan of more “challenging” styles, I find there’s a fine line between music that feels like “artistic expression for its own sake” and music that offers “engaging tunes I actually want to listen to.” Mama Killa is the debut improvisational collaborative album from a trio with an impressive musical pedigree, consisting of guitarist Ava Mendoza (Bill Orcutt Guitar Quartet, Unnatural Ways), violinist Gabby Fluke-Mogul (Zoh Amba, Ivo Perelman, William Parker), and drummer Carolina Pérez (Hypoxia, Castrator). Named after the Incan goddess of the moon, the album promises “eight tracks of high-volume, riff-based guitar-violin improvisation bolstered by thunderous drumming.” Can this newly formed power trio avoid the common pitfalls of experimental music and deliver over 50 minutes of compelling, instrumental free jazz?
Mama Killa offers a set of compositions that resist easy classification. While “free jazz” is likely the closest label, the sound here is a novel fusion of dissonant aesthetics, ambient impulses, Afro-Latin grooves, and avant-garde metal. I’d point to John Zorn’s more metal-focused offerings, or the most recent Mamaleek albums as potential antecedents, but Mama Killa truly sounds like nothing else. Each player draws from their unique background to craft performances that exist at a stylistic crossroads. Mendoza’s guitar work ranges from off-kilter psychedelic blues riffs, effects-heavy noise, and introspective drone, punctuated by ethereal, tremolo-picked leads. Her ingenuity is matched by Fluke-Mogul, whose violin playing is both versatile and unpredictable. She uses an array of techniques and effects pedals to summon everything from shrieking wails to rhythmic plucking and somber melodies. Pérez, meanwhile, brings her death metal roots to the drum kit, incorporating double bass gallops and anchoring the string players with a solid, rock-oriented foundation. While her style may lack the finesse and tight precision of a traditional jazz drummer, her command of dynamics, fluidity, and aggression elevate the string pyrotechnics of her bandmates.
The album and its track list are held together by a close attention to dynamics, allowing the listener to distinguish peaks from valleys in what might otherwise feel like formless terrain. High-intensity, riff-driven tracks like raucous opener “Puma Punku,” the black metal-tinged “We Will Be Millions” and the krautrock-inspired “Nowhere but Here” are spaced out by slower, more contemplative pieces that highlight different elements of the trio’s artistry. “Trichocereus Pachanoi” places Pérez in the spotlight with an undulating drum solo that eventually gives way to Sunn O)))-like waves of guitar drone—a motif expanded in the tense and unsettling “Mama Huaco.” Meanwhile, “Partera Party” centers Fluke-Mogul, who begins with a sparse, exhilarating violin solo before easing into an almost playful groove once the drums enter. This sense of contrast lends Mama Killa a strong pacing. Whenever the trio’s intensity hits a peak, it is soon tempered by several minutes of minimalist reflection. While some of the quieter moments occasionally linger a bit too long, the album overall offers a surprisingly well-balanced listening experience, especially for a genre so rooted in unpredictability.
It helps that Mama Killa features a raw, no-frills production style that not only highlights its careful use of dynamics but also brings sonic clarity to its adventurous performances. Legendary engineer Martin Bisi (Sonic Youth, Swans, Boredoms) captures everything from the subtle hiss of Mendosa’s amps to the soft timbre of Pérez’s cymbal wash, placing the listener firmly in the room without relying on studio tricks that might dilute the emotion of these pieces. This allows the gorgeous violin melody of “Amazing Graces” and the slow-burn, post-rock build of the closer “Mama Coco” to truly resonate. Unfortunately, the production does highlight a somewhat weak vocal performance on 2 tracks (“Puma Punku” and “Nowhere but Here”), where improvised blackened yelps appear to distract from the stellar instrumental parts. This is ultimately a small complaint, but it does detract slightly from an otherwise impressive work.
Mama Killa is an exciting debut that manages to both chart new sonic territory and entertain while doing so. It certainly stands as a challenging work which listeners might not be keen to partake in regularly, but for those willing to embark, Mama Killa offers a unique and varied work of experimental music with a sly thematic core. It’s an album where each contributor’s artistic voice is clearly discernible, and their cohesion elevates this collection of improvised music beyond typical genre pitfalls. If the trio finds time amid their busy musical schedules to release another project, it will be exciting to see how they might further develop an already compelling formula.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: Lossless
Label: Burning Ambulance Music
Website: mendozaflukemogulperez.bandcamp.com
Releases Worldwide: July 11th, 2025#2025 #AvaMendozaGabbyFlukeMogulCarolinaPérez #Castrator #FreeJazz #Hypoxia #JohnZorn #Jul25 #Mamaleek #Progressive #Review #Reviews #Sunn #SunnO_ #Swans
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Ava Mendoza/Gabby Fluke-Mogul/Carolina Pérez – Mama Killa Review
By Angry Metal Guy
By: Nameless_n00b_601
The more experimental a piece of music is, the harder it must work to ground its artistic expression in an emotional or compositional core. Dazzling displays of aural innovation or sonic provocation still need a conceptual throughline—something for even the most open-minded listener to latch onto. As a fan of more “challenging” styles, I find there’s a fine line between music that feels like “artistic expression for its own sake” and music that offers “engaging tunes I actually want to listen to.” Mama Killa is the debut improvisational collaborative album from a trio with an impressive musical pedigree, consisting of guitarist Ava Mendoza (Bill Orcutt Guitar Quartet, Unnatural Ways), violinist Gabby Fluke-Mogul (Zoh Amba, Ivo Perelman, William Parker), and drummer Carolina Pérez (Hypoxia, Castrator). Named after the Incan goddess of the moon, the album promises “eight tracks of high-volume, riff-based guitar-violin improvisation bolstered by thunderous drumming.” Can this newly formed power trio avoid the common pitfalls of experimental music and deliver over 50 minutes of compelling, instrumental free jazz?
Mama Killa offers a set of compositions that resist easy classification. While “free jazz” is likely the closest label, the sound here is a novel fusion of dissonant aesthetics, ambient impulses, Afro-Latin grooves, and avant-garde metal. I’d point to John Zorn’s more metal-focused offerings, or the most recent Mamaleek albums as potential antecedents, but Mama Killa truly sounds like nothing else. Each player draws from their unique background to craft performances that exist at a stylistic crossroads. Mendoza’s guitar work ranges from off-kilter psychedelic blues riffs, effects-heavy noise, and introspective drone, punctuated by ethereal, tremolo-picked leads. Her ingenuity is matched by Fluke-Mogul, whose violin playing is both versatile and unpredictable. She uses an array of techniques and effects pedals to summon everything from shrieking wails to rhythmic plucking and somber melodies. Pérez, meanwhile, brings her death metal roots to the drum kit, incorporating double bass gallops and anchoring the string players with a solid, rock-oriented foundation. While her style may lack the finesse and tight precision of a traditional jazz drummer, her command of dynamics, fluidity, and aggression elevate the string pyrotechnics of her bandmates.
The album and its track list are held together by a close attention to dynamics, allowing the listener to distinguish peaks from valleys in what might otherwise feel like formless terrain. High-intensity, riff-driven tracks like raucous opener “Puma Punku,” the black metal-tinged “We Will Be Millions” and the krautrock-inspired “Nowhere but Here” are spaced out by slower, more contemplative pieces that highlight different elements of the trio’s artistry. “Trichocereus Pachanoi” places Pérez in the spotlight with an undulating drum solo that eventually gives way to Sunn O)))-like waves of guitar drone—a motif expanded in the tense and unsettling “Mama Huaco.” Meanwhile, “Partera Party” centers Fluke-Mogul, who begins with a sparse, exhilarating violin solo before easing into an almost playful groove once the drums enter. This sense of contrast lends Mama Killa a strong pacing. Whenever the trio’s intensity hits a peak, it is soon tempered by several minutes of minimalist reflection. While some of the quieter moments occasionally linger a bit too long, the album overall offers a surprisingly well-balanced listening experience, especially for a genre so rooted in unpredictability.
It helps that Mama Killa features a raw, no-frills production style that not only highlights its careful use of dynamics but also brings sonic clarity to its adventurous performances. Legendary engineer Martin Bisi (Sonic Youth, Swans, Boredoms) captures everything from the subtle hiss of Mendosa’s amps to the soft timbre of Pérez’s cymbal wash, placing the listener firmly in the room without relying on studio tricks that might dilute the emotion of these pieces. This allows the gorgeous violin melody of “Amazing Graces” and the slow-burn, post-rock build of the closer “Mama Coco” to truly resonate. Unfortunately, the production does highlight a somewhat weak vocal performance on 2 tracks (“Puma Punku” and “Nowhere but Here”), where improvised blackened yelps appear to distract from the stellar instrumental parts. This is ultimately a small complaint, but it does detract slightly from an otherwise impressive work.
Mama Killa is an exciting debut that manages to both chart new sonic territory and entertain while doing so. It certainly stands as a challenging work which listeners might not be keen to partake in regularly, but for those willing to embark, Mama Killa offers a unique and varied work of experimental music with a sly thematic core. It’s an album where each contributor’s artistic voice is clearly discernible, and their cohesion elevates this collection of improvised music beyond typical genre pitfalls. If the trio finds time amid their busy musical schedules to release another project, it will be exciting to see how they might further develop an already compelling formula.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: Lossless
Label: Burning Ambulance Music
Website: mendozaflukemogulperez.bandcamp.com
Releases Worldwide: July 11th, 2025#2025 #AvaMendozaGabbyFlukeMogulCarolinaPérez #Castrator #FreeJazz #Hypoxia #JohnZorn #Jul25 #Mamaleek #Progressive #Review #Reviews #Sunn #SunnO_ #Swans
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Ava Mendoza/Gabby Fluke-Mogul/Carolina Pérez – Mama Killa Review
By Angry Metal Guy
By: Nameless_n00b_601
The more experimental a piece of music is, the harder it must work to ground its artistic expression in an emotional or compositional core. Dazzling displays of aural innovation or sonic provocation still need a conceptual throughline—something for even the most open-minded listener to latch onto. As a fan of more “challenging” styles, I find there’s a fine line between music that feels like “artistic expression for its own sake” and music that offers “engaging tunes I actually want to listen to.” Mama Killa is the debut improvisational collaborative album from a trio with an impressive musical pedigree, consisting of guitarist Ava Mendoza (Bill Orcutt Guitar Quartet, Unnatural Ways), violinist Gabby Fluke-Mogul (Zoh Amba, Ivo Perelman, William Parker), and drummer Carolina Pérez (Hypoxia, Castrator). Named after the Incan goddess of the moon, the album promises “eight tracks of high-volume, riff-based guitar-violin improvisation bolstered by thunderous drumming.” Can this newly formed power trio avoid the common pitfalls of experimental music and deliver over 50 minutes of compelling, instrumental free jazz?
Mama Killa offers a set of compositions that resist easy classification. While “free jazz” is likely the closest label, the sound here is a novel fusion of dissonant aesthetics, ambient impulses, Afro-Latin grooves, and avant-garde metal. I’d point to John Zorn’s more metal-focused offerings, or the most recent Mamaleek albums as potential antecedents, but Mama Killa truly sounds like nothing else. Each player draws from their unique background to craft performances that exist at a stylistic crossroads. Mendoza’s guitar work ranges from off-kilter psychedelic blues riffs, effects-heavy noise, and introspective drone, punctuated by ethereal, tremolo-picked leads. Her ingenuity is matched by Fluke-Mogul, whose violin playing is both versatile and unpredictable. She uses an array of techniques and effects pedals to summon everything from shrieking wails to rhythmic plucking and somber melodies. Pérez, meanwhile, brings her death metal roots to the drum kit, incorporating double bass gallops and anchoring the string players with a solid, rock-oriented foundation. While her style may lack the finesse and tight precision of a traditional jazz drummer, her command of dynamics, fluidity, and aggression elevate the string pyrotechnics of her bandmates.
The album and its track list are held together by a close attention to dynamics, allowing the listener to distinguish peaks from valleys in what might otherwise feel like formless terrain. High-intensity, riff-driven tracks like raucous opener “Puma Punku,” the black metal-tinged “We Will Be Millions” and the krautrock-inspired “Nowhere but Here” are spaced out by slower, more contemplative pieces that highlight different elements of the trio’s artistry. “Trichocereus Pachanoi” places Pérez in the spotlight with an undulating drum solo that eventually gives way to Sunn O)))-like waves of guitar drone—a motif expanded in the tense and unsettling “Mama Huaco.” Meanwhile, “Partera Party” centers Fluke-Mogul, who begins with a sparse, exhilarating violin solo before easing into an almost playful groove once the drums enter. This sense of contrast lends Mama Killa a strong pacing. Whenever the trio’s intensity hits a peak, it is soon tempered by several minutes of minimalist reflection. While some of the quieter moments occasionally linger a bit too long, the album overall offers a surprisingly well-balanced listening experience, especially for a genre so rooted in unpredictability.
It helps that Mama Killa features a raw, no-frills production style that not only highlights its careful use of dynamics but also brings sonic clarity to its adventurous performances. Legendary engineer Martin Bisi (Sonic Youth, Swans, Boredoms) captures everything from the subtle hiss of Mendosa’s amps to the soft timbre of Pérez’s cymbal wash, placing the listener firmly in the room without relying on studio tricks that might dilute the emotion of these pieces. This allows the gorgeous violin melody of “Amazing Graces” and the slow-burn, post-rock build of the closer “Mama Coco” to truly resonate. Unfortunately, the production does highlight a somewhat weak vocal performance on 2 tracks (“Puma Punku” and “Nowhere but Here”), where improvised blackened yelps appear to distract from the stellar instrumental parts. This is ultimately a small complaint, but it does detract slightly from an otherwise impressive work.
Mama Killa is an exciting debut that manages to both chart new sonic territory and entertain while doing so. It certainly stands as a challenging work which listeners might not be keen to partake in regularly, but for those willing to embark, Mama Killa offers a unique and varied work of experimental music with a sly thematic core. It’s an album where each contributor’s artistic voice is clearly discernible, and their cohesion elevates this collection of improvised music beyond typical genre pitfalls. If the trio finds time amid their busy musical schedules to release another project, it will be exciting to see how they might further develop an already compelling formula.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: Lossless
Label: Burning Ambulance Music
Website: mendozaflukemogulperez.bandcamp.com
Releases Worldwide: July 11th, 2025#2025 #AvaMendozaGabbyFlukeMogulCarolinaPérez #Castrator #FreeJazz #Hypoxia #JohnZorn #Jul25 #Mamaleek #Progressive #Review #Reviews #Sunn #SunnO_ #Swans
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Ava Mendoza/Gabby Fluke-Mogul/Carolina Pérez – Mama Killa Review
By Angry Metal Guy
By: Nameless_n00b_601
The more experimental a piece of music is, the harder it must work to ground its artistic expression in an emotional or compositional core. Dazzling displays of aural innovation or sonic provocation still need a conceptual throughline—something for even the most open-minded listener to latch onto. As a fan of more “challenging” styles, I find there’s a fine line between music that feels like “artistic expression for its own sake” and music that offers “engaging tunes I actually want to listen to.” Mama Killa is the debut improvisational collaborative album from a trio with an impressive musical pedigree, consisting of guitarist Ava Mendoza (Bill Orcutt Guitar Quartet, Unnatural Ways), violinist Gabby Fluke-Mogul (Zoh Amba, Ivo Perelman, William Parker), and drummer Carolina Pérez (Hypoxia, Castrator). Named after the Incan goddess of the moon, the album promises “eight tracks of high-volume, riff-based guitar-violin improvisation bolstered by thunderous drumming.” Can this newly formed power trio avoid the common pitfalls of experimental music and deliver over 50 minutes of compelling, instrumental free jazz?
Mama Killa offers a set of compositions that resist easy classification. While “free jazz” is likely the closest label, the sound here is a novel fusion of dissonant aesthetics, ambient impulses, Afro-Latin grooves, and avant-garde metal. I’d point to John Zorn’s more metal-focused offerings, or the most recent Mamaleek albums as potential antecedents, but Mama Killa truly sounds like nothing else. Each player draws from their unique background to craft performances that exist at a stylistic crossroads. Mendoza’s guitar work ranges from off-kilter psychedelic blues riffs, effects-heavy noise, and introspective drone, punctuated by ethereal, tremolo-picked leads. Her ingenuity is matched by Fluke-Mogul, whose violin playing is both versatile and unpredictable. She uses an array of techniques and effects pedals to summon everything from shrieking wails to rhythmic plucking and somber melodies. Pérez, meanwhile, brings her death metal roots to the drum kit, incorporating double bass gallops and anchoring the string players with a solid, rock-oriented foundation. While her style may lack the finesse and tight precision of a traditional jazz drummer, her command of dynamics, fluidity, and aggression elevate the string pyrotechnics of her bandmates.
The album and its track list are held together by a close attention to dynamics, allowing the listener to distinguish peaks from valleys in what might otherwise feel like formless terrain. High-intensity, riff-driven tracks like raucous opener “Puma Punku,” the black metal-tinged “We Will Be Millions” and the krautrock-inspired “Nowhere but Here” are spaced out by slower, more contemplative pieces that highlight different elements of the trio’s artistry. “Trichocereus Pachanoi” places Pérez in the spotlight with an undulating drum solo that eventually gives way to Sunn O)))-like waves of guitar drone—a motif expanded in the tense and unsettling “Mama Huaco.” Meanwhile, “Partera Party” centers Fluke-Mogul, who begins with a sparse, exhilarating violin solo before easing into an almost playful groove once the drums enter. This sense of contrast lends Mama Killa a strong pacing. Whenever the trio’s intensity hits a peak, it is soon tempered by several minutes of minimalist reflection. While some of the quieter moments occasionally linger a bit too long, the album overall offers a surprisingly well-balanced listening experience, especially for a genre so rooted in unpredictability.
It helps that Mama Killa features a raw, no-frills production style that not only highlights its careful use of dynamics but also brings sonic clarity to its adventurous performances. Legendary engineer Martin Bisi (Sonic Youth, Swans, Boredoms) captures everything from the subtle hiss of Mendosa’s amps to the soft timbre of Pérez’s cymbal wash, placing the listener firmly in the room without relying on studio tricks that might dilute the emotion of these pieces. This allows the gorgeous violin melody of “Amazing Graces” and the slow-burn, post-rock build of the closer “Mama Coco” to truly resonate. Unfortunately, the production does highlight a somewhat weak vocal performance on 2 tracks (“Puma Punku” and “Nowhere but Here”), where improvised blackened yelps appear to distract from the stellar instrumental parts. This is ultimately a small complaint, but it does detract slightly from an otherwise impressive work.
Mama Killa is an exciting debut that manages to both chart new sonic territory and entertain while doing so. It certainly stands as a challenging work which listeners might not be keen to partake in regularly, but for those willing to embark, Mama Killa offers a unique and varied work of experimental music with a sly thematic core. It’s an album where each contributor’s artistic voice is clearly discernible, and their cohesion elevates this collection of improvised music beyond typical genre pitfalls. If the trio finds time amid their busy musical schedules to release another project, it will be exciting to see how they might further develop an already compelling formula.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: Lossless
Label: Burning Ambulance Music
Website: mendozaflukemogulperez.bandcamp.com
Releases Worldwide: July 11th, 2025#2025 #AvaMendozaGabbyFlukeMogulCarolinaPérez #Castrator #FreeJazz #Hypoxia #JohnZorn #Jul25 #Mamaleek #Progressive #Review #Reviews #Sunn #SunnO_ #Swans
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CASTRATOR (Estats Units) presenta nou single: "Mortem Opeterie" #Castrator #DeathMetal #Abril2025 #EstatsUnits #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic
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#Castrator’s set was a LOVEFEST between crowd and band. 🥰 Secret smiles from the stage after each song, like “holy shit they love us this is AWESOME” #osdm #northwestterrorfest
