#cattledecapitation — Public Fediverse posts

So so, der Ausstieg aus der Atomkraft war also ein Fehler. Na dann mal den passenden Soundtrack für die Rückwärtsrolle 🤯 ☠️

https://song.link/t/115147574

#CattleDecapitation

Stuck in the Filter: October 2025’s Angry Misses

By Kenstrosity

They say it’s going to be a harsh winter this year. They always say that, and it’s almost never true, at least not from where I’ve set up camp. However, no matter the weather I am a harsh taskmaster, doling out grueling hours, no pay or benefits, and probably the worst coffee on the planet to my dutiful minions. It takes a special kind of person, motivated by pure unadulterated greed to ravenously scour the filter for dusty, almost-forgotten gems like they do.

But we are thankful for them for being exactly that! And we also benefit, in the form of quality(ish) chunks of glimmery, shimmery metal. BEHOLD!

Kenstrosity’s Riffy Representation

Xaoc // Repulsive Summoning [October 31, 2025 – Edgewood Arsenal Records]

Xaoc’s history is one of the more confusing I’ve encountered in my time writing for this blog. After breaking up in 2008, a new lineup spawned in 2022 to record and release Proxime Mortis from the ashes of songs written pre-breakup, supported by Edgewood Arsenal. At some point this year, two more members spawned in anticipation of this new slab Repulsive Summoning. But the band’s labeled as Split Up already on Metallum? I don’t understand what’s going on there, but at least I can say that Repulsive Summoning is a turbo banger! These riffs are bonkers, full of verve and swagger, brimming with groove and muscularity. A happy mix of Vomitory and Dormant Ordeal, this Virginian outfit know how to throw down. Highlights like “Ave Solva Coagula,” “Antima Samskara,” “The Great Perfected Ones,” and the entire “Degenerate Era” three-part suite reduce my body into a fine slurry by the grinding, vicious power of their riffs alone. But the rabid growls, ballistic percussion, and meaty guitar tones contain more than enough fuel to propel those riffs across this tight and thunderous 35-minute runtime. It’s a simple record, built to beat me down and leave me broken and bloodied, but it’s also an effortlessly memorable affair that leaves me wanting more despite the mounting medical bills. Don’t sleep on Xaoc!

Andy-War-Hall’s Succulent Surplus

Canvas of Silence // As the World Tree Fell [October 31st, 2025 – Rockshots Records]

Finnish symphonic metallers Canvas of Silence describe themselves as “prog-influenced chorus metal,” and that description goes far in outlining their debut As the World Tree Fell. Their core sound resembles a progged-out Nightwish moonlighting as a melodeath band, committing ludicrous bombast on symphonic-heavy cuts like “The Great Unknown” and “Wayfarer” amidst a sharp Gothenburg riff attack in “Watching the World Tree Fall” and “Drown.” Canvas of Silence mete out a balanced approach of light and dark sounds between Theocracyesque prog-power (“One With the Wind,” “Humanimal”) and Madder Mortem-like gothic twists (“Drown,” “Anthem for Ashes”), all reined in by the commanding vocal presence of singer Loimu Satakieli.1 Sitting somewhere between Anette Olzon (ex-Nightwish, The Dark Element) and Agnete Kierkevaag (Madder Mortem), her impassioned and heavily-layered singing turns As the World Tree Fell into a smörgåsbord of lush, catchy and anthemic tunes of an uplifting, sing-along nature. Optimism permeates As the World Tree Fell, felt at a fever pitch on the enormous choral bridge of “Humanimal” and the folky power metal jaunt of “One With the Wind.” Even on lyrically dark/mournful passages like “Wayfarer” and “Garden of the Fallen,” Canvas of Silence deliver soaring, hopeful crescendos that at times reach Fellowship levels of good cheer. Canvas of Silence can craft sincerely beautiful moments, and though As the World Tree Fell’s production can be sterile and overly loud2 I am nothing but excited to see what these Finns can cook up next.

Spicie Forrest’s Punky Proferrings

Violent Testimony // Aggravate [October 17th, 2025 – Horror Pain Gore Death Productions]

Do you wish there was more grind in your life? Well, Cheyenne, Wyoming’s Violent Testimony just assumed you would. Combining the punky flair of Napalm Death with the lead foot ethos of early Pig Destroyer and Cattle Decapitation, debut LP Aggravate is 26 minutes of delicious grindy goodness. From the opening salvo of “God Complex Massacre” to the final detonations of “Hit N’ Run,” Violent Testimony shows absolutely no restraint. D.N.’s Gatling drums mow down everything in their path while T.W.’s serpentine bass clears the chaff and flattens any obstruction. Shrapnel propelled by N.Y.’s brutish, breakneck riffing can be seen burying itself in concrete walls, still quivering (“Rider in the Night,” “Psychotic Episode”). Caustic growls and vitriolic screams tear from T.W.’s throat at mach fuck (“Flashbang Celebration,” “Obligatory Manifestation of Infinite Grind”). With only two tracks exceeding the two-minute mark, Violent Testimony screams their piece with as much sound and fury as possible before moving on and picking their next bone with the system. This keeps Aggravate a lean, densely-packed offering. If you need to get pissed off right now and even the fastest death metal is too slow, Violent Testimony is all too happy to decimate the opposition with you.

Uaar // Galger og Brann [October 17th, 2025 – Fysisk Format Records]

Hailing from Oslo, Norway, crust outfit Uaar celebrates their tenth birthday by releasing their debut LP. Galger og Brann, which means “Gallows and Fire” in Norwegian, expands on the foundations laid by established acts like Skitsystem and Tragedy. With one foot firmly planted in black metal and the other in hardcore, Uaar unleashes a cacophony of rage unfettered. D-beats abound, courtesy of Truls Friesl Berg, creating a frantic, enraged atmosphere. Dag Schaug Carlsen’s blackened rasps are so cold they burn, matching the evil pall hanging over tracks like “Galeås” and “Den siste.” Post-flecked, Ancsty tendencies (“Alt Skal Brenne,” “Overalt”) peek through the feral hardcore riffage (“Håpet forsvinner”) of guitarists Erik Berg Friesl and Jon Schaug Carlsen, while bassist Stian S. Evensen provides the muscle to convince you these guys aren’t screwing around. Uaar is well-versed in their base genres, alternating between and mixing black metal and hardcore effortlessly. The occasional blues-tinged heavy metal lead—as in “Overalt” and “Dolken”—keep Galger og Brann from being a one-note affair. With a dearth of standout blackened hardcore releases this year, Uaar’s Galger og Brann is a welcome—if late—addition to the list.

Scorching Tomb // Ossuary [October 24th, 2025 – Time to Kill Records]

I’ll be honest, I’ve never considered Montreal, Canada, to be prime death metal territory. Luckily, Scorching Tomb doesn’t care what I think. Debut LP Ossuary is an aural violation born of Tren-induced hardcore aggression and filthy old school death metal. With a guitar tone (Philippe Lelbanc) like sandpaper and a bass like swallowing gravel (Miguel Lepage), Scorching Tomb plays in the same cesspools as Bloodgutter and Rotpit. We normally associate melted faces with guitar solos, but that honor belongs to whatever corrosive noises issue forth from vocalist Vincent Patrick Lajeunesse’s guts. Drummer Émile Savard loves a blast beat, often detonating them in short bursts to support an already bone-breaking assault (“Feel the Blade”). “Stalagmite3 Impalement” and “Sanctum of Bones (Ossuary)” are particularly savage, with tetanus-inflicting riffs and bloodthirsty screams threatening to drag you into the crypt to be used for meal prep. On “Skullcrush,” Sanguisugabogg’s Devin Swank perfectly matches Scorching Tomb’s vile depravity, cementing them as a promising new act in the scene. Ossuary is raging, muscle-bound, caveman death metal drowned in a vat of viscera and sewage, and it tastes incredible.

ClarkKent’s Gratifying Goodies

Sutratma // Adrift [October 3rd, 2025 – Self-Release]

While I didn’t purposely seek out more doom during my self-imposed month of picking only doom promos, Sutratma’s fifth full-length, Adrift, ranks as one of the better doom albums I listened to in November. This California four-piece has been writing funeral doom for 15 years, and it shows in their ability to craft effective melancholic slow-burns that strike a balance between melody and crushingly heavy. Adrift impresses straight out the gate with the piano-drenched “Wind and Sea.” This song nicely melds the sorrowful softness of the piano with punishing guitar riffs and impressive growls. Just like stalwarts My Dying Bride, Sutratma mixes growls with cleans, and Daniel Larios’s cleans effectively hit you right in the feels while the growls take on a more despairing note. There’s plenty of variety from song to song, with organs stealing the show on “Guiding Star” and a lovely melody on “The Great Bereaver” that builds up to a moving finale. Just like with Oromet, there’s a serenity to the music that is calming, and the skilled songwriting and musicianship lends a poignancy to it all. With the frenzy of list season upon us, it’s nice to have something like this to remind us that it’s okay to just slow down—even when an angry ape is berating you for more content.

Starer // Ancient Monuments and Modern Sadness [October 10th, 2025 – Fiadh Productions]

Josh Hines, the one man behind black metal project, Starer, has been very busy. Since forming Starer in 2020, he has released four EPs and now, with the release of Ancient Monuments and Modern Sadness, four LPs. I first became acquainted with this band on 2023’s Wind, Breeze, or Breath and was taken in by Hines’s aggressively atmospheric take on black metal. Ancient Monuments and Modern Sadness hits the ground running on “I Cry Your Mother’s Blood” with some aggressively catchy melodies. The aggression continues on “Il-Kantilena” with its icy riffs and pumping blast beats. Meanwhile, “The Field of Reeds” combines the black n’ roll of Fell Omen with the fuzzy reverb of atmoblack for a rollicking good time. Hines screams into the void as subdued symphonics add layers of melody, providing a surprising amount of depth to each song. Because of the frenetic pace, the 50-minute runtime flies right by, even as songs like “Song of the Harper” do their best to vary the tempo. For black metal, the production is lush and gorgeous, giving air to all instruments. The epic, ten-minute finale is the culmination of Hines’s ability to put together complex and compelling music that both excites by its aggression and dazzles with its atmospherics. Black metal fans should not miss this one.

Grin Reaper’s Haunted Harvest

Black Cross Hotel // Songs for Switches [October 31st, 2025 – Someoddpilot Records]

Three years after dropping their favorably reviewed debut Hex, keys-drenched and industrialized outfit Black Cross Hotel returns bearing Songs for Switches. 80s-inspired synths, mid-paced chugs, and dance-ready grooves pack neatly into forty-one minutes of grubby fun, sure to interest fans of Ministry and Killing Joke, or anyone with a predilection for leather. Where Hex boasted a wider assortment of tempos, Songs for Switches narrows its focus to mid-paced songs with a keener emphasis on keyboard melodies. Averting a direction that could have been limiting, Black Cross Hotel smartly sidesteps this by shaving down song lengths and arranging the tracks for optimal pacing. Individual moments across the album evoke Me and That Man (“Eyes from Nowhere”), Soulfly (“Blood Dance”), and Joy Division (“Typo”), casting an eclectic array of sounds into Mount Gloom to forge ten dangerously fun tracks. Though I liked the album at first listen, it took multiple spins for Songs for Switches’ distilled aesthetic to fully unfurl, and once it did, my appreciation redoubled. With a sinister atmosphere designed as much for pain as pleasure, Black Cross Hotel has readied your room for a night you won’t forget.

Miasmata // Subterrania [October 31st, 2025 – Naturmacht Productions]

Still hawking their distinctive blend of meloblack and heavy metal, Miasmata dropped sophomore platter Subterrania on what was one of the most congested release days of 2025.4 In addition to the recurring influences of Windir (“Die at the Right Time”) and Iron Maiden (the intro to “Subterrania” smacks of The X Factor), Subterrania adds a dollop of thrash into the mix. Opener “Those Who Cross the Flame” struts out with a punky riff that wouldn’t be out of place on an Anthrax record, while “Full of the Devil” tastes as much like Testament or Havok as Diamond Head. The beauty of Miasmata, both on debut Unlight: Songs of Earth and Atrophy and Subterrania, is one-man mastermind Mike Wilson’s aptitude to synthesize a mighty host of influences into a unique sonic palette all his own. As Sharky noted in Unlight’s review, Miasmata has a knack for remarkable restraint. Subterrania clocks under forty minutes, layering slithery riffs upon one another in a way that propels the music in constant motion, shifting and unfolding so organically that the album slips by before you realize it’s over (an especially impressive feat considering the self-titled closer’s near fourteen-minute runtime). If you missed Miasmata’s latest on release day, go rectify that. Don’t let Subterrania get lost to the underground.

Dolphin Whisperer’s Autumnal Anomoly

夢遊病者 // РЛБ300119225 [October 28th, 2025 – Self Release]

As if plucked into lucidity from amidst a hazy, proggy machination, РЛБ30011922 steps into its narrative—an exploration of a beloved figure in its creator’s life, including sound clips describing the trials through which she persisted—with an entrancing stumble. Through an understated math rock lens, tight kit rhythms with a tension-building hi-hat clashes strut against a loud and leading bass voice across 37 minutes of fluid guitar textures. Whether it’s the chunky fusion reminiscent of Hackett-era Gordian Knot, the playful rhythmic post-rock that evokes a band like toe, or the fuzzed-out punctuation that tell a prog tale as ’70s King Crimson would, 夢遊病者, also known as Sleepwalker, makes their love of sound as clear as their love of РЛБ30011922’s inspiration. In a setting this free and detailed, not a single moment of this one-long-song opus passes by without taking a moment to focus on a given performer’s escalation in the drama of the movement. Wielding short guitar solos as segues into popping double-kick trots, spoken word exposition as pedal switch-up opportunities, all leading to a crescendo of bent and bluesy expression, 夢遊病者 succeeds in more than just holding an audience captive with their jammy and heartfelt statement. РЛБ30011922, like the shorter form releases that have graced these halls before, will have you coming back time and time again to explore its sentiments, which feel both traced from a dream yet rooted in rich, earthly tone pleasures.

Saunders’ Slinky Sneaks

Enragement // Extinguish All Existence [October 31st, 2025 – Transcending Obscurity]

The back end of 2025 has thrown down some delightfully vicious, chunkified, and straightforward death metal gems, courtesy of the likes of Depravity, Glorious Depravity and Terror Corpse. Not to be discounted, Finland’s Enragement dropped their own intense slab of brutal death on fourth LP, Extinguish All Existence. Cutting with any pleasantries, Enragement get down to business, slamming through a tight, burly collection of Americanized death, keenly treading a balance between thuggish beatdowns, chest-busting blasts, slammy, pig-squealing grooves, and more traditional, though deceptively diverse brutal death fare. Despite the certifiably crushing formula deployed, there is an air of accessibility, perhaps attributed to the clean but suitably beefy production job, bludgeoning, addictive grooves and sinister currents of atmospheric melody flowing through the album’s riff-centric veins. Thrashy, straightforward bursts of fury are tempered by more technical flourishes and an impressively versatile vocal assault. The likes of Devourment, Deeds of Flesh, Dawn of Demise and Benighted are perhaps fitting reference points, however, Enragement blast their own path of uncompromisingly heavy destruction.

Stephen Brodsky // Cut to the Core Vol. 1 [October 3rd, 2025 – Pax Aeturnum]

There are a couple of ways to broach this latest solo endeavor from lovable rogue and Cave In/Mutoid Man mastermind Stephen Brodsky. Brodsky delivers refreshed interpretations of various ’90s hardcore songs, reimagined in acoustic form. Those familiar with the original compositions will likely have fun dissecting and comparing the original anthems. While others, such as myself, largely unfamiliar with the originals, can enjoy these polished takes in their reimagined form, without comparison. Over the years, I have developed a strong connection with Brodsky’s works and come to appreciate his softer, acoustic flavorings. The likes of Snapcase, Converge, Texas is the Reason, Threadbare and By the Grace of God are some of the acts covered with typical style, zest, and emotion. Brodsky’s expressive and emotive delivery showcases both a loving appreciation of the material and deeper emotional connection that bleeds through the often darker, melancholic vibes of the acoustic constructions. The collection is remarkably consistent and infectious, highlighted by Brodsky’s crisp and soulful acoustic playing and distinctive singing voice on standout cuts, including “Windows” (Snapcase), “Benchwarmer” (Lincoln), “Fissures” (By the Grace of God), “Farewell Note to This City” (Converge), and “Voice” (Sense Field).

Soul Blind // Red Sky Mourning [October 10th, 2025 – Closed Casket Activities]

Riding a familiar wave of early ’00s alt-rock/metal and ’90s grungy nostalgia, New York’s Soul Blind emerge with sophomore LP, Red Sky Mourning. Although they tread dangerously close to overt derivation of prominent influences, including Alice in Chains, Deftones, and Helmet, Soul Blind manage to just stay afloat on their own terms. The dreamy melodies, chunky alt metal riffs, and soaring, Cantrell-esque vocal melodies cultivate some earwormy hooks and fuzzy, 90s/’00s feels. Soul Blind possess a knack for writing textured, mildly sludgy, infectious rock ditties, dabbling in shoegazing atmospherics, and sturdier alt metal territories along the way. Soul Blind relish in AIC inspired earworms (“Dyno,” “Hide Your Evil”), grittier, more aggressive alt metal fare (‘Billy,’ “New York Smoke”) and airy, indie pop-rock (“Thru the Haze”). Soul Blind have work to do to stand out from their influences and develop a more unique sound and robust character. However, the signs are positive for better things to come. Red Sky Mourning is a solid throwback album and handy companion piece to the equally nostalgia-inspired album from Bleed earlier in the year.

#2025 #Acoustic #Adrift #Aggravate #AliceInChains #AmericanMetal #AncientMonumentsAndModernSadness #Ancst #Anthrax #AsTheWorldTreeFell #AtmosphericBlackMetal #BlackCrossHotel #BlackMetal #Bleed #Bloodgutter #ByTheGraceOfGod #CanadianMetal #CanvasOfSilence #CattleDecapitation #CaveIn #ClosedCasketActivities #Converge #Crust #CutToTheCoreVol1 #DeathMetal #Deftones #Depravity #DiamondHead #DormantOrdeal #EdgewoodArsenalRecords #Enragement #ExtinguishAllExistence #FellOmen #Fellowship #FiadhProductions #FinnishMetal #FuneralDoom #FysiskFormatRecords #GalgerOgBrann #GloriousDepravity #GordianKnot #GrooveMetal #Grunge #HardRock #Hardcore #Havok #HeavyMetal #Helmet #HorrorPainGoreDeathProductions #IndependentRelease #IndustrialMetal #InternationalMetal #IronMaiden #JapaneseMetal #KillingJoke #KingCrimson #Lincoln #MadderMortem #MeAndThatMan #MelodicBlackMetal #Miasmata #Ministry #MutoidMan #MyDyingBride #NapalmDeath #NaturmachtProductions #NewZealandMetal #Nightwish #NorwegianMetal #Oct25 #Oromet #Ossuary #PaxAeternum #PigDestroyer #ProgressiveMetal #ProgressiveRock #RedSkyMourning #RepulsiveSummoning #Review #Reviews #RockshotsRecords #Rotpit #Sanguisugabogg #ScorchingTomb #SelfRelease #SelfReleased #SenseField #Skitsystem #Snapcase #SomeoddpilotReocrds #SongsForSwitches #SoulBlind #Soulfly #Starer #StephenBrodsky #StuckInTheFilter #StuckInTheFilter2025 #Subterrania #Sutratma #SymphonicMetal #TerrorCorpse #Testament #TexasIsTheReason #TheDarkElement #Theocracy #Threadbare #TimeToKillRecords #toe #Tragedy #TranscendingObsurityRecords #Uaar #ViolentTestimony #Vomitory #Windir #Xaoc #РЛБ30011922 #夢遊病者

Stuck in the Filter: October 2025’s Angry Misses

By Kenstrosity

They say it’s going to be a harsh winter this year. They always say that, and it’s almost never true, at least not from where I’ve set up camp. However, no matter the weather I am a harsh taskmaster, doling out grueling hours, no pay or benefits, and probably the worst coffee on the planet to my dutiful minions. It takes a special kind of person, motivated by pure unadulterated greed to ravenously scour the filter for dusty, almost-forgotten gems like they do.

But we are thankful for them for being exactly that! And we also benefit, in the form of quality(ish) chunks of glimmery, shimmery metal. BEHOLD!

Kenstrosity’s Riffy Representation

Xaoc // Repulsive Summoning [October 31, 2025 – Edgewood Arsenal Records]

Xaoc’s history is one of the more confusing I’ve encountered in my time writing for this blog. After breaking up in 2008, a new lineup spawned in 2022 to record and release Proxime Mortis from the ashes of songs written pre-breakup, supported by Edgewood Arsenal. At some point this year, two more members spawned in anticipation of this new slab Repulsive Summoning. But the band’s labeled as Split Up already on Metallum? I don’t understand what’s going on there, but at least I can say that Repulsive Summoning is a turbo banger! These riffs are bonkers, full of verve and swagger, brimming with groove and muscularity. A happy mix of Vomitory and Dormant Ordeal, this Virginian outfit know how to throw down. Highlights like “Ave Solva Coagula,” “Antima Samskara,” “The Great Perfected Ones,” and the entire “Degenerate Era” three-part suite reduce my body into a fine slurry by the grinding, vicious power of their riffs alone. But the rabid growls, ballistic percussion, and meaty guitar tones contain more than enough fuel to propel those riffs across this tight and thunderous 35-minute runtime. It’s a simple record, built to beat me down and leave me broken and bloodied, but it’s also an effortlessly memorable affair that leaves me wanting more despite the mounting medical bills. Don’t sleep on Xaoc!

Andy-War-Hall’s Succulent Surplus

Canvas of Silence // As the World Tree Fell [October 31st, 2025 – Rockshots Records]

Finnish symphonic metallers Canvas of Silence describe themselves as “prog-influenced chorus metal,” and that description goes far in outlining their debut As the World Tree Fell. Their core sound resembles a progged-out Nightwish moonlighting as a melodeath band, committing ludicrous bombast on symphonic-heavy cuts like “The Great Unknown” and “Wayfarer” amidst a sharp Gothenburg riff attack in “Watching the World Tree Fall” and “Drown.” Canvas of Silence mete out a balanced approach of light and dark sounds between Theocracyesque prog-power (“One With the Wind,” “Humanimal”) and Madder Mortem-like gothic twists (“Drown,” “Anthem for Ashes”), all reined in by the commanding vocal presence of singer Loimu Satakieli.1 Sitting somewhere between Anette Olzon (ex-Nightwish, The Dark Element) and Agnete Kierkevaag (Madder Mortem), her impassioned and heavily-layered singing turns As the World Tree Fell into a smörgåsbord of lush, catchy and anthemic tunes of an uplifting, sing-along nature. Optimism permeates As the World Tree Fell, felt at a fever pitch on the enormous choral bridge of “Humanimal” and the folky power metal jaunt of “One With the Wind.” Even on lyrically dark/mournful passages like “Wayfarer” and “Garden of the Fallen,” Canvas of Silence deliver soaring, hopeful crescendos that at times reach Fellowship levels of good cheer. Canvas of Silence can craft sincerely beautiful moments, and though As the World Tree Fell’s production can be sterile and overly loud2 I am nothing but excited to see what these Finns can cook up next.

Spicie Forrest’s Punky Proferrings

Violent Testimony // Aggravate [October 17th, 2025 – Horror Pain Gore Death Productions]

Do you wish there was more grind in your life? Well, Cheyenne, Wyoming’s Violent Testimony just assumed you would. Combining the punky flair of Napalm Death with the lead foot ethos of early Pig Destroyer and Cattle Decapitation, debut LP Aggravate is 26 minutes of delicious grindy goodness. From the opening salvo of “God Complex Massacre” to the final detonations of “Hit N’ Run,” Violent Testimony shows absolutely no restraint. D.N.’s Gatling drums mow down everything in their path while T.W.’s serpentine bass clears the chaff and flattens any obstruction. Shrapnel propelled by N.Y.’s brutish, breakneck riffing can be seen burying itself in concrete walls, still quivering (“Rider in the Night,” “Psychotic Episode”). Caustic growls and vitriolic screams tear from T.W.’s throat at mach fuck (“Flashbang Celebration,” “Obligatory Manifestation of Infinite Grind”). With only two tracks exceeding the two-minute mark, Violent Testimony screams their piece with as much sound and fury as possible before moving on and picking their next bone with the system. This keeps Aggravate a lean, densely-packed offering. If you need to get pissed off right now and even the fastest death metal is too slow, Violent Testimony is all too happy to decimate the opposition with you.

Uaar // Galger og Brann [October 17th, 2025 – Fysisk Format Records]

Hailing from Oslo, Norway, crust outfit Uaar celebrates their tenth birthday by releasing their debut LP. Galger og Brann, which means “Gallows and Fire” in Norwegian, expands on the foundations laid by established acts like Skitsystem and Tragedy. With one foot firmly planted in black metal and the other in hardcore, Uaar unleashes a cacophony of rage unfettered. D-beats abound, courtesy of Truls Friesl Berg, creating a frantic, enraged atmosphere. Dag Schaug Carlsen’s blackened rasps are so cold they burn, matching the evil pall hanging over tracks like “Galeås” and “Den siste.” Post-flecked, Ancsty tendencies (“Alt Skal Brenne,” “Overalt”) peek through the feral hardcore riffage (“Håpet forsvinner”) of guitarists Erik Berg Friesl and Jon Schaug Carlsen, while bassist Stian S. Evensen provides the muscle to convince you these guys aren’t screwing around. Uaar is well-versed in their base genres, alternating between and mixing black metal and hardcore effortlessly. The occasional blues-tinged heavy metal lead—as in “Overalt” and “Dolken”—keep Galger og Brann from being a one-note affair. With a dearth of standout blackened hardcore releases this year, Uaar’s Galger og Brann is a welcome—if late—addition to the list.

Scorching Tomb // Ossuary [October 24th, 2025 – Time to Kill Records]

I’ll be honest, I’ve never considered Montreal, Canada, to be prime death metal territory. Luckily, Scorching Tomb doesn’t care what I think. Debut LP Ossuary is an aural violation born of Tren-induced hardcore aggression and filthy old school death metal. With a guitar tone (Philippe Lelbanc) like sandpaper and a bass like swallowing gravel (Miguel Lepage), Scorching Tomb plays in the same cesspools as Bloodgutter and Rotpit. We normally associate melted faces with guitar solos, but that honor belongs to whatever corrosive noises issue forth from vocalist Vincent Patrick Lajeunesse’s guts. Drummer Émile Savard loves a blast beat, often detonating them in short bursts to support an already bone-breaking assault (“Feel the Blade”). “Stalagmite3 Impalement” and “Sanctum of Bones (Ossuary)” are particularly savage, with tetanus-inflicting riffs and bloodthirsty screams threatening to drag you into the crypt to be used for meal prep. On “Skullcrush,” Sanguisugabogg’s Devin Swank perfectly matches Scorching Tomb’s vile depravity, cementing them as a promising new act in the scene. Ossuary is raging, muscle-bound, caveman death metal drowned in a vat of viscera and sewage, and it tastes incredible.

ClarkKent’s Gratifying Goodies

Sutratma // Adrift [October 3rd, 2025 – Self-Release]

While I didn’t purposely seek out more doom during my self-imposed month of picking only doom promos, Sutratma’s fifth full-length, Adrift, ranks as one of the better doom albums I listened to in November. This California four-piece has been writing funeral doom for 15 years, and it shows in their ability to craft effective melancholic slow-burns that strike a balance between melody and crushingly heavy. Adrift impresses straight out the gate with the piano-drenched “Wind and Sea.” This song nicely melds the sorrowful softness of the piano with punishing guitar riffs and impressive growls. Just like stalwarts My Dying Bride, Sutratma mixes growls with cleans, and Daniel Larios’s cleans effectively hit you right in the feels while the growls take on a more despairing note. There’s plenty of variety from song to song, with organs stealing the show on “Guiding Star” and a lovely melody on “The Great Bereaver” that builds up to a moving finale. Just like with Oromet, there’s a serenity to the music that is calming, and the skilled songwriting and musicianship lends a poignancy to it all. With the frenzy of list season upon us, it’s nice to have something like this to remind us that it’s okay to just slow down—even when an angry ape is berating you for more content.

Starer // Ancient Monuments and Modern Sadness [October 10th, 2025 – Fiadh Productions]

Josh Hines, the one man behind black metal project, Starer, has been very busy. Since forming Starer in 2020, he has released four EPs and now, with the release of Ancient Monuments and Modern Sadness, four LPs. I first became acquainted with this band on 2023’s Wind, Breeze, or Breath and was taken in by Hines’s aggressively atmospheric take on black metal. Ancient Monuments and Modern Sadness hits the ground running on “I Cry Your Mother’s Blood” with some aggressively catchy melodies. The aggression continues on “Il-Kantilena” with its icy riffs and pumping blast beats. Meanwhile, “The Field of Reeds” combines the black n’ roll of Fell Omen with the fuzzy reverb of atmoblack for a rollicking good time. Hines screams into the void as subdued symphonics add layers of melody, providing a surprising amount of depth to each song. Because of the frenetic pace, the 50-minute runtime flies right by, even as songs like “Song of the Harper” do their best to vary the tempo. For black metal, the production is lush and gorgeous, giving air to all instruments. The epic, ten-minute finale is the culmination of Hines’s ability to put together complex and compelling music that both excites by its aggression and dazzles with its atmospherics. Black metal fans should not miss this one.

Grin Reaper’s Haunted Harvest

Black Cross Hotel // Songs for Switches [October 31st, 2025 – Someoddpilot Records]

Three years after dropping their favorably reviewed debut Hex, keys-drenched and industrialized outfit Black Cross Hotel returns bearing Songs for Switches. 80s-inspired synths, mid-paced chugs, and dance-ready grooves pack neatly into forty-one minutes of grubby fun, sure to interest fans of Ministry and Killing Joke, or anyone with a predilection for leather. Where Hex boasted a wider assortment of tempos, Songs for Switches narrows its focus to mid-paced songs with a keener emphasis on keyboard melodies. Averting a direction that could have been limiting, Black Cross Hotel smartly sidesteps this by shaving down song lengths and arranging the tracks for optimal pacing. Individual moments across the album evoke Me and That Man (“Eyes from Nowhere”), Soulfly (“Blood Dance”), and Joy Division (“Typo”), casting an eclectic array of sounds into Mount Gloom to forge ten dangerously fun tracks. Though I liked the album at first listen, it took multiple spins for Songs for Switches’ distilled aesthetic to fully unfurl, and once it did, my appreciation redoubled. With a sinister atmosphere designed as much for pain as pleasure, Black Cross Hotel has readied your room for a night you won’t forget.

Miasmata // Subterrania [October 31st, 2025 – Naturmacht Productions]

Still hawking their distinctive blend of meloblack and heavy metal, Miasmata dropped sophomore platter Subterrania on what was one of the most congested release days of 2025.4 In addition to the recurring influences of Windir (“Die at the Right Time”) and Iron Maiden (the intro to “Subterrania” smacks of The X Factor), Subterrania adds a dollop of thrash into the mix. Opener “Those Who Cross the Flame” struts out with a punky riff that wouldn’t be out of place on an Anthrax record, while “Full of the Devil” tastes as much like Testament or Havok as Diamond Head. The beauty of Miasmata, both on debut Unlight: Songs of Earth and Atrophy and Subterrania, is one-man mastermind Mike Wilson’s aptitude to synthesize a mighty host of influences into a unique sonic palette all his own. As Sharky noted in Unlight’s review, Miasmata has a knack for remarkable restraint. Subterrania clocks under forty minutes, layering slithery riffs upon one another in a way that propels the music in constant motion, shifting and unfolding so organically that the album slips by before you realize it’s over (an especially impressive feat considering the self-titled closer’s near fourteen-minute runtime). If you missed Miasmata’s latest on release day, go rectify that. Don’t let Subterrania get lost to the underground.

Dolphin Whisperer’s Autumnal Anomoly

夢遊病者 // РЛБ300119225 [October 28th, 2025 – Self Release]

As if plucked into lucidity from amidst a hazy, proggy machination, РЛБ30011922 steps into its narrative—an exploration of a beloved figure in its creator’s life, including sound clips describing the trials through which she persisted—with an entrancing stumble. Through an understated math rock lens, tight kit rhythms with a tension-building hi-hat clashes strut against a loud and leading bass voice across 37 minutes of fluid guitar textures. Whether it’s the chunky fusion reminiscent of Hackett-era Gordian Knot, the playful rhythmic post-rock that evokes a band like toe, or the fuzzed-out punctuation that tell a prog tale as ’70s King Crimson would, 夢遊病者, also known as Sleepwalker, makes their love of sound as clear as their love of РЛБ30011922’s inspiration. In a setting this free and detailed, not a single moment of this one-long-song opus passes by without taking a moment to focus on a given performer’s escalation in the drama of the movement. Wielding short guitar solos as segues into popping double-kick trots, spoken word exposition as pedal switch-up opportunities, all leading to a crescendo of bent and bluesy expression, 夢遊病者 succeeds in more than just holding an audience captive with their jammy and heartfelt statement. РЛБ30011922, like the shorter form releases that have graced these halls before, will have you coming back time and time again to explore its sentiments, which feel both traced from a dream yet rooted in rich, earthly tone pleasures.

Saunders’ Slinky Sneaks

Enragement // Extinguish All Existence [October 31st, 2025 – Transcending Obscurity]

The back end of 2025 has thrown down some delightfully vicious, chunkified, and straightforward death metal gems, courtesy of the likes of Depravity, Glorious Depravity and Terror Corpse. Not to be discounted, Finland’s Enragement dropped their own intense slab of brutal death on fourth LP, Extinguish All Existence. Cutting with any pleasantries, Enragement get down to business, slamming through a tight, burly collection of Americanized death, keenly treading a balance between thuggish beatdowns, chest-busting blasts, slammy, pig-squealing grooves, and more traditional, though deceptively diverse brutal death fare. Despite the certifiably crushing formula deployed, there is an air of accessibility, perhaps attributed to the clean but suitably beefy production job, bludgeoning, addictive grooves and sinister currents of atmospheric melody flowing through the album’s riff-centric veins. Thrashy, straightforward bursts of fury are tempered by more technical flourishes and an impressively versatile vocal assault. The likes of Devourment, Deeds of Flesh, Dawn of Demise and Benighted are perhaps fitting reference points, however, Enragement blast their own path of uncompromisingly heavy destruction.

Stephen Brodsky // Cut to the Core Vol. 1 [October 3rd, 2025 – Pax Aeturnum]

There are a couple of ways to broach this latest solo endeavor from lovable rogue and Cave In/Mutoid Man mastermind Stephen Brodsky. Brodsky delivers refreshed interpretations of various ’90s hardcore songs, reimagined in acoustic form. Those familiar with the original compositions will likely have fun dissecting and comparing the original anthems. While others, such as myself, largely unfamiliar with the originals, can enjoy these polished takes in their reimagined form, without comparison. Over the years, I have developed a strong connection with Brodsky’s works and come to appreciate his softer, acoustic flavorings. The likes of Snapcase, Converge, Texas is the Reason, Threadbare and By the Grace of God are some of the acts covered with typical style, zest, and emotion. Brodsky’s expressive and emotive delivery showcases both a loving appreciation of the material and deeper emotional connection that bleeds through the often darker, melancholic vibes of the acoustic constructions. The collection is remarkably consistent and infectious, highlighted by Brodsky’s crisp and soulful acoustic playing and distinctive singing voice on standout cuts, including “Windows” (Snapcase), “Benchwarmer” (Lincoln), “Fissures” (By the Grace of God), “Farewell Note to This City” (Converge), and “Voice” (Sense Field).

Soul Blind // Red Sky Mourning [October 10th, 2025 – Closed Casket Activities]

Riding a familiar wave of early ’00s alt-rock/metal and ’90s grungy nostalgia, New York’s Soul Blind emerge with sophomore LP, Red Sky Mourning. Although they tread dangerously close to overt derivation of prominent influences, including Alice in Chains, Deftones, and Helmet, Soul Blind manage to just stay afloat on their own terms. The dreamy melodies, chunky alt metal riffs, and soaring, Cantrell-esque vocal melodies cultivate some earwormy hooks and fuzzy, 90s/’00s feels. Soul Blind possess a knack for writing textured, mildly sludgy, infectious rock ditties, dabbling in shoegazing atmospherics, and sturdier alt metal territories along the way. Soul Blind relish in AIC inspired earworms (“Dyno,” “Hide Your Evil”), grittier, more aggressive alt metal fare (‘Billy,’ “New York Smoke”) and airy, indie pop-rock (“Thru the Haze”). Soul Blind have work to do to stand out from their influences and develop a more unique sound and robust character. However, the signs are positive for better things to come. Red Sky Mourning is a solid throwback album and handy companion piece to the equally nostalgia-inspired album from Bleed earlier in the year.

#2025 #Acoustic #Adrift #Aggravate #AliceInChains #AmericanMetal #AncientMonumentsAndModernSadness #Ancst #Anthrax #AsTheWorldTreeFell #AtmosphericBlackMetal #BlackCrossHotel #BlackMetal #Bleed #Bloodgutter #ByTheGraceOfGod #CanadianMetal #CanvasOfSilence #CattleDecapitation #CaveIn #ClosedCasketActivities #Converge #Crust #CutToTheCoreVol1 #DeathMetal #Deftones #Depravity #DiamondHead #DormantOrdeal #EdgewoodArsenalRecords #Enragement #ExtinguishAllExistence #FellOmen #Fellowship #FiadhProductions #FinnishMetal #FuneralDoom #FysiskFormatRecords #GalgerOgBrann #GloriousDepravity #GordianKnot #GrooveMetal #Grunge #HardRock #Hardcore #Havok #HeavyMetal #Helmet #HorrorPainGoreDeathProductions #IndependentRelease #IndustrialMetal #InternationalMetal #IronMaiden #JapaneseMetal #KillingJoke #KingCrimson #Lincoln #MadderMortem #MeAndThatMan #MelodicBlackMetal #Miasmata #Ministry #MutoidMan #MyDyingBride #NapalmDeath #NaturmachtProductions #NewZealandMetal #Nightwish #NorwegianMetal #Oct25 #Oromet #Ossuary #PaxAeternum #PigDestroyer #ProgressiveMetal #ProgressiveRock #RedSkyMourning #RepulsiveSummoning #Review #Reviews #RockshotsRecords #Rotpit #Sanguisugabogg #ScorchingTomb #SelfRelease #SelfReleased #SenseField #Skitsystem #Snapcase #SomeoddpilotReocrds #SongsForSwitches #SoulBlind #Soulfly #Starer #StephenBrodsky #StuckInTheFilter #StuckInTheFilter2025 #Subterrania #Sutratma #SymphonicMetal #TerrorCorpse #Testament #TexasIsTheReason #TheDarkElement #Theocracy #Threadbare #TimeToKillRecords #toe #Tragedy #TranscendingObsurityRecords #Uaar #ViolentTestimony #Vomitory #Windir #Xaoc #РЛБ30011922 #夢遊病者

Stuck in the Filter: October 2025’s Angry Misses

By Kenstrosity

They say it’s going to be a harsh winter this year. They always say that, and it’s almost never true, at least not from where I’ve set up camp. However, no matter the weather I am a harsh taskmaster, doling out grueling hours, no pay or benefits, and probably the worst coffee on the planet to my dutiful minions. It takes a special kind of person, motivated by pure unadulterated greed to ravenously scour the filter for dusty, almost-forgotten gems like they do.

But we are thankful for them for being exactly that! And we also benefit, in the form of quality(ish) chunks of glimmery, shimmery metal. BEHOLD!

Kenstrosity’s Riffy Representation

Xaoc // Repulsive Summoning [October 31, 2025 – Edgewood Arsenal Records]

Xaoc’s history is one of the more confusing I’ve encountered in my time writing for this blog. After breaking up in 2008, a new lineup spawned in 2022 to record and release Proxime Mortis from the ashes of songs written pre-breakup, supported by Edgewood Arsenal. At some point this year, two more members spawned in anticipation of this new slab Repulsive Summoning. But the band’s labeled as Split Up already on Metallum? I don’t understand what’s going on there, but at least I can say that Repulsive Summoning is a turbo banger! These riffs are bonkers, full of verve and swagger, brimming with groove and muscularity. A happy mix of Vomitory and Dormant Ordeal, this Virginian outfit know how to throw down. Highlights like “Ave Solva Coagula,” “Antima Samskara,” “The Great Perfected Ones,” and the entire “Degenerate Era” three-part suite reduce my body into a fine slurry by the grinding, vicious power of their riffs alone. But the rabid growls, ballistic percussion, and meaty guitar tones contain more than enough fuel to propel those riffs across this tight and thunderous 35-minute runtime. It’s a simple record, built to beat me down and leave me broken and bloodied, but it’s also an effortlessly memorable affair that leaves me wanting more despite the mounting medical bills. Don’t sleep on Xaoc!

Andy-War-Hall’s Succulent Surplus

Canvas of Silence // As the World Tree Fell [October 31st, 2025 – Rockshots Records]

Finnish symphonic metallers Canvas of Silence describe themselves as “prog-influenced chorus metal,” and that description goes far in outlining their debut As the World Tree Fell. Their core sound resembles a progged-out Nightwish moonlighting as a melodeath band, committing ludicrous bombast on symphonic-heavy cuts like “The Great Unknown” and “Wayfarer” amidst a sharp Gothenburg riff attack in “Watching the World Tree Fall” and “Drown.” Canvas of Silence mete out a balanced approach of light and dark sounds between Theocracyesque prog-power (“One With the Wind,” “Humanimal”) and Madder Mortem-like gothic twists (“Drown,” “Anthem for Ashes”), all reined in by the commanding vocal presence of singer Loimu Satakieli.1 Sitting somewhere between Anette Olzon (ex-Nightwish, The Dark Element) and Agnete Kierkevaag (Madder Mortem), her impassioned and heavily-layered singing turns As the World Tree Fell into a smörgåsbord of lush, catchy and anthemic tunes of an uplifting, sing-along nature. Optimism permeates As the World Tree Fell, felt at a fever pitch on the enormous choral bridge of “Humanimal” and the folky power metal jaunt of “One With the Wind.” Even on lyrically dark/mournful passages like “Wayfarer” and “Garden of the Fallen,” Canvas of Silence deliver soaring, hopeful crescendos that at times reach Fellowship levels of good cheer. Canvas of Silence can craft sincerely beautiful moments, and though As the World Tree Fell’s production can be sterile and overly loud2 I am nothing but excited to see what these Finns can cook up next.

Spicie Forrest’s Punky Proferrings

Violent Testimony // Aggravate [October 17th, 2025 – Horror Pain Gore Death Productions]

Do you wish there was more grind in your life? Well, Cheyenne, Wyoming’s Violent Testimony just assumed you would. Combining the punky flair of Napalm Death with the lead foot ethos of early Pig Destroyer and Cattle Decapitation, debut LP Aggravate is 26 minutes of delicious grindy goodness. From the opening salvo of “God Complex Massacre” to the final detonations of “Hit N’ Run,” Violent Testimony shows absolutely no restraint. D.N.’s Gatling drums mow down everything in their path while T.W.’s serpentine bass clears the chaff and flattens any obstruction. Shrapnel propelled by N.Y.’s brutish, breakneck riffing can be seen burying itself in concrete walls, still quivering (“Rider in the Night,” “Psychotic Episode”). Caustic growls and vitriolic screams tear from T.W.’s throat at mach fuck (“Flashbang Celebration,” “Obligatory Manifestation of Infinite Grind”). With only two tracks exceeding the two-minute mark, Violent Testimony screams their piece with as much sound and fury as possible before moving on and picking their next bone with the system. This keeps Aggravate a lean, densely-packed offering. If you need to get pissed off right now and even the fastest death metal is too slow, Violent Testimony is all too happy to decimate the opposition with you.

Uaar // Galger og Brann [October 17th, 2025 – Fysisk Format Records]

Hailing from Oslo, Norway, crust outfit Uaar celebrates their tenth birthday by releasing their debut LP. Galger og Brann, which means “Gallows and Fire” in Norwegian, expands on the foundations laid by established acts like Skitsystem and Tragedy. With one foot firmly planted in black metal and the other in hardcore, Uaar unleashes a cacophony of rage unfettered. D-beats abound, courtesy of Truls Friesl Berg, creating a frantic, enraged atmosphere. Dag Schaug Carlsen’s blackened rasps are so cold they burn, matching the evil pall hanging over tracks like “Galeås” and “Den siste.” Post-flecked, Ancsty tendencies (“Alt Skal Brenne,” “Overalt”) peek through the feral hardcore riffage (“Håpet forsvinner”) of guitarists Erik Berg Friesl and Jon Schaug Carlsen, while bassist Stian S. Evensen provides the muscle to convince you these guys aren’t screwing around. Uaar is well-versed in their base genres, alternating between and mixing black metal and hardcore effortlessly. The occasional blues-tinged heavy metal lead—as in “Overalt” and “Dolken”—keep Galger og Brann from being a one-note affair. With a dearth of standout blackened hardcore releases this year, Uaar’s Galger og Brann is a welcome—if late—addition to the list.

Scorching Tomb // Ossuary [October 24th, 2025 – Time to Kill Records]

I’ll be honest, I’ve never considered Montreal, Canada, to be prime death metal territory. Luckily, Scorching Tomb doesn’t care what I think. Debut LP Ossuary is an aural violation born of Tren-induced hardcore aggression and filthy old school death metal. With a guitar tone (Philippe Lelbanc) like sandpaper and a bass like swallowing gravel (Miguel Lepage), Scorching Tomb plays in the same cesspools as Bloodgutter and Rotpit. We normally associate melted faces with guitar solos, but that honor belongs to whatever corrosive noises issue forth from vocalist Vincent Patrick Lajeunesse’s guts. Drummer Émile Savard loves a blast beat, often detonating them in short bursts to support an already bone-breaking assault (“Feel the Blade”). “Stalagmite3 Impalement” and “Sanctum of Bones (Ossuary)” are particularly savage, with tetanus-inflicting riffs and bloodthirsty screams threatening to drag you into the crypt to be used for meal prep. On “Skullcrush,” Sanguisugabogg’s Devin Swank perfectly matches Scorching Tomb’s vile depravity, cementing them as a promising new act in the scene. Ossuary is raging, muscle-bound, caveman death metal drowned in a vat of viscera and sewage, and it tastes incredible.

ClarkKent’s Gratifying Goodies

Sutratma // Adrift [October 3rd, 2025 – Self-Release]

While I didn’t purposely seek out more doom during my self-imposed month of picking only doom promos, Sutratma’s fifth full-length, Adrift, ranks as one of the better doom albums I listened to in November. This California four-piece has been writing funeral doom for 15 years, and it shows in their ability to craft effective melancholic slow-burns that strike a balance between melody and crushingly heavy. Adrift impresses straight out the gate with the piano-drenched “Wind and Sea.” This song nicely melds the sorrowful softness of the piano with punishing guitar riffs and impressive growls. Just like stalwarts My Dying Bride, Sutratma mixes growls with cleans, and Daniel Larios’s cleans effectively hit you right in the feels while the growls take on a more despairing note. There’s plenty of variety from song to song, with organs stealing the show on “Guiding Star” and a lovely melody on “The Great Bereaver” that builds up to a moving finale. Just like with Oromet, there’s a serenity to the music that is calming, and the skilled songwriting and musicianship lends a poignancy to it all. With the frenzy of list season upon us, it’s nice to have something like this to remind us that it’s okay to just slow down—even when an angry ape is berating you for more content.

Starer // Ancient Monuments and Modern Sadness [October 10th, 2025 – Fiadh Productions]

Josh Hines, the one man behind black metal project, Starer, has been very busy. Since forming Starer in 2020, he has released four EPs and now, with the release of Ancient Monuments and Modern Sadness, four LPs. I first became acquainted with this band on 2023’s Wind, Breeze, or Breath and was taken in by Hines’s aggressively atmospheric take on black metal. Ancient Monuments and Modern Sadness hits the ground running on “I Cry Your Mother’s Blood” with some aggressively catchy melodies. The aggression continues on “Il-Kantilena” with its icy riffs and pumping blast beats. Meanwhile, “The Field of Reeds” combines the black n’ roll of Fell Omen with the fuzzy reverb of atmoblack for a rollicking good time. Hines screams into the void as subdued symphonics add layers of melody, providing a surprising amount of depth to each song. Because of the frenetic pace, the 50-minute runtime flies right by, even as songs like “Song of the Harper” do their best to vary the tempo. For black metal, the production is lush and gorgeous, giving air to all instruments. The epic, ten-minute finale is the culmination of Hines’s ability to put together complex and compelling music that both excites by its aggression and dazzles with its atmospherics. Black metal fans should not miss this one.

Grin Reaper’s Haunted Harvest

Black Cross Hotel // Songs for Switches [October 31st, 2025 – Someoddpilot Records]

Three years after dropping their favorably reviewed debut Hex, keys-drenched and industrialized outfit Black Cross Hotel returns bearing Songs for Switches. 80s-inspired synths, mid-paced chugs, and dance-ready grooves pack neatly into forty-one minutes of grubby fun, sure to interest fans of Ministry and Killing Joke, or anyone with a predilection for leather. Where Hex boasted a wider assortment of tempos, Songs for Switches narrows its focus to mid-paced songs with a keener emphasis on keyboard melodies. Averting a direction that could have been limiting, Black Cross Hotel smartly sidesteps this by shaving down song lengths and arranging the tracks for optimal pacing. Individual moments across the album evoke Me and That Man (“Eyes from Nowhere”), Soulfly (“Blood Dance”), and Joy Division (“Typo”), casting an eclectic array of sounds into Mount Gloom to forge ten dangerously fun tracks. Though I liked the album at first listen, it took multiple spins for Songs for Switches’ distilled aesthetic to fully unfurl, and once it did, my appreciation redoubled. With a sinister atmosphere designed as much for pain as pleasure, Black Cross Hotel has readied your room for a night you won’t forget.

Miasmata // Subterrania [October 31st, 2025 – Naturmacht Productions]

Still hawking their distinctive blend of meloblack and heavy metal, Miasmata dropped sophomore platter Subterrania on what was one of the most congested release days of 2025.4 In addition to the recurring influences of Windir (“Die at the Right Time”) and Iron Maiden (the intro to “Subterrania” smacks of The X Factor), Subterrania adds a dollop of thrash into the mix. Opener “Those Who Cross the Flame” struts out with a punky riff that wouldn’t be out of place on an Anthrax record, while “Full of the Devil” tastes as much like Testament or Havok as Diamond Head. The beauty of Miasmata, both on debut Unlight: Songs of Earth and Atrophy and Subterrania, is one-man mastermind Mike Wilson’s aptitude to synthesize a mighty host of influences into a unique sonic palette all his own. As Sharky noted in Unlight’s review, Miasmata has a knack for remarkable restraint. Subterrania clocks under forty minutes, layering slithery riffs upon one another in a way that propels the music in constant motion, shifting and unfolding so organically that the album slips by before you realize it’s over (an especially impressive feat considering the self-titled closer’s near fourteen-minute runtime). If you missed Miasmata’s latest on release day, go rectify that. Don’t let Subterrania get lost to the underground.

Dolphin Whisperer’s Autumnal Anomoly

夢遊病者 // РЛБ300119225 [October 28th, 2025 – Self Release]

As if plucked into lucidity from amidst a hazy, proggy machination, РЛБ30011922 steps into its narrative—an exploration of a beloved figure in its creator’s life, including sound clips describing the trials through which she persisted—with an entrancing stumble. Through an understated math rock lens, tight kit rhythms with a tension-building hi-hat clashes strut against a loud and leading bass voice across 37 minutes of fluid guitar textures. Whether it’s the chunky fusion reminiscent of Hackett-era Gordian Knot, the playful rhythmic post-rock that evokes a band like toe, or the fuzzed-out punctuation that tell a prog tale as ’70s King Crimson would, 夢遊病者, also known as Sleepwalker, makes their love of sound as clear as their love of РЛБ30011922’s inspiration. In a setting this free and detailed, not a single moment of this one-long-song opus passes by without taking a moment to focus on a given performer’s escalation in the drama of the movement. Wielding short guitar solos as segues into popping double-kick trots, spoken word exposition as pedal switch-up opportunities, all leading to a crescendo of bent and bluesy expression, 夢遊病者 succeeds in more than just holding an audience captive with their jammy and heartfelt statement. РЛБ30011922, like the shorter form releases that have graced these halls before, will have you coming back time and time again to explore its sentiments, which feel both traced from a dream yet rooted in rich, earthly tone pleasures.

Saunders’ Slinky Sneaks

Enragement // Extinguish All Existence [October 31st, 2025 – Transcending Obscurity]

The back end of 2025 has thrown down some delightfully vicious, chunkified, and straightforward death metal gems, courtesy of the likes of Depravity, Glorious Depravity and Terror Corpse. Not to be discounted, Finland’s Enragement dropped their own intense slab of brutal death on fourth LP, Extinguish All Existence. Cutting with any pleasantries, Enragement get down to business, slamming through a tight, burly collection of Americanized death, keenly treading a balance between thuggish beatdowns, chest-busting blasts, slammy, pig-squealing grooves, and more traditional, though deceptively diverse brutal death fare. Despite the certifiably crushing formula deployed, there is an air of accessibility, perhaps attributed to the clean but suitably beefy production job, bludgeoning, addictive grooves and sinister currents of atmospheric melody flowing through the album’s riff-centric veins. Thrashy, straightforward bursts of fury are tempered by more technical flourishes and an impressively versatile vocal assault. The likes of Devourment, Deeds of Flesh, Dawn of Demise and Benighted are perhaps fitting reference points, however, Enragement blast their own path of uncompromisingly heavy destruction.

Stephen Brodsky // Cut to the Core Vol. 1 [October 3rd, 2025 – Pax Aeturnum]

There are a couple of ways to broach this latest solo endeavor from lovable rogue and Cave In/Mutoid Man mastermind Stephen Brodsky. Brodsky delivers refreshed interpretations of various ’90s hardcore songs, reimagined in acoustic form. Those familiar with the original compositions will likely have fun dissecting and comparing the original anthems. While others, such as myself, largely unfamiliar with the originals, can enjoy these polished takes in their reimagined form, without comparison. Over the years, I have developed a strong connection with Brodsky’s works and come to appreciate his softer, acoustic flavorings. The likes of Snapcase, Converge, Texas is the Reason, Threadbare and By the Grace of God are some of the acts covered with typical style, zest, and emotion. Brodsky’s expressive and emotive delivery showcases both a loving appreciation of the material and deeper emotional connection that bleeds through the often darker, melancholic vibes of the acoustic constructions. The collection is remarkably consistent and infectious, highlighted by Brodsky’s crisp and soulful acoustic playing and distinctive singing voice on standout cuts, including “Windows” (Snapcase), “Benchwarmer” (Lincoln), “Fissures” (By the Grace of God), “Farewell Note to This City” (Converge), and “Voice” (Sense Field).

Soul Blind // Red Sky Mourning [October 10th, 2025 – Closed Casket Activities]

Riding a familiar wave of early ’00s alt-rock/metal and ’90s grungy nostalgia, New York’s Soul Blind emerge with sophomore LP, Red Sky Mourning. Although they tread dangerously close to overt derivation of prominent influences, including Alice in Chains, Deftones, and Helmet, Soul Blind manage to just stay afloat on their own terms. The dreamy melodies, chunky alt metal riffs, and soaring, Cantrell-esque vocal melodies cultivate some earwormy hooks and fuzzy, 90s/’00s feels. Soul Blind possess a knack for writing textured, mildly sludgy, infectious rock ditties, dabbling in shoegazing atmospherics, and sturdier alt metal territories along the way. Soul Blind relish in AIC inspired earworms (“Dyno,” “Hide Your Evil”), grittier, more aggressive alt metal fare (‘Billy,’ “New York Smoke”) and airy, indie pop-rock (“Thru the Haze”). Soul Blind have work to do to stand out from their influences and develop a more unique sound and robust character. However, the signs are positive for better things to come. Red Sky Mourning is a solid throwback album and handy companion piece to the equally nostalgia-inspired album from Bleed earlier in the year.

#2025 #Acoustic #Adrift #Aggravate #AliceInChains #AmericanMetal #AncientMonumentsAndModernSadness #Ancst #Anthrax #AsTheWorldTreeFell #AtmosphericBlackMetal #BlackCrossHotel #BlackMetal #Bleed #Bloodgutter #ByTheGraceOfGod #CanadianMetal #CanvasOfSilence #CattleDecapitation #CaveIn #ClosedCasketActivities #Converge #Crust #CutToTheCoreVol1 #DeathMetal #Deftones #Depravity #DiamondHead #DormantOrdeal #EdgewoodArsenalRecords #Enragement #ExtinguishAllExistence #FellOmen #Fellowship #FiadhProductions #FinnishMetal #FuneralDoom #FysiskFormatRecords #GalgerOgBrann #GloriousDepravity #GordianKnot #GrooveMetal #Grunge #HardRock #Hardcore #Havok #HeavyMetal #Helmet #HorrorPainGoreDeathProductions #IndependentRelease #IndustrialMetal #InternationalMetal #IronMaiden #JapaneseMetal #KillingJoke #KingCrimson #Lincoln #MadderMortem #MeAndThatMan #MelodicBlackMetal #Miasmata #Ministry #MutoidMan #MyDyingBride #NapalmDeath #NaturmachtProductions #NewZealandMetal #Nightwish #NorwegianMetal #Oct25 #Oromet #Ossuary #PaxAeternum #PigDestroyer #ProgressiveMetal #ProgressiveRock #RedSkyMourning #RepulsiveSummoning #Review #Reviews #RockshotsRecords #Rotpit #Sanguisugabogg #ScorchingTomb #SelfRelease #SelfReleased #SenseField #Skitsystem #Snapcase #SomeoddpilotReocrds #SongsForSwitches #SoulBlind #Soulfly #Starer #StephenBrodsky #StuckInTheFilter #StuckInTheFilter2025 #Subterrania #Sutratma #SymphonicMetal #TerrorCorpse #Testament #TexasIsTheReason #TheDarkElement #Theocracy #Threadbare #TimeToKillRecords #toe #Tragedy #TranscendingObsurityRecords #Uaar #ViolentTestimony #Vomitory #Windir #Xaoc #РЛБ30011922 #夢遊病者

Stuck in the Filter: October 2025’s Angry Misses

By Kenstrosity

They say it’s going to be a harsh winter this year. They always say that, and it’s almost never true, at least not from where I’ve set up camp. However, no matter the weather I am a harsh taskmaster, doling out grueling hours, no pay or benefits, and probably the worst coffee on the planet to my dutiful minions. It takes a special kind of person, motivated by pure unadulterated greed to ravenously scour the filter for dusty, almost-forgotten gems like they do.

But we are thankful for them for being exactly that! And we also benefit, in the form of quality(ish) chunks of glimmery, shimmery metal. BEHOLD!

Kenstrosity’s Riffy Representation

Xaoc // Repulsive Summoning [October 31, 2025 – Edgewood Arsenal Records]

Xaoc’s history is one of the more confusing I’ve encountered in my time writing for this blog. After breaking up in 2008, a new lineup spawned in 2022 to record and release Proxime Mortis from the ashes of songs written pre-breakup, supported by Edgewood Arsenal. At some point this year, two more members spawned in anticipation of this new slab Repulsive Summoning. But the band’s labeled as Split Up already on Metallum? I don’t understand what’s going on there, but at least I can say that Repulsive Summoning is a turbo banger! These riffs are bonkers, full of verve and swagger, brimming with groove and muscularity. A happy mix of Vomitory and Dormant Ordeal, this Virginian outfit know how to throw down. Highlights like “Ave Solva Coagula,” “Antima Samskara,” “The Great Perfected Ones,” and the entire “Degenerate Era” three-part suite reduce my body into a fine slurry by the grinding, vicious power of their riffs alone. But the rabid growls, ballistic percussion, and meaty guitar tones contain more than enough fuel to propel those riffs across this tight and thunderous 35-minute runtime. It’s a simple record, built to beat me down and leave me broken and bloodied, but it’s also an effortlessly memorable affair that leaves me wanting more despite the mounting medical bills. Don’t sleep on Xaoc!

Andy-War-Hall’s Succulent Surplus

Canvas of Silence // As the World Tree Fell [October 31st, 2025 – Rockshots Records]

Finnish symphonic metallers Canvas of Silence describe themselves as “prog-influenced chorus metal,” and that description goes far in outlining their debut As the World Tree Fell. Their core sound resembles a progged-out Nightwish moonlighting as a melodeath band, committing ludicrous bombast on symphonic-heavy cuts like “The Great Unknown” and “Wayfarer” amidst a sharp Gothenburg riff attack in “Watching the World Tree Fall” and “Drown.” Canvas of Silence mete out a balanced approach of light and dark sounds between Theocracyesque prog-power (“One With the Wind,” “Humanimal”) and Madder Mortem-like gothic twists (“Drown,” “Anthem for Ashes”), all reined in by the commanding vocal presence of singer Loimu Satakieli.1 Sitting somewhere between Anette Olzon (ex-Nightwish, The Dark Element) and Agnete Kierkevaag (Madder Mortem), her impassioned and heavily-layered singing turns As the World Tree Fell into a smörgåsbord of lush, catchy and anthemic tunes of an uplifting, sing-along nature. Optimism permeates As the World Tree Fell, felt at a fever pitch on the enormous choral bridge of “Humanimal” and the folky power metal jaunt of “One With the Wind.” Even on lyrically dark/mournful passages like “Wayfarer” and “Garden of the Fallen,” Canvas of Silence deliver soaring, hopeful crescendos that at times reach Fellowship levels of good cheer. Canvas of Silence can craft sincerely beautiful moments, and though As the World Tree Fell’s production can be sterile and overly loud2 I am nothing but excited to see what these Finns can cook up next.

Spicie Forrest’s Punky Proferrings

Violent Testimony // Aggravate [October 17th, 2025 – Horror Pain Gore Death Productions]

Do you wish there was more grind in your life? Well, Cheyenne, Wyoming’s Violent Testimony just assumed you would. Combining the punky flair of Napalm Death with the lead foot ethos of early Pig Destroyer and Cattle Decapitation, debut LP Aggravate is 26 minutes of delicious grindy goodness. From the opening salvo of “God Complex Massacre” to the final detonations of “Hit N’ Run,” Violent Testimony shows absolutely no restraint. D.N.’s Gatling drums mow down everything in their path while T.W.’s serpentine bass clears the chaff and flattens any obstruction. Shrapnel propelled by N.Y.’s brutish, breakneck riffing can be seen burying itself in concrete walls, still quivering (“Rider in the Night,” “Psychotic Episode”). Caustic growls and vitriolic screams tear from T.W.’s throat at mach fuck (“Flashbang Celebration,” “Obligatory Manifestation of Infinite Grind”). With only two tracks exceeding the two-minute mark, Violent Testimony screams their piece with as much sound and fury as possible before moving on and picking their next bone with the system. This keeps Aggravate a lean, densely-packed offering. If you need to get pissed off right now and even the fastest death metal is too slow, Violent Testimony is all too happy to decimate the opposition with you.

Uaar // Galger og Brann [October 17th, 2025 – Fysisk Format Records]

Hailing from Oslo, Norway, crust outfit Uaar celebrates their tenth birthday by releasing their debut LP. Galger og Brann, which means “Gallows and Fire” in Norwegian, expands on the foundations laid by established acts like Skitsystem and Tragedy. With one foot firmly planted in black metal and the other in hardcore, Uaar unleashes a cacophony of rage unfettered. D-beats abound, courtesy of Truls Friesl Berg, creating a frantic, enraged atmosphere. Dag Schaug Carlsen’s blackened rasps are so cold they burn, matching the evil pall hanging over tracks like “Galeås” and “Den siste.” Post-flecked, Ancsty tendencies (“Alt Skal Brenne,” “Overalt”) peek through the feral hardcore riffage (“Håpet forsvinner”) of guitarists Erik Berg Friesl and Jon Schaug Carlsen, while bassist Stian S. Evensen provides the muscle to convince you these guys aren’t screwing around. Uaar is well-versed in their base genres, alternating between and mixing black metal and hardcore effortlessly. The occasional blues-tinged heavy metal lead—as in “Overalt” and “Dolken”—keep Galger og Brann from being a one-note affair. With a dearth of standout blackened hardcore releases this year, Uaar’s Galger og Brann is a welcome—if late—addition to the list.

Scorching Tomb // Ossuary [October 24th, 2025 – Time to Kill Records]

I’ll be honest, I’ve never considered Montreal, Canada, to be prime death metal territory. Luckily, Scorching Tomb doesn’t care what I think. Debut LP Ossuary is an aural violation born of Tren-induced hardcore aggression and filthy old school death metal. With a guitar tone (Philippe Lelbanc) like sandpaper and a bass like swallowing gravel (Miguel Lepage), Scorching Tomb plays in the same cesspools as Bloodgutter and Rotpit. We normally associate melted faces with guitar solos, but that honor belongs to whatever corrosive noises issue forth from vocalist Vincent Patrick Lajeunesse’s guts. Drummer Émile Savard loves a blast beat, often detonating them in short bursts to support an already bone-breaking assault (“Feel the Blade”). “Stalagmite3 Impalement” and “Sanctum of Bones (Ossuary)” are particularly savage, with tetanus-inflicting riffs and bloodthirsty screams threatening to drag you into the crypt to be used for meal prep. On “Skullcrush,” Sanguisugabogg’s Devin Swank perfectly matches Scorching Tomb’s vile depravity, cementing them as a promising new act in the scene. Ossuary is raging, muscle-bound, caveman death metal drowned in a vat of viscera and sewage, and it tastes incredible.

ClarkKent’s Gratifying Goodies

Sutratma // Adrift [October 3rd, 2025 – Self-Release]

While I didn’t purposely seek out more doom during my self-imposed month of picking only doom promos, Sutratma’s fifth full-length, Adrift, ranks as one of the better doom albums I listened to in November. This California four-piece has been writing funeral doom for 15 years, and it shows in their ability to craft effective melancholic slow-burns that strike a balance between melody and crushingly heavy. Adrift impresses straight out the gate with the piano-drenched “Wind and Sea.” This song nicely melds the sorrowful softness of the piano with punishing guitar riffs and impressive growls. Just like stalwarts My Dying Bride, Sutratma mixes growls with cleans, and Daniel Larios’s cleans effectively hit you right in the feels while the growls take on a more despairing note. There’s plenty of variety from song to song, with organs stealing the show on “Guiding Star” and a lovely melody on “The Great Bereaver” that builds up to a moving finale. Just like with Oromet, there’s a serenity to the music that is calming, and the skilled songwriting and musicianship lends a poignancy to it all. With the frenzy of list season upon us, it’s nice to have something like this to remind us that it’s okay to just slow down—even when an angry ape is berating you for more content.

Starer // Ancient Monuments and Modern Sadness [October 10th, 2025 – Fiadh Productions]

Josh Hines, the one man behind black metal project, Starer, has been very busy. Since forming Starer in 2020, he has released four EPs and now, with the release of Ancient Monuments and Modern Sadness, four LPs. I first became acquainted with this band on 2023’s Wind, Breeze, or Breath and was taken in by Hines’s aggressively atmospheric take on black metal. Ancient Monuments and Modern Sadness hits the ground running on “I Cry Your Mother’s Blood” with some aggressively catchy melodies. The aggression continues on “Il-Kantilena” with its icy riffs and pumping blast beats. Meanwhile, “The Field of Reeds” combines the black n’ roll of Fell Omen with the fuzzy reverb of atmoblack for a rollicking good time. Hines screams into the void as subdued symphonics add layers of melody, providing a surprising amount of depth to each song. Because of the frenetic pace, the 50-minute runtime flies right by, even as songs like “Song of the Harper” do their best to vary the tempo. For black metal, the production is lush and gorgeous, giving air to all instruments. The epic, ten-minute finale is the culmination of Hines’s ability to put together complex and compelling music that both excites by its aggression and dazzles with its atmospherics. Black metal fans should not miss this one.

Grin Reaper’s Haunted Harvest

Black Cross Hotel // Songs for Switches [October 31st, 2025 – Someoddpilot Records]

Three years after dropping their favorably reviewed debut Hex, keys-drenched and industrialized outfit Black Cross Hotel returns bearing Songs for Switches. 80s-inspired synths, mid-paced chugs, and dance-ready grooves pack neatly into forty-one minutes of grubby fun, sure to interest fans of Ministry and Killing Joke, or anyone with a predilection for leather. Where Hex boasted a wider assortment of tempos, Songs for Switches narrows its focus to mid-paced songs with a keener emphasis on keyboard melodies. Averting a direction that could have been limiting, Black Cross Hotel smartly sidesteps this by shaving down song lengths and arranging the tracks for optimal pacing. Individual moments across the album evoke Me and That Man (“Eyes from Nowhere”), Soulfly (“Blood Dance”), and Joy Division (“Typo”), casting an eclectic array of sounds into Mount Gloom to forge ten dangerously fun tracks. Though I liked the album at first listen, it took multiple spins for Songs for Switches’ distilled aesthetic to fully unfurl, and once it did, my appreciation redoubled. With a sinister atmosphere designed as much for pain as pleasure, Black Cross Hotel has readied your room for a night you won’t forget.

Miasmata // Subterrania [October 31st, 2025 – Naturmacht Productions]

Still hawking their distinctive blend of meloblack and heavy metal, Miasmata dropped sophomore platter Subterrania on what was one of the most congested release days of 2025.4 In addition to the recurring influences of Windir (“Die at the Right Time”) and Iron Maiden (the intro to “Subterrania” smacks of The X Factor), Subterrania adds a dollop of thrash into the mix. Opener “Those Who Cross the Flame” struts out with a punky riff that wouldn’t be out of place on an Anthrax record, while “Full of the Devil” tastes as much like Testament or Havok as Diamond Head. The beauty of Miasmata, both on debut Unlight: Songs of Earth and Atrophy and Subterrania, is one-man mastermind Mike Wilson’s aptitude to synthesize a mighty host of influences into a unique sonic palette all his own. As Sharky noted in Unlight’s review, Miasmata has a knack for remarkable restraint. Subterrania clocks under forty minutes, layering slithery riffs upon one another in a way that propels the music in constant motion, shifting and unfolding so organically that the album slips by before you realize it’s over (an especially impressive feat considering the self-titled closer’s near fourteen-minute runtime). If you missed Miasmata’s latest on release day, go rectify that. Don’t let Subterrania get lost to the underground.

Dolphin Whisperer’s Autumnal Anomoly

夢遊病者 // РЛБ300119225 [October 28th, 2025 – Self Release]

As if plucked into lucidity from amidst a hazy, proggy machination, РЛБ30011922 steps into its narrative—an exploration of a beloved figure in its creator’s life, including sound clips describing the trials through which she persisted—with an entrancing stumble. Through an understated math rock lens, tight kit rhythms with a tension-building hi-hat clashes strut against a loud and leading bass voice across 37 minutes of fluid guitar textures. Whether it’s the chunky fusion reminiscent of Hackett-era Gordian Knot, the playful rhythmic post-rock that evokes a band like toe, or the fuzzed-out punctuation that tell a prog tale as ’70s King Crimson would, 夢遊病者, also known as Sleepwalker, makes their love of sound as clear as their love of РЛБ30011922’s inspiration. In a setting this free and detailed, not a single moment of this one-long-song opus passes by without taking a moment to focus on a given performer’s escalation in the drama of the movement. Wielding short guitar solos as segues into popping double-kick trots, spoken word exposition as pedal switch-up opportunities, all leading to a crescendo of bent and bluesy expression, 夢遊病者 succeeds in more than just holding an audience captive with their jammy and heartfelt statement. РЛБ30011922, like the shorter form releases that have graced these halls before, will have you coming back time and time again to explore its sentiments, which feel both traced from a dream yet rooted in rich, earthly tone pleasures.

Saunders’ Slinky Sneaks

Enragement // Extinguish All Existence [October 31st, 2025 – Transcending Obscurity]

The back end of 2025 has thrown down some delightfully vicious, chunkified, and straightforward death metal gems, courtesy of the likes of Depravity, Glorious Depravity and Terror Corpse. Not to be discounted, Finland’s Enragement dropped their own intense slab of brutal death on fourth LP, Extinguish All Existence. Cutting with any pleasantries, Enragement get down to business, slamming through a tight, burly collection of Americanized death, keenly treading a balance between thuggish beatdowns, chest-busting blasts, slammy, pig-squealing grooves, and more traditional, though deceptively diverse brutal death fare. Despite the certifiably crushing formula deployed, there is an air of accessibility, perhaps attributed to the clean but suitably beefy production job, bludgeoning, addictive grooves and sinister currents of atmospheric melody flowing through the album’s riff-centric veins. Thrashy, straightforward bursts of fury are tempered by more technical flourishes and an impressively versatile vocal assault. The likes of Devourment, Deeds of Flesh, Dawn of Demise and Benighted are perhaps fitting reference points, however, Enragement blast their own path of uncompromisingly heavy destruction.

Stephen Brodsky // Cut to the Core Vol. 1 [October 3rd, 2025 – Pax Aeturnum]

There are a couple of ways to broach this latest solo endeavor from lovable rogue and Cave In/Mutoid Man mastermind Stephen Brodsky. Brodsky delivers refreshed interpretations of various ’90s hardcore songs, reimagined in acoustic form. Those familiar with the original compositions will likely have fun dissecting and comparing the original anthems. While others, such as myself, largely unfamiliar with the originals, can enjoy these polished takes in their reimagined form, without comparison. Over the years, I have developed a strong connection with Brodsky’s works and come to appreciate his softer, acoustic flavorings. The likes of Snapcase, Converge, Texas is the Reason, Threadbare and By the Grace of God are some of the acts covered with typical style, zest, and emotion. Brodsky’s expressive and emotive delivery showcases both a loving appreciation of the material and deeper emotional connection that bleeds through the often darker, melancholic vibes of the acoustic constructions. The collection is remarkably consistent and infectious, highlighted by Brodsky’s crisp and soulful acoustic playing and distinctive singing voice on standout cuts, including “Windows” (Snapcase), “Benchwarmer” (Lincoln), “Fissures” (By the Grace of God), “Farewell Note to This City” (Converge), and “Voice” (Sense Field).

Soul Blind // Red Sky Mourning [October 10th, 2025 – Closed Casket Activities]

Riding a familiar wave of early ’00s alt-rock/metal and ’90s grungy nostalgia, New York’s Soul Blind emerge with sophomore LP, Red Sky Mourning. Although they tread dangerously close to overt derivation of prominent influences, including Alice in Chains, Deftones, and Helmet, Soul Blind manage to just stay afloat on their own terms. The dreamy melodies, chunky alt metal riffs, and soaring, Cantrell-esque vocal melodies cultivate some earwormy hooks and fuzzy, 90s/’00s feels. Soul Blind possess a knack for writing textured, mildly sludgy, infectious rock ditties, dabbling in shoegazing atmospherics, and sturdier alt metal territories along the way. Soul Blind relish in AIC inspired earworms (“Dyno,” “Hide Your Evil”), grittier, more aggressive alt metal fare (‘Billy,’ “New York Smoke”) and airy, indie pop-rock (“Thru the Haze”). Soul Blind have work to do to stand out from their influences and develop a more unique sound and robust character. However, the signs are positive for better things to come. Red Sky Mourning is a solid throwback album and handy companion piece to the equally nostalgia-inspired album from Bleed earlier in the year.

#2025 #Acoustic #Adrift #Aggravate #AliceInChains #AmericanMetal #AncientMonumentsAndModernSadness #Ancst #Anthrax #AsTheWorldTreeFell #AtmosphericBlackMetal #BlackCrossHotel #BlackMetal #Bleed #Bloodgutter #ByTheGraceOfGod #CanadianMetal #CanvasOfSilence #CattleDecapitation #CaveIn #ClosedCasketActivities #Converge #Crust #CutToTheCoreVol1 #DeathMetal #Deftones #Depravity #DiamondHead #DormantOrdeal #EdgewoodArsenalRecords #Enragement #ExtinguishAllExistence #FellOmen #Fellowship #FiadhProductions #FinnishMetal #FuneralDoom #FysiskFormatRecords #GalgerOgBrann #GloriousDepravity #GordianKnot #GrooveMetal #Grunge #HardRock #Hardcore #Havok #HeavyMetal #Helmet #HorrorPainGoreDeathProductions #IndependentRelease #IndustrialMetal #InternationalMetal #IronMaiden #JapaneseMetal #KillingJoke #KingCrimson #Lincoln #MadderMortem #MeAndThatMan #MelodicBlackMetal #Miasmata #Ministry #MutoidMan #MyDyingBride #NapalmDeath #NaturmachtProductions #NewZealandMetal #Nightwish #NorwegianMetal #Oct25 #Oromet #Ossuary #PaxAeternum #PigDestroyer #ProgressiveMetal #ProgressiveRock #RedSkyMourning #RepulsiveSummoning #Review #Reviews #RockshotsRecords #Rotpit #Sanguisugabogg #ScorchingTomb #SelfRelease #SelfReleased #SenseField #Skitsystem #Snapcase #SomeoddpilotReocrds #SongsForSwitches #SoulBlind #Soulfly #Starer #StephenBrodsky #StuckInTheFilter #StuckInTheFilter2025 #Subterrania #Sutratma #SymphonicMetal #TerrorCorpse #Testament #TexasIsTheReason #TheDarkElement #Theocracy #Threadbare #TimeToKillRecords #toe #Tragedy #TranscendingObsurityRecords #Uaar #ViolentTestimony #Vomitory #Windir #Xaoc #РЛБ30011922 #夢遊病者

Stuck in the Filter: October 2025’s Angry Misses

By Kenstrosity

They say it’s going to be a harsh winter this year. They always say that, and it’s almost never true, at least not from where I’ve set up camp. However, no matter the weather I am a harsh taskmaster, doling out grueling hours, no pay or benefits, and probably the worst coffee on the planet to my dutiful minions. It takes a special kind of person, motivated by pure unadulterated greed to ravenously scour the filter for dusty, almost-forgotten gems like they do.

But we are thankful for them for being exactly that! And we also benefit, in the form of quality(ish) chunks of glimmery, shimmery metal. BEHOLD!

Kenstrosity’s Riffy Representation

Xaoc // Repulsive Summoning [October 31, 2025 – Edgewood Arsenal Records]

Xaoc’s history is one of the more confusing I’ve encountered in my time writing for this blog. After breaking up in 2008, a new lineup spawned in 2022 to record and release Proxime Mortis from the ashes of songs written pre-breakup, supported by Edgewood Arsenal. At some point this year, two more members spawned in anticipation of this new slab Repulsive Summoning. But the band’s labeled as Split Up already on Metallum? I don’t understand what’s going on there, but at least I can say that Repulsive Summoning is a turbo banger! These riffs are bonkers, full of verve and swagger, brimming with groove and muscularity. A happy mix of Vomitory and Dormant Ordeal, this Virginian outfit know how to throw down. Highlights like “Ave Solva Coagula,” “Antima Samskara,” “The Great Perfected Ones,” and the entire “Degenerate Era” three-part suite reduce my body into a fine slurry by the grinding, vicious power of their riffs alone. But the rabid growls, ballistic percussion, and meaty guitar tones contain more than enough fuel to propel those riffs across this tight and thunderous 35-minute runtime. It’s a simple record, built to beat me down and leave me broken and bloodied, but it’s also an effortlessly memorable affair that leaves me wanting more despite the mounting medical bills. Don’t sleep on Xaoc!

Andy-War-Hall’s Succulent Surplus

Canvas of Silence // As the World Tree Fell [October 31st, 2025 – Rockshots Records]

Finnish symphonic metallers Canvas of Silence describe themselves as “prog-influenced chorus metal,” and that description goes far in outlining their debut As the World Tree Fell. Their core sound resembles a progged-out Nightwish moonlighting as a melodeath band, committing ludicrous bombast on symphonic-heavy cuts like “The Great Unknown” and “Wayfarer” amidst a sharp Gothenburg riff attack in “Watching the World Tree Fall” and “Drown.” Canvas of Silence mete out a balanced approach of light and dark sounds between Theocracyesque prog-power (“One With the Wind,” “Humanimal”) and Madder Mortem-like gothic twists (“Drown,” “Anthem for Ashes”), all reined in by the commanding vocal presence of singer Loimu Satakieli.1 Sitting somewhere between Anette Olzon (ex-Nightwish, The Dark Element) and Agnete Kierkevaag (Madder Mortem), her impassioned and heavily-layered singing turns As the World Tree Fell into a smörgåsbord of lush, catchy and anthemic tunes of an uplifting, sing-along nature. Optimism permeates As the World Tree Fell, felt at a fever pitch on the enormous choral bridge of “Humanimal” and the folky power metal jaunt of “One With the Wind.” Even on lyrically dark/mournful passages like “Wayfarer” and “Garden of the Fallen,” Canvas of Silence deliver soaring, hopeful crescendos that at times reach Fellowship levels of good cheer. Canvas of Silence can craft sincerely beautiful moments, and though As the World Tree Fell’s production can be sterile and overly loud2 I am nothing but excited to see what these Finns can cook up next.

Spicie Forrest’s Punky Proferrings

Violent Testimony // Aggravate [October 17th, 2025 – Horror Pain Gore Death Productions]

Do you wish there was more grind in your life? Well, Cheyenne, Wyoming’s Violent Testimony just assumed you would. Combining the punky flair of Napalm Death with the lead foot ethos of early Pig Destroyer and Cattle Decapitation, debut LP Aggravate is 26 minutes of delicious grindy goodness. From the opening salvo of “God Complex Massacre” to the final detonations of “Hit N’ Run,” Violent Testimony shows absolutely no restraint. D.N.’s Gatling drums mow down everything in their path while T.W.’s serpentine bass clears the chaff and flattens any obstruction. Shrapnel propelled by N.Y.’s brutish, breakneck riffing can be seen burying itself in concrete walls, still quivering (“Rider in the Night,” “Psychotic Episode”). Caustic growls and vitriolic screams tear from T.W.’s throat at mach fuck (“Flashbang Celebration,” “Obligatory Manifestation of Infinite Grind”). With only two tracks exceeding the two-minute mark, Violent Testimony screams their piece with as much sound and fury as possible before moving on and picking their next bone with the system. This keeps Aggravate a lean, densely-packed offering. If you need to get pissed off right now and even the fastest death metal is too slow, Violent Testimony is all too happy to decimate the opposition with you.

Uaar // Galger og Brann [October 17th, 2025 – Fysisk Format Records]

Hailing from Oslo, Norway, crust outfit Uaar celebrates their tenth birthday by releasing their debut LP. Galger og Brann, which means “Gallows and Fire” in Norwegian, expands on the foundations laid by established acts like Skitsystem and Tragedy. With one foot firmly planted in black metal and the other in hardcore, Uaar unleashes a cacophony of rage unfettered. D-beats abound, courtesy of Truls Friesl Berg, creating a frantic, enraged atmosphere. Dag Schaug Carlsen’s blackened rasps are so cold they burn, matching the evil pall hanging over tracks like “Galeås” and “Den siste.” Post-flecked, Ancsty tendencies (“Alt Skal Brenne,” “Overalt”) peek through the feral hardcore riffage (“Håpet forsvinner”) of guitarists Erik Berg Friesl and Jon Schaug Carlsen, while bassist Stian S. Evensen provides the muscle to convince you these guys aren’t screwing around. Uaar is well-versed in their base genres, alternating between and mixing black metal and hardcore effortlessly. The occasional blues-tinged heavy metal lead—as in “Overalt” and “Dolken”—keep Galger og Brann from being a one-note affair. With a dearth of standout blackened hardcore releases this year, Uaar’s Galger og Brann is a welcome—if late—addition to the list.

Scorching Tomb // Ossuary [October 24th, 2025 – Time to Kill Records]

I’ll be honest, I’ve never considered Montreal, Canada, to be prime death metal territory. Luckily, Scorching Tomb doesn’t care what I think. Debut LP Ossuary is an aural violation born of Tren-induced hardcore aggression and filthy old school death metal. With a guitar tone (Philippe Lelbanc) like sandpaper and a bass like swallowing gravel (Miguel Lepage), Scorching Tomb plays in the same cesspools as Bloodgutter and Rotpit. We normally associate melted faces with guitar solos, but that honor belongs to whatever corrosive noises issue forth from vocalist Vincent Patrick Lajeunesse’s guts. Drummer Émile Savard loves a blast beat, often detonating them in short bursts to support an already bone-breaking assault (“Feel the Blade”). “Stalagmite3 Impalement” and “Sanctum of Bones (Ossuary)” are particularly savage, with tetanus-inflicting riffs and bloodthirsty screams threatening to drag you into the crypt to be used for meal prep. On “Skullcrush,” Sanguisugabogg’s Devin Swank perfectly matches Scorching Tomb’s vile depravity, cementing them as a promising new act in the scene. Ossuary is raging, muscle-bound, caveman death metal drowned in a vat of viscera and sewage, and it tastes incredible.

ClarkKent’s Gratifying Goodies

Sutratma // Adrift [October 3rd, 2025 – Self-Release]

While I didn’t purposely seek out more doom during my self-imposed month of picking only doom promos, Sutratma’s fifth full-length, Adrift, ranks as one of the better doom albums I listened to in November. This California four-piece has been writing funeral doom for 15 years, and it shows in their ability to craft effective melancholic slow-burns that strike a balance between melody and crushingly heavy. Adrift impresses straight out the gate with the piano-drenched “Wind and Sea.” This song nicely melds the sorrowful softness of the piano with punishing guitar riffs and impressive growls. Just like stalwarts My Dying Bride, Sutratma mixes growls with cleans, and Daniel Larios’s cleans effectively hit you right in the feels while the growls take on a more despairing note. There’s plenty of variety from song to song, with organs stealing the show on “Guiding Star” and a lovely melody on “The Great Bereaver” that builds up to a moving finale. Just like with Oromet, there’s a serenity to the music that is calming, and the skilled songwriting and musicianship lends a poignancy to it all. With the frenzy of list season upon us, it’s nice to have something like this to remind us that it’s okay to just slow down—even when an angry ape is berating you for more content.

Starer // Ancient Monuments and Modern Sadness [October 10th, 2025 – Fiadh Productions]

Josh Hines, the one man behind black metal project, Starer, has been very busy. Since forming Starer in 2020, he has released four EPs and now, with the release of Ancient Monuments and Modern Sadness, four LPs. I first became acquainted with this band on 2023’s Wind, Breeze, or Breath and was taken in by Hines’s aggressively atmospheric take on black metal. Ancient Monuments and Modern Sadness hits the ground running on “I Cry Your Mother’s Blood” with some aggressively catchy melodies. The aggression continues on “Il-Kantilena” with its icy riffs and pumping blast beats. Meanwhile, “The Field of Reeds” combines the black n’ roll of Fell Omen with the fuzzy reverb of atmoblack for a rollicking good time. Hines screams into the void as subdued symphonics add layers of melody, providing a surprising amount of depth to each song. Because of the frenetic pace, the 50-minute runtime flies right by, even as songs like “Song of the Harper” do their best to vary the tempo. For black metal, the production is lush and gorgeous, giving air to all instruments. The epic, ten-minute finale is the culmination of Hines’s ability to put together complex and compelling music that both excites by its aggression and dazzles with its atmospherics. Black metal fans should not miss this one.

Grin Reaper’s Haunted Harvest

Black Cross Hotel // Songs for Switches [October 31st, 2025 – Someoddpilot Records]

Three years after dropping their favorably reviewed debut Hex, keys-drenched and industrialized outfit Black Cross Hotel returns bearing Songs for Switches. 80s-inspired synths, mid-paced chugs, and dance-ready grooves pack neatly into forty-one minutes of grubby fun, sure to interest fans of Ministry and Killing Joke, or anyone with a predilection for leather. Where Hex boasted a wider assortment of tempos, Songs for Switches narrows its focus to mid-paced songs with a keener emphasis on keyboard melodies. Averting a direction that could have been limiting, Black Cross Hotel smartly sidesteps this by shaving down song lengths and arranging the tracks for optimal pacing. Individual moments across the album evoke Me and That Man (“Eyes from Nowhere”), Soulfly (“Blood Dance”), and Joy Division (“Typo”), casting an eclectic array of sounds into Mount Gloom to forge ten dangerously fun tracks. Though I liked the album at first listen, it took multiple spins for Songs for Switches’ distilled aesthetic to fully unfurl, and once it did, my appreciation redoubled. With a sinister atmosphere designed as much for pain as pleasure, Black Cross Hotel has readied your room for a night you won’t forget.

Miasmata // Subterrania [October 31st, 2025 – Naturmacht Productions]

Still hawking their distinctive blend of meloblack and heavy metal, Miasmata dropped sophomore platter Subterrania on what was one of the most congested release days of 2025.4 In addition to the recurring influences of Windir (“Die at the Right Time”) and Iron Maiden (the intro to “Subterrania” smacks of The X Factor), Subterrania adds a dollop of thrash into the mix. Opener “Those Who Cross the Flame” struts out with a punky riff that wouldn’t be out of place on an Anthrax record, while “Full of the Devil” tastes as much like Testament or Havok as Diamond Head. The beauty of Miasmata, both on debut Unlight: Songs of Earth and Atrophy and Subterrania, is one-man mastermind Mike Wilson’s aptitude to synthesize a mighty host of influences into a unique sonic palette all his own. As Sharky noted in Unlight’s review, Miasmata has a knack for remarkable restraint. Subterrania clocks under forty minutes, layering slithery riffs upon one another in a way that propels the music in constant motion, shifting and unfolding so organically that the album slips by before you realize it’s over (an especially impressive feat considering the self-titled closer’s near fourteen-minute runtime). If you missed Miasmata’s latest on release day, go rectify that. Don’t let Subterrania get lost to the underground.

Dolphin Whisperer’s Autumnal Anomoly

夢遊病者 // РЛБ300119225 [October 28th, 2025 – Self Release]

As if plucked into lucidity from amidst a hazy, proggy machination, РЛБ30011922 steps into its narrative—an exploration of a beloved figure in its creator’s life, including sound clips describing the trials through which she persisted—with an entrancing stumble. Through an understated math rock lens, tight kit rhythms with a tension-building hi-hat clashes strut against a loud and leading bass voice across 37 minutes of fluid guitar textures. Whether it’s the chunky fusion reminiscent of Hackett-era Gordian Knot, the playful rhythmic post-rock that evokes a band like toe, or the fuzzed-out punctuation that tell a prog tale as ’70s King Crimson would, 夢遊病者, also known as Sleepwalker, makes their love of sound as clear as their love of РЛБ30011922’s inspiration. In a setting this free and detailed, not a single moment of this one-long-song opus passes by without taking a moment to focus on a given performer’s escalation in the drama of the movement. Wielding short guitar solos as segues into popping double-kick trots, spoken word exposition as pedal switch-up opportunities, all leading to a crescendo of bent and bluesy expression, 夢遊病者 succeeds in more than just holding an audience captive with their jammy and heartfelt statement. РЛБ30011922, like the shorter form releases that have graced these halls before, will have you coming back time and time again to explore its sentiments, which feel both traced from a dream yet rooted in rich, earthly tone pleasures.

Saunders’ Slinky Sneaks

Enragement // Extinguish All Existence [October 31st, 2025 – Transcending Obscurity]

The back end of 2025 has thrown down some delightfully vicious, chunkified, and straightforward death metal gems, courtesy of the likes of Depravity, Glorious Depravity and Terror Corpse. Not to be discounted, Finland’s Enragement dropped their own intense slab of brutal death on fourth LP, Extinguish All Existence. Cutting with any pleasantries, Enragement get down to business, slamming through a tight, burly collection of Americanized death, keenly treading a balance between thuggish beatdowns, chest-busting blasts, slammy, pig-squealing grooves, and more traditional, though deceptively diverse brutal death fare. Despite the certifiably crushing formula deployed, there is an air of accessibility, perhaps attributed to the clean but suitably beefy production job, bludgeoning, addictive grooves and sinister currents of atmospheric melody flowing through the album’s riff-centric veins. Thrashy, straightforward bursts of fury are tempered by more technical flourishes and an impressively versatile vocal assault. The likes of Devourment, Deeds of Flesh, Dawn of Demise and Benighted are perhaps fitting reference points, however, Enragement blast their own path of uncompromisingly heavy destruction.

Stephen Brodsky // Cut to the Core Vol. 1 [October 3rd, 2025 – Pax Aeturnum]

There are a couple of ways to broach this latest solo endeavor from lovable rogue and Cave In/Mutoid Man mastermind Stephen Brodsky. Brodsky delivers refreshed interpretations of various ’90s hardcore songs, reimagined in acoustic form. Those familiar with the original compositions will likely have fun dissecting and comparing the original anthems. While others, such as myself, largely unfamiliar with the originals, can enjoy these polished takes in their reimagined form, without comparison. Over the years, I have developed a strong connection with Brodsky’s works and come to appreciate his softer, acoustic flavorings. The likes of Snapcase, Converge, Texas is the Reason, Threadbare and By the Grace of God are some of the acts covered with typical style, zest, and emotion. Brodsky’s expressive and emotive delivery showcases both a loving appreciation of the material and deeper emotional connection that bleeds through the often darker, melancholic vibes of the acoustic constructions. The collection is remarkably consistent and infectious, highlighted by Brodsky’s crisp and soulful acoustic playing and distinctive singing voice on standout cuts, including “Windows” (Snapcase), “Benchwarmer” (Lincoln), “Fissures” (By the Grace of God), “Farewell Note to This City” (Converge), and “Voice” (Sense Field).

Soul Blind // Red Sky Mourning [October 10th, 2025 – Closed Casket Activities]

Riding a familiar wave of early ’00s alt-rock/metal and ’90s grungy nostalgia, New York’s Soul Blind emerge with sophomore LP, Red Sky Mourning. Although they tread dangerously close to overt derivation of prominent influences, including Alice in Chains, Deftones, and Helmet, Soul Blind manage to just stay afloat on their own terms. The dreamy melodies, chunky alt metal riffs, and soaring, Cantrell-esque vocal melodies cultivate some earwormy hooks and fuzzy, 90s/’00s feels. Soul Blind possess a knack for writing textured, mildly sludgy, infectious rock ditties, dabbling in shoegazing atmospherics, and sturdier alt metal territories along the way. Soul Blind relish in AIC inspired earworms (“Dyno,” “Hide Your Evil”), grittier, more aggressive alt metal fare (‘Billy,’ “New York Smoke”) and airy, indie pop-rock (“Thru the Haze”). Soul Blind have work to do to stand out from their influences and develop a more unique sound and robust character. However, the signs are positive for better things to come. Red Sky Mourning is a solid throwback album and handy companion piece to the equally nostalgia-inspired album from Bleed earlier in the year.

Show 5 footnotes

1. Who has since left the band following this album’s recording over creative differences, now replaced by Aino Vuorenmaa ↩
2. Ironic, Canvas of Silence. ↩
3. Stalagmites are the ones on the ground. ↩
4. Which included two of my top ten albums of the year. ↩
5. You may have noticed this link is an Ampwall link. Still haven’t heard of Ampwall, a music e-commerce hub built by members of Woe as an alternative experience to Bandcamp? Vowing to maintain an artist-first and community-influenced direction, Ampwall holds a lot of promise to the musical underground.. Check it out! ↩

#2025 #Acoustic #Adrift #Aggravate #AliceInChains #AmericanMetal #AncientMonumentsAndModernSadness #Ancst #Anthrax #AsTheWorldTreeFell #AtmosphericBlackMetal #BlackCrossHotel #BlackMetal #Bleed #Bloodgutter #ByTheGraceOfGod #CanadianMetal #CanvasOfSilence #CattleDecapitation #CaveIn #ClosedCasketActivities #Converge #Crust #CutToTheCoreVol1 #DeathMetal #Deftones #Depravity #DiamondHead #DormantOrdeal #EdgewoodArsenalRecords #Enragement #ExtinguishAllExistence #FellOmen #Fellowship #FiadhProductions #FinnishMetal #FuneralDoom #FysiskFormatRecords #GalgerOgBrann #GloriousDepravity #GordianKnot #GrooveMetal #Grunge #HardRock #Hardcore #Havok #HeavyMetal #Helmet #HorrorPainGoreDeathProductions #IndependentRelease #IndustrialMetal #InternationalMetal #IronMaiden #JapaneseMetal #KillingJoke #KingCrimson #Lincoln #MadderMortem #MeAndThatMan #MelodicBlackMetal #Miasmata #Ministry #MutoidMan #MyDyingBride #NapalmDeath #NaturmachtProductions #NewZealandMetal #Nightwish #NorwegianMetal #Oct25 #Oromet #Ossuary #PaxAeternum #PigDestroyer #ProgressiveMetal #ProgressiveRock #RedSkyMourning #RepulsiveSummoning #Review #Reviews #RockshotsRecords #Rotpit #Sanguisugabogg #ScorchingTomb #SelfRelease #SelfReleased #SenseField #Skitsystem #Snapcase #SomeoddpilotReocrds #SongsForSwitches #SoulBlind #Soulfly #Starer #StephenBrodsky #StuckInTheFilter #StuckInTheFilter2025 #Subterrania #Sutratma #SymphonicMetal #TerrorCorpse #Testament #TexasIsTheReason #TheDarkElement #Theocracy #Threadbare #TimeToKillRecords #toe #Tragedy #TranscendingObsurityRecords #Uaar #ViolentTestimony #Vomitory #Windir #Xaoc #РЛБ30011922 #夢遊病者

Sanguisugabogg – Hideous Aftermath Review

By Owlswald

This review almost didn’t happen. As the recently demoted were scraping the last bit of slime off the bottom of the skull pit to prepare for the new haul of Fall promo, we inadvertently found Sanguisugabogg’s third full-length, Hideous Aftermath, submerged in the sludgy remains of two ex-n00bs. Mistakes were made for which we do do not apologize. These Ohio-based purveyors of grimy, gore-inspired brutal death may have a name worthy of the national Spelling Bee and a logo that looks like blood-soaked, tangled string, but these chaps know how to dish out the goods. Spawning from Maggot Stomping grounds in 2019, Sanguisugabogg’s tongue-in-cheek brutality has raised them up to the forefront of this fetid genre. After a debut EP built considerable buzz, Diabolus and Felagund found follow-up LPs Tortured Whole and Homicidal Ecstasy to be forthright and fun slabs of brutal death. Hideous Aftermath now signals a shift, honing their caveman chugs to embrace more expansive horizons, but in the end, it’s still big gory, dumb fun.

On Hideous Aftermath, Sanguisugabogg sheds the muddy textures of 90s death for a significantly sharper and more organic sound. This is largely thanks to stellar production by Kurt Ballou (Converge, Nails). After long self-producing, Sanguisugabogg trusted Ballou’s expertise1 to elevate their sound, ditching the split low-end signal of the guitar in favor of real bass (played by guitarists Cedrik Davis and Drew Arnold) to add a clearer, punchier low-end. The result is a loud, full mix that still allows every nuance of the instrumentation to shine through. From Davis and Arnold’s chunky, downtuned guitar grooves, to Devin Swank’s stomach-churning gutturals, to Cody Davidson’s flashy, intricate kit work (including the trademark snare ping), everything hits like a fucking tank. Tracks like “Erotic Beheading,” “Abhorrent Contraception” and “Rotted Entanglement” Vomit Forth a platter of the ‘Bogg’s familiar chugs and slams, while facets of Vile Rites progressiveness (“Sanctified Defilement”), Godflesh-tinged industrial (“Replusive Demise”), sludgy drawls (“Paid in Flesh”) and laser blasts (“Semi Automatic Facial Reconstruction”) show the foursome at their boldest and most creative. Despite this internal split, Hideous Aftermath is a welcome evolution for Sanguisugabogg and a good time to boot.

Let’s curb any potential misconceptions: while Hideous Aftermath finds Sanguisugabogg exploring new sonic territory, it’s first and foremost the same ugly, blood-thirsty, brutal death that existing fans know and love. Across ten songs, the ‘Bogg bludgeons the listener with an unrelenting assault of riffs, blasts, breakdowns and half-time stomps. Moments of respite are few before the artillery fire of Davidson’s brilliant, anchoring rhythms resumes the barrage. Davidson’s drumming remains the top highlight, elevating Sanguisugabogg’s songwriting with technical aggression through flawless double bass runs, Bran Dailor-esque (Mastodon) snare rolls and violence-inducing bell work. Standout front-half tracks like “Abhorrent Contraception,” “Rotted Entanglement” and “Ritual of Autophagia” showcase the group’s strongest material to date. Here, pummeling brutality meets discordant melodies (“Ritual of Autophagia”), swirling arpeggiations (“Rotted Entanglement”) and djenty gallops (“Felony Abuse of a Corpse”). Coupled with the injection of high-caliber guests,2 these new twists and turns give Hideous Aftermath’s material a different, fresh feel and I’m here for it.

While the first half of Hideous Aftermath proves Sanguisugabogg is capable of taking calculated steps forward, the record’s overall impact is weakened by its excessive 47-minute length and hesitant execution in the final stretch. The record feels front-loaded, with later tracks “Erotic Beheading,” “Semi Automatic Facial Reconstruction,” and “Sanctified Defilement” hindered by conventionality, lacking the strength and progressiveness of the album’s stronger material. Accordingly, Hideous Aftermath would have benefited from trimming two or three tracks to distill its best ideas. The ambitious industrial interlude “Repulsive Demise,” for example, feels awkward and out of place, while the sludgy ending to the otherwise solid “Pain of Flesh” drones on unnecessarily for four minutes, further underscoring the pacing issue.

But make no mistake—Hideous Aftermath is the best material Sanguisugabogg has released to date, largely succeeding in balancing evolution with tradition. The album confidently delivers the ‘Bogg’s trademark slams and neck-snapping grooves that longtime fans expect, while integrating new twists and turns that showcase a newfound artistic confidence. Though the final stretch wades too far into the deep end and keeps me from awarding Hideous Aftermath a higher score, the record sets a clear path for future greatness. It’s no longer a question of if Sanguisugabogg will ascend, but when.

Rating: Good!
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Century Media
Websites: sanguisugabogg.bandcamp.com | sanguisugabogg.com | facebook.com/sanguisugabogg
Releases Worldwide: October 10th, 2025

#2025 #30 #AmericanMetal #CattleDecapitation #CenturyMedia #Converge #DeathMetal #DefeatedSanity #FullOfHell #Godflesh #HideousAftermath #Mastodon #Nails #Oct25 #PeelingFlesh #Review #Reviews #Sanguisugabogg #VileRites #VomitForth

Sanguisugabogg – Hideous Aftermath Review

By Owlswald

This review almost didn’t happen. As the recently demoted were scraping the last bit of slime off the bottom of the skull pit to prepare for the new haul of Fall promo, we inadvertently found Sanguisugabogg’s third full-length, Hideous Aftermath, submerged in the sludgy remains of two ex-n00bs. Mistakes were made for which we do do not apologize. These Ohio-based purveyors of grimy, gore-inspired brutal death may have a name worthy of the national Spelling Bee and a logo that looks like blood-soaked, tangled string, but these chaps know how to dish out the goods. Spawning from Maggot Stomping grounds in 2019, Sanguisugabogg’s tongue-in-cheek brutality has raised them up to the forefront of this fetid genre. After a debut EP built considerable buzz, Diabolus and Felagund found follow-up LPs Tortured Whole and Homicidal Ecstasy to be forthright and fun slabs of brutal death. Hideous Aftermath now signals a shift, honing their caveman chugs to embrace more expansive horizons, but in the end, it’s still big gory, dumb fun.

On Hideous Aftermath, Sanguisugabogg sheds the muddy textures of 90s death for a significantly sharper and more organic sound. This is largely thanks to stellar production by Kurt Ballou (Converge, Nails). After long self-producing, Sanguisugabogg trusted Ballou’s expertise1 to elevate their sound, ditching the split low-end signal of the guitar in favor of real bass (played by guitarists Cedrik Davis and Drew Arnold) to add a clearer, punchier low-end. The result is a loud, full mix that still allows every nuance of the instrumentation to shine through. From Davis and Arnold’s chunky, downtuned guitar grooves, to Devin Swank’s stomach-churning gutturals, to Cody Davidson’s flashy, intricate kit work (including the trademark snare ping), everything hits like a fucking tank. Tracks like “Erotic Beheading,” “Abhorrent Contraception” and “Rotted Entanglement” Vomit Forth a platter of the ‘Bogg’s familiar chugs and slams, while facets of Vile Rites progressiveness (“Sanctified Defilement”), Godflesh-tinged industrial (“Replusive Demise”), sludgy drawls (“Paid in Flesh”) and laser blasts (“Semi Automatic Facial Reconstruction”) show the foursome at their boldest and most creative. Despite this internal split, Hideous Aftermath is a welcome evolution for Sanguisugabogg and a good time to boot.

Let’s curb any potential misconceptions: while Hideous Aftermath finds Sanguisugabogg exploring new sonic territory, it’s first and foremost the same ugly, blood-thirsty, brutal death that existing fans know and love. Across ten songs, the ‘Bogg bludgeons the listener with an unrelenting assault of riffs, blasts, breakdowns and half-time stomps. Moments of respite are few before the artillery fire of Davidson’s brilliant, anchoring rhythms resumes the barrage. Davidson’s drumming remains the top highlight, elevating Sanguisugabogg’s songwriting with technical aggression through flawless double bass runs, Bran Dailor-esque (Mastodon) snare rolls and violence-inducing bell work. Standout front-half tracks like “Abhorrent Contraception,” “Rotted Entanglement” and “Ritual of Autophagia” showcase the group’s strongest material to date. Here, pummeling brutality meets discordant melodies (“Ritual of Autophagia”), swirling arpeggiations (“Rotted Entanglement”) and djenty gallops (“Felony Abuse of a Corpse”). Coupled with the injection of high-caliber guests,2 these new twists and turns give Hideous Aftermath’s material a different, fresh feel and I’m here for it.

While the first half of Hideous Aftermath proves Sanguisugabogg is capable of taking calculated steps forward, the record’s overall impact is weakened by its excessive 47-minute length and hesitant execution in the final stretch. The record feels front-loaded, with later tracks “Erotic Beheading,” “Semi Automatic Facial Reconstruction,” and “Sanctified Defilement” hindered by conventionality, lacking the strength and progressiveness of the album’s stronger material. Accordingly, Hideous Aftermath would have benefited from trimming two or three tracks to distill its best ideas. The ambitious industrial interlude “Repulsive Demise,” for example, feels awkward and out of place, while the sludgy ending to the otherwise solid “Pain of Flesh” drones on unnecessarily for four minutes, further underscoring the pacing issue.

But make no mistake—Hideous Aftermath is the best material Sanguisugabogg has released to date, largely succeeding in balancing evolution with tradition. The album confidently delivers the ‘Bogg’s trademark slams and neck-snapping grooves that longtime fans expect, while integrating new twists and turns that showcase a newfound artistic confidence. Though the final stretch wades too far into the deep end and keeps me from awarding Hideous Aftermath a higher score, the record sets a clear path for future greatness. It’s no longer a question of if Sanguisugabogg will ascend, but when.

Rating: Good!
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Century Media
Websites: sanguisugabogg.bandcamp.com | sanguisugabogg.com | facebook.com/sanguisugabogg
Releases Worldwide: October 10th, 2025

#2025 #30 #AmericanMetal #CattleDecapitation #CenturyMedia #Converge #DeathMetal #DefeatedSanity #FullOfHell #Godflesh #HideousAftermath #Mastodon #Nails #Oct25 #PeelingFlesh #Review #Reviews #Sanguisugabogg #VileRites #VomitForth

Sanguisugabogg – Hideous Aftermath Review

By Owlswald

This review almost didn’t happen. As the recently demoted were scraping the last bit of slime off the bottom of the skull pit to prepare for the new haul of Fall promo, we inadvertently found Sanguisugabogg’s third full-length, Hideous Aftermath, submerged in the sludgy remains of two ex-n00bs. Mistakes were made for which we do do not apologize. These Ohio-based purveyors of grimy, gore-inspired brutal death may have a name worthy of the national Spelling Bee and a logo that looks like blood-soaked, tangled string, but these chaps know how to dish out the goods. Spawning from Maggot Stomping grounds in 2019, Sanguisugabogg’s tongue-in-cheek brutality has raised them up to the forefront of this fetid genre. After a debut EP built considerable buzz, Diabolus and Felagund found follow-up LPs Tortured Whole and Homicidal Ecstasy to be forthright and fun slabs of brutal death. Hideous Aftermath now signals a shift, honing their caveman chugs to embrace more expansive horizons, but in the end, it’s still big gory, dumb fun.

On Hideous Aftermath, Sanguisugabogg sheds the muddy textures of 90s death for a significantly sharper and more organic sound. This is largely thanks to stellar production by Kurt Ballou (Converge, Nails). After long self-producing, Sanguisugabogg trusted Ballou’s expertise1 to elevate their sound, ditching the split low-end signal of the guitar in favor of real bass (played by guitarists Cedrik Davis and Drew Arnold) to add a clearer, punchier low-end. The result is a loud, full mix that still allows every nuance of the instrumentation to shine through. From Davis and Arnold’s chunky, downtuned guitar grooves, to Devin Swank’s stomach-churning gutturals, to Cody Davidson’s flashy, intricate kit work (including the trademark snare ping), everything hits like a fucking tank. Tracks like “Erotic Beheading,” “Abhorrent Contraception” and “Rotted Entanglement” Vomit Forth a platter of the ‘Bogg’s familiar chugs and slams, while facets of Vile Rites progressiveness (“Sanctified Defilement”), Godflesh-tinged industrial (“Replusive Demise”), sludgy drawls (“Paid in Flesh”) and laser blasts (“Semi Automatic Facial Reconstruction”) show the foursome at their boldest and most creative. Despite this internal split, Hideous Aftermath is a welcome evolution for Sanguisugabogg and a good time to boot.

Let’s curb any potential misconceptions: while Hideous Aftermath finds Sanguisugabogg exploring new sonic territory, it’s first and foremost the same ugly, blood-thirsty, brutal death that existing fans know and love. Across ten songs, the ‘Bogg bludgeons the listener with an unrelenting assault of riffs, blasts, breakdowns and half-time stomps. Moments of respite are few before the artillery fire of Davidson’s brilliant, anchoring rhythms resumes the barrage. Davidson’s drumming remains the top highlight, elevating Sanguisugabogg’s songwriting with technical aggression through flawless double bass runs, Bran Dailor-esque (Mastodon) snare rolls and violence-inducing bell work. Standout front-half tracks like “Abhorrent Contraception,” “Rotted Entanglement” and “Ritual of Autophagia” showcase the group’s strongest material to date. Here, pummeling brutality meets discordant melodies (“Ritual of Autophagia”), swirling arpeggiations (“Rotted Entanglement”) and djenty gallops (“Felony Abuse of a Corpse”). Coupled with the injection of high-caliber guests,2 these new twists and turns give Hideous Aftermath’s material a different, fresh feel and I’m here for it.

While the first half of Hideous Aftermath proves Sanguisugabogg is capable of taking calculated steps forward, the record’s overall impact is weakened by its excessive 47-minute length and hesitant execution in the final stretch. The record feels front-loaded, with later tracks “Erotic Beheading,” “Semi Automatic Facial Reconstruction,” and “Sanctified Defilement” hindered by conventionality, lacking the strength and progressiveness of the album’s stronger material. Accordingly, Hideous Aftermath would have benefited from trimming two or three tracks to distill its best ideas. The ambitious industrial interlude “Repulsive Demise,” for example, feels awkward and out of place, while the sludgy ending to the otherwise solid “Pain of Flesh” drones on unnecessarily for four minutes, further underscoring the pacing issue.

But make no mistake—Hideous Aftermath is the best material Sanguisugabogg has released to date, largely succeeding in balancing evolution with tradition. The album confidently delivers the ‘Bogg’s trademark slams and neck-snapping grooves that longtime fans expect, while integrating new twists and turns that showcase a newfound artistic confidence. Though the final stretch wades too far into the deep end and keeps me from awarding Hideous Aftermath a higher score, the record sets a clear path for future greatness. It’s no longer a question of if Sanguisugabogg will ascend, but when.

Rating: Good!
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Century Media
Websites: sanguisugabogg.bandcamp.com | sanguisugabogg.com | facebook.com/sanguisugabogg
Releases Worldwide: October 10th, 2025

#2025 #30 #AmericanMetal #CattleDecapitation #CenturyMedia #Converge #DeathMetal #DefeatedSanity #FullOfHell #Godflesh #HideousAftermath #Mastodon #Nails #Oct25 #PeelingFlesh #Review #Reviews #Sanguisugabogg #VileRites #VomitForth

Plague Curse – Verminous Contempt Review

By Spicie Forrest

We’ve all been told, once or thrice, not to judge a book by its cover. As a species, we’re pretty good at doing it anyway. In metal circles, band logos and album art often follow certain tropes that let us quickly identify what we’re about to hear and set expectations accordingly. Except when they don’t. When I first saw the cover art for Verminous Contempt, I thought I had it pegged. I mean, rats? Green mystery fluid? Skulls? This was sewage-drenched death metal for sure. I was, of course, wrong. For their debut, Plague Curse instead offers a highly polished platter of blackened death metal. Irregardless of genre, however, the only question that matters here is, does it slap?

The heart of Verminous Contempt beats death, but its blackened influences are plenty vital. Bolt Thrown riffs, courtesy of Joe Caswell (Burden of Ymir), and Neil Schneider’s fully automatic drums offer a tank tread massage on “In the Shadow of Hate” and “Procession of Dead,” while “Amidst the Devastation” and “Hate Fuck Of Fornication and Malice” get their meat hooks in you like Cattle Decapitation in an asylum. Guitar licks in the skeletal, dissonant veins of Morbid Angel or Pestilence add a hunted sense of unrest (“Nocturnal Cruelty,” “Callous Abomination”). This would make for a decent record on its own, but well-placed blackened tremolos coalesce and melt away throughout the album like specters in a fog. “Umbrage Earned” and “Of Fornication and Malice” open with hellish, blackened salvos of Archspired urgency, but what’s particularly noteworthy about the former—and true to varying degrees across all of Verminous Contempt—is the way the band twists and warps death metal instrumentation to fit over black metal structures. While much of this record sounds like death metal, “Umbrage Earned” reminds me more of Watain from a compositional standpoint. Verminous Contempt isn’t just black metal and death metal played next to each other; Plague Curse creates a true blend of the two.

The instrumentals on Verminous Contempt are nothing to sneeze at, and neither is Nick Rossi’s vocal performance. His lows evoke Suffocation or Septicflesh, while highs are closer to Cattle Decapitation or Mental Cruelty. Rossi even gets brutally low on “In the Shadow of Hate” and “Callous Abomination.” He’s got an impressive toolkit. And whether low, high, or somewhere in between, he’s phlegmy and wet, not unlike Lik. It brings an unrefined, unhinged edge to an album whose production is otherwise pretty clean. The added grit does wonders for Plague Curse’s sound, creating much-needed texture across Verminous Contempt. Rossi’s standout performance is occasionally a detriment, however, as a few instrumental sections struggle to hold their own in his absence (“Procession of Dead,” “Reigning in Ruin”).

Verminous Contempt is an energetic and dynamic album. Riffs abound, both searing like Spectral Wound (“Most Vile”) and crushing like Immolation (“Callous Abomination”). Whether slinging neoclassical hooks (“Most Vile”), creating blackened tension (“In the Shadow of Hate”), or expertly shifting tempo (“Reigning in Ruin”), Caswell can count on Schneider and bassist George Van Doorn to provide a solid foundation upon which to drive each track. Transitions are well-timed and flow seamlessly, making the album an enjoyable and smooth listen end to end. Even tastefully and sparingly added dissonance incorporates well into the broader picture (“Reigning in Ruin,” “Nocturnal Cruelty”). But with such obvious songwriting prowess and tight construction, it’s a little frustrating to trudge through several minutes that should have been left on the cutting room floor, including the last third of “Reigning in Ruin” and the entire outro “Oderint Dum Metuant.”

I picked up Verminous Contempt expecting Foetal Juice, but was instead treated to an impressive mix of some of metal’s meanest sounds. Like being blindsided with a brick, Plague Curse comes out swinging and, with the exception of a couple of competent slowdowns, never lets up. Between noteworthy vocals and frenetic yet controlled instrumentation, Verminous Contempt is an enjoyable and easily consumed album. On their debut, Plague Curse establish themselves as a vicious but accessible contender in blackened death circles. With a more enthusiastic scalpel and a little more attention paid to instrumental passages, Plague Curse could easily be a future cornerstone of the genre.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Adirondack Black Mass
Websites: Bandcamp | Facebook
Releases Worldwide: October 10th, 2025

#2025 #35 #AdirondackBlackMass #Archspire #BlackMetal #BlackenedDeathMetal #BoltThrower #BurdenOfYmir #CattleDecapitation #DeathMetal #FoetalJuice #Immolation #InternationalMetal #LIK #MentalCruelty #MorbidAngel #Oct25 #Pestilence #PlagueCurse #Review #Reviews #SepticFlesh #SpectralWound #Suffocation #VerminousContempt #Watain

Revocation – New Gods, New Masters Review

Following in the esteemed footsteps of resident Revocation expert Kronos is a daunting task. But with Kronos on…
#NewsBeep #News #Music #2025 #3.5 #AmericanMetal #AU #Australia #CattleDecapitation #DeathMetal #Entertainment #Gorguts #JobforaCowboy #NewGods #NewMasters #ProgressiveMetal #review #reviews #Revocation #TechnicalDeathMetal #TechnicalThrashMetal #ThrashMetal
https://www.newsbeep.com/au/168644/

Revocation – New Gods, New Masters Review

Following in the esteemed footsteps of resident Revocation expert Kronos is a daunting task. But with Kronos on…
#NewsBeep #News #Music #2025 #3.5 #AmericanMetal #CA #Canada #CattleDecapitation #DeathMetal #Entertainment #Gorguts #JobforaCowboy #NewGods #NewMasters #ProgressiveMetal #review #reviews #Revocation #TechnicalDeathMetal #TechnicalThrashMetal #ThrashMetal
https://www.newsbeep.com/ca/168849/

Revocation – New Gods, New Masters Review

By Saunders

Following in the esteemed footsteps of resident Revocation expert Kronos is a daunting task. But with Kronos on an extended sabbatical, it’s time to step up as a long-term fanboy of Boston’s technical death-thrash juggernaut and put thoughts to their latest artistic endeavor, ninth LP, New Gods, New Masters. Mastermind Dave Davidson is joined by long-serving drummer Ash Pearson and newly minted members, Harry Lannon (guitars) and bassist Alex Weber, both seasoned underground musicians and hardly newbies to the extreme metal game. The other factor of interest is the addition of numerous guests, including Travis Ryan (Cattle Decapitation), Jonny Davy (Job for a Cowboy), lesser-known Israeli musician Gilad Hekselman, and Gorguts legend Luc Lemay. Is this a ploy of a band running low on ideas and seeking reinforcements, or a master stroke to add firepower to an already stacked arsenal?

Consistency has been a mainstay across Revocation’s now lengthy career. Occasional dips from the gold-plated standards of their unstoppable early to mid-career run notwithstanding, Revocation has never shit the bed or careened spectacularly off the rails. Nevertheless, nearing the twenty-year milestone since formation, the Angry Metal Guy’s Law of Diminishing Recordings™ looms ominously. Return to form Netherheaven brought a sharper focus and bloodstained atmosphere to the songwriting, delving deeper into Revocation’s deathly impulses with striking results. New Gods, New Masters stays on trend with recent efforts, charting a notably uglier, angrier route in comparison to their thrashier, playful early roots. Veering down increasingly gnarled and brutal spirals and weighing heavily into their deathly persona, New Gods, New Masters has serious fucking teeth, while failing to dull Revocation’s penchant for wildly inventive, technical material and progressive flourishes.

Rumbling into gear with gritty bass lines and thunderous drums, the opening title track ramps up tension before unfolding into a rugged, thrashy rager, complete with playful melodic break and typically mind-bending soloing. Cold and calculating, at its most beastly, New Gods, New Masters cuts an imposing figure, cranking heaviness to the max during the gritty, almost hardcore-leaning crunch of “Dystopian Vermin,” and venomous, blackened swarm of “Despiritualized.” Davidson’s vocals are at their most unhinged and anguished as the pair of gut-wrenching belters are further shaped by moody, unspooling solos, adding a touch of class and improv feel. Ginormous, lumbering grooves shake the core of “Confines of Infinity,” leaving a satisfyingly bruising punch, embellished by blistering blast sections, warp speed riffing, and killer guest spot by Travis Ryan. Featuring an impressively guttural Davy on guest vox, the awesomely and aptly titled “Cronenberged” is even better; its vicious, relentless intensity, mutated riffs, and authoritative rhythm section cut a brutal swathe into your scrambled brain. These are fine additions to Revocation’s stacked repertoire.

Standing out amongst its vocal counterparts, the brilliantly composed instrumental “The All Seeing” is a stunning piece. Pearson and Weber’s excellent combination and jittery, complex rhythms share the spotlight through a multifaceted, proggy journey, bolstered by intricate, groovy riffs and jazz-inspired soloing. Closer “Buried Epoch,” featuring Lemay, largely matches its weighty ambitions and song length, whipping blackened, death, thrash, tech, and prog ingredients into a pummeling, unpredictable, though largely cohesive epic. The new line-up doesn’t miss a beat, striking chemistry and maintaining Revocation’s trademark ear-popping technicality. Weber’s bass is afforded a chunky presence in the mix, lending melodic nuance and reinforced grunt to the album’s bleak, dystopian atmosphere, blunt force grooves, and brutal, uncompromising edge. The underrated Pearson puts in another exceptional performance behind the kit. Meanwhile, riff king Davidson and newcomer Lannon ensure Revocation’s axe-centric tech death-thrash arsenal and intricate, infectious riffcraft remains intact. Davidson’s corkscrewing, endlessly inventive solos feature soulful licks amidst bleaker tones, syncing with the album’s harsh, ominous atmosphere.

Injecting new blood into a familiar formula, New Gods, New Masters opens another shifting chapter for Revocation, though avoids spinning wheels. Marginally less consistent and compelling than Netherheaven, New Gods, New Masters nevertheless marks another fruitful return from Revocation. While it cannot quite match the band’s highest peaks, with songs falling more towards the very good rather than great range, New Gods, New Masters features the hallmarks of a grower. Initial reservations swiftly subsided, revealing another unique entry and exceptionally heavy, vitriolic burst of body slamming, thrashy tech death, catching songcraft and artful shredding.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 1411kbps mp3
Label: Metal Blade Records
Websites: revocation.bandcamp.com | revocationband.com | facebook.com/revocation
Releases Worldwide: September 26th, 2025

#2025 #35 #AmericanMetal #CattleDecapitation #DeathMetal #Gorguts #JobForACowboy #NewGods #NewMasters #ProgressiveMetal #Review #Reviews #Revocation #TechnicalDeathMetal #TechnicalThrashMetal #ThrashMetal

Revocation – New Gods, New Masters Review

By Saunders

Following in the esteemed footsteps of resident Revocation expert Kronos is a daunting task. But with Kronos on an extended sabbatical, it’s time to step up as a long-term fanboy of Boston’s technical death-thrash juggernaut and put thoughts to their latest artistic endeavor, ninth LP, New Gods, New Masters. Mastermind Dave Davidson is joined by long-serving drummer Ash Pearson and newly minted members, Harry Lannon (guitars) and bassist Alex Weber, both seasoned underground musicians and hardly newbies to the extreme metal game. The other factor of interest is the addition of numerous guests, including Travis Ryan (Cattle Decapitation), Jonny Davy (Job for a Cowboy), lesser-known Israeli musician Gilad Hekselman, and Gorguts legend Luc Lemay. Is this a ploy of a band running low on ideas and seeking reinforcements, or a master stroke to add firepower to an already stacked arsenal?

Consistency has been a mainstay across Revocation’s now lengthy career. Occasional dips from the gold-plated standards of their unstoppable early to mid-career run notwithstanding, Revocation has never shit the bed or careened spectacularly off the rails. Nevertheless, nearing the twenty-year milestone since formation, the Angry Metal Guy’s Law of Diminishing Recordings™ looms ominously. Return to form Netherheaven brought a sharper focus and bloodstained atmosphere to the songwriting, delving deeper into Revocation’s deathly impulses with striking results. New Gods, New Masters stays on trend with recent efforts, charting a notably uglier, angrier route in comparison to their thrashier, playful early roots. Veering down increasingly gnarled and brutal spirals and weighing heavily into their deathly persona, New Gods, New Masters has serious fucking teeth, while failing to dull Revocation’s penchant for wildly inventive, technical material and progressive flourishes.

Rumbling into gear with gritty bass lines and thunderous drums, the opening title track ramps up tension before unfolding into a rugged, thrashy rager, complete with playful melodic break and typically mind-bending soloing. Cold and calculating, at its most beastly, New Gods, New Masters cuts an imposing figure, cranking heaviness to the max during the gritty, almost hardcore-leaning crunch of “Dystopian Vermin,” and venomous, blackened swarm of “Despiritualized.” Davidson’s vocals are at their most unhinged and anguished as the pair of gut-wrenching belters are further shaped by moody, unspooling solos, adding a touch of class and improv feel. Ginormous, lumbering grooves shake the core of “Confines of Infinity,” leaving a satisfyingly bruising punch, embellished by blistering blast sections, warp speed riffing, and killer guest spot by Travis Ryan. Featuring an impressively guttural Davy on guest vox, the awesomely and aptly titled “Cronenberged” is even better; its vicious, relentless intensity, mutated riffs, and authoritative rhythm section cut a brutal swathe into your scrambled brain. These are fine additions to Revocation’s stacked repertoire.

Standing out amongst its vocal counterparts, the brilliantly composed instrumental “The All Seeing” is a stunning piece. Pearson and Weber’s excellent combination and jittery, complex rhythms share the spotlight through a multifaceted, proggy journey, bolstered by intricate, groovy riffs and jazz-inspired soloing. Closer “Buried Epoch,” featuring Lemay, largely matches its weighty ambitions and song length, whipping blackened, death, thrash, tech, and prog ingredients into a pummeling, unpredictable, though largely cohesive epic. The new line-up doesn’t miss a beat, striking chemistry and maintaining Revocation’s trademark ear-popping technicality. Weber’s bass is afforded a chunky presence in the mix, lending melodic nuance and reinforced grunt to the album’s bleak, dystopian atmosphere, blunt force grooves, and brutal, uncompromising edge. The underrated Pearson puts in another exceptional performance behind the kit. Meanwhile, riff king Davidson and newcomer Lannon ensure Revocation’s axe-centric tech death-thrash arsenal and intricate, infectious riffcraft remains intact. Davidson’s corkscrewing, endlessly inventive solos feature soulful licks amidst bleaker tones, syncing with the album’s harsh, ominous atmosphere.

Injecting new blood into a familiar formula, New Gods, New Masters opens another shifting chapter for Revocation, though avoids spinning wheels. Marginally less consistent and compelling than Netherheaven, New Gods, New Masters nevertheless marks another fruitful return from Revocation. While it cannot quite match the band’s highest peaks, with songs falling more towards the very good rather than great range, New Gods, New Masters features the hallmarks of a grower. Initial reservations swiftly subsided, revealing another unique entry and exceptionally heavy, vitriolic burst of body slamming, thrashy tech death, catching songcraft and artful shredding.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 1411kbps mp3
Label: Metal Blade Records
Websites: revocation.bandcamp.com | revocationband.com | facebook.com/revocation
Releases Worldwide: September 26th, 2025

#2025 #35 #AmericanMetal #CattleDecapitation #DeathMetal #Gorguts #JobForACowboy #NewGods #NewMasters #ProgressiveMetal #Review #Reviews #Revocation #TechnicalDeathMetal #TechnicalThrashMetal #ThrashMetal

Revocation – New Gods, New Masters Review

By Saunders

Following in the esteemed footsteps of resident Revocation expert Kronos is a daunting task. But with Kronos on an extended sabbatical, it’s time to step up as a long-term fanboy of Boston’s technical death-thrash juggernaut and put thoughts to their latest artistic endeavor, ninth LP, New Gods, New Masters. Mastermind Dave Davidson is joined by long-serving drummer Ash Pearson and newly minted members, Harry Lannon (guitars) and bassist Alex Weber, both seasoned underground musicians and hardly newbies to the extreme metal game. The other factor of interest is the addition of numerous guests, including Travis Ryan (Cattle Decapitation), Jonny Davy (Job for a Cowboy), lesser-known Israeli musician Gilad Hekselman, and Gorguts legend Luc Lemay. Is this a ploy of a band running low on ideas and seeking reinforcements, or a master stroke to add firepower to an already stacked arsenal?

Consistency has been a mainstay across Revocation’s now lengthy career. Occasional dips from the gold-plated standards of their unstoppable early to mid-career run notwithstanding, Revocation has never shit the bed or careened spectacularly off the rails. Nevertheless, nearing the twenty-year milestone since formation, the Angry Metal Guy’s Law of Diminishing Recordings™ looms ominously. Return to form Netherheaven brought a sharper focus and bloodstained atmosphere to the songwriting, delving deeper into Revocation’s deathly impulses with striking results. New Gods, New Masters stays on trend with recent efforts, charting a notably uglier, angrier route in comparison to their thrashier, playful early roots. Veering down increasingly gnarled and brutal spirals and weighing heavily into their deathly persona, New Gods, New Masters has serious fucking teeth, while failing to dull Revocation’s penchant for wildly inventive, technical material and progressive flourishes.

Rumbling into gear with gritty bass lines and thunderous drums, the opening title track ramps up tension before unfolding into a rugged, thrashy rager, complete with playful melodic break and typically mind-bending soloing. Cold and calculating, at its most beastly, New Gods, New Masters cuts an imposing figure, cranking heaviness to the max during the gritty, almost hardcore-leaning crunch of “Dystopian Vermin,” and venomous, blackened swarm of “Despiritualized.” Davidson’s vocals are at their most unhinged and anguished as the pair of gut-wrenching belters are further shaped by moody, unspooling solos, adding a touch of class and improv feel. Ginormous, lumbering grooves shake the core of “Confines of Infinity,” leaving a satisfyingly bruising punch, embellished by blistering blast sections, warp speed riffing, and killer guest spot by Travis Ryan. Featuring an impressively guttural Davy on guest vox, the awesomely and aptly titled “Cronenberged” is even better; its vicious, relentless intensity, mutated riffs, and authoritative rhythm section cut a brutal swathe into your scrambled brain. These are fine additions to Revocation’s stacked repertoire.

Standing out amongst its vocal counterparts, the brilliantly composed instrumental “The All Seeing” is a stunning piece. Pearson and Weber’s excellent combination and jittery, complex rhythms share the spotlight through a multifaceted, proggy journey, bolstered by intricate, groovy riffs and jazz-inspired soloing. Closer “Buried Epoch,” featuring Lemay, largely matches its weighty ambitions and song length, whipping blackened, death, thrash, tech, and prog ingredients into a pummeling, unpredictable, though largely cohesive epic. The new line-up doesn’t miss a beat, striking chemistry and maintaining Revocation’s trademark ear-popping technicality. Weber’s bass is afforded a chunky presence in the mix, lending melodic nuance and reinforced grunt to the album’s bleak, dystopian atmosphere, blunt force grooves, and brutal, uncompromising edge. The underrated Pearson puts in another exceptional performance behind the kit. Meanwhile, riff king Davidson and newcomer Lannon ensure Revocation’s axe-centric tech death-thrash arsenal and intricate, infectious riffcraft remains intact. Davidson’s corkscrewing, endlessly inventive solos feature soulful licks amidst bleaker tones, syncing with the album’s harsh, ominous atmosphere.

Injecting new blood into a familiar formula, New Gods, New Masters opens another shifting chapter for Revocation, though avoids spinning wheels. Marginally less consistent and compelling than Netherheaven, New Gods, New Masters nevertheless marks another fruitful return from Revocation. While it cannot quite match the band’s highest peaks, with songs falling more towards the very good rather than great range, New Gods, New Masters features the hallmarks of a grower. Initial reservations swiftly subsided, revealing another unique entry and exceptionally heavy, vitriolic burst of body slamming, thrashy tech death, catching songcraft and artful shredding.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 1411kbps mp3
Label: Metal Blade Records
Websites: revocation.bandcamp.com | revocationband.com | facebook.com/revocation
Releases Worldwide: September 26th, 2025

#2025 #35 #AmericanMetal #CattleDecapitation #DeathMetal #Gorguts #JobForACowboy #NewGods #NewMasters #ProgressiveMetal #Review #Reviews #Revocation #TechnicalDeathMetal #TechnicalThrashMetal #ThrashMetal

Revocation – New Gods, New Masters Review

By Saunders

Following in the esteemed footsteps of resident Revocation expert Kronos is a daunting task. But with Kronos on an extended sabbatical, it’s time to step up as a long-term fanboy of Boston’s technical death-thrash juggernaut and put thoughts to their latest artistic endeavor, ninth LP, New Gods, New Masters. Mastermind Dave Davidson is joined by long-serving drummer Ash Pearson and newly minted members, Harry Lannon (guitars) and bassist Alex Weber, both seasoned underground musicians and hardly newbies to the extreme metal game. The other factor of interest is the addition of numerous guests, including Travis Ryan (Cattle Decapitation), Jonny Davy (Job for a Cowboy), lesser-known Israeli musician Gilad Hekselman, and Gorguts legend Luc Lemay. Is this a ploy of a band running low on ideas and seeking reinforcements, or a master stroke to add firepower to an already stacked arsenal?

Consistency has been a mainstay across Revocation’s now lengthy career. Occasional dips from the gold-plated standards of their unstoppable early to mid-career run notwithstanding, Revocation has never shit the bed or careened spectacularly off the rails. Nevertheless, nearing the twenty-year milestone since formation, the Angry Metal Guy’s Law of Diminishing Recordings™ looms ominously. Return to form Netherheaven brought a sharper focus and bloodstained atmosphere to the songwriting, delving deeper into Revocation’s deathly impulses with striking results. New Gods, New Masters stays on trend with recent efforts, charting a notably uglier, angrier route in comparison to their thrashier, playful early roots. Veering down increasingly gnarled and brutal spirals and weighing heavily into their deathly persona, New Gods, New Masters has serious fucking teeth, while failing to dull Revocation’s penchant for wildly inventive, technical material and progressive flourishes.

Rumbling into gear with gritty bass lines and thunderous drums, the opening title track ramps up tension before unfolding into a rugged, thrashy rager, complete with playful melodic break and typically mind-bending soloing. Cold and calculating, at its most beastly, New Gods, New Masters cuts an imposing figure, cranking heaviness to the max during the gritty, almost hardcore-leaning crunch of “Dystopian Vermin,” and venomous, blackened swarm of “Despiritualized.” Davidson’s vocals are at their most unhinged and anguished as the pair of gut-wrenching belters are further shaped by moody, unspooling solos, adding a touch of class and improv feel. Ginormous, lumbering grooves shake the core of “Confines of Infinity,” leaving a satisfyingly bruising punch, embellished by blistering blast sections, warp speed riffing, and killer guest spot by Travis Ryan. Featuring an impressively guttural Davy on guest vox, the awesomely and aptly titled “Cronenberged” is even better; its vicious, relentless intensity, mutated riffs, and authoritative rhythm section cut a brutal swathe into your scrambled brain. These are fine additions to Revocation’s stacked repertoire.

Standing out amongst its vocal counterparts, the brilliantly composed instrumental “The All Seeing” is a stunning piece. Pearson and Weber’s excellent combination and jittery, complex rhythms share the spotlight through a multifaceted, proggy journey, bolstered by intricate, groovy riffs and jazz-inspired soloing. Closer “Buried Epoch,” featuring Lemay, largely matches its weighty ambitions and song length, whipping blackened, death, thrash, tech, and prog ingredients into a pummeling, unpredictable, though largely cohesive epic. The new line-up doesn’t miss a beat, striking chemistry and maintaining Revocation’s trademark ear-popping technicality. Weber’s bass is afforded a chunky presence in the mix, lending melodic nuance and reinforced grunt to the album’s bleak, dystopian atmosphere, blunt force grooves, and brutal, uncompromising edge. The underrated Pearson puts in another exceptional performance behind the kit. Meanwhile, riff king Davidson and newcomer Lannon ensure Revocation’s axe-centric tech death-thrash arsenal and intricate, infectious riffcraft remains intact. Davidson’s corkscrewing, endlessly inventive solos feature soulful licks amidst bleaker tones, syncing with the album’s harsh, ominous atmosphere.

Injecting new blood into a familiar formula, New Gods, New Masters opens another shifting chapter for Revocation, though avoids spinning wheels. Marginally less consistent and compelling than Netherheaven, New Gods, New Masters nevertheless marks another fruitful return from Revocation. While it cannot quite match the band’s highest peaks, with songs falling more towards the very good rather than great range, New Gods, New Masters features the hallmarks of a grower. Initial reservations swiftly subsided, revealing another unique entry and exceptionally heavy, vitriolic burst of body slamming, thrashy tech death, catching songcraft and artful shredding.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 1411kbps mp3
Label: Metal Blade Records
Websites: revocation.bandcamp.com | revocationband.com | facebook.com/revocation
Releases Worldwide: September 26th, 2025

#2025 #35 #AmericanMetal #CattleDecapitation #DeathMetal #Gorguts #JobForACowboy #NewGods #NewMasters #ProgressiveMetal #Review #Reviews #Revocation #TechnicalDeathMetal #TechnicalThrashMetal #ThrashMetal

Revocation – New Gods, New Masters Review

By Saunders

Following in the esteemed footsteps of resident Revocation expert Kronos is a daunting task. But with Kronos on an extended sabbatical, it’s time to step up as a long-term fanboy of Boston’s technical death-thrash juggernaut and put thoughts to their latest artistic endeavor, ninth LP, New Gods, New Masters. Mastermind Dave Davidson is joined by long-serving drummer Ash Pearson and newly minted members, Harry Lannon (guitars) and bassist Alex Weber, both seasoned underground musicians and hardly newbies to the extreme metal game. The other factor of interest is the addition of numerous guests, including Travis Ryan (Cattle Decapitation), Jonny Davy (Job for a Cowboy), lesser-known Israeli musician Gilad Hekselman, and Gorguts legend Luc Lemay. Is this a ploy of a band running low on ideas and seeking reinforcements, or a master stroke to add firepower to an already stacked arsenal?

Consistency has been a mainstay across Revocation’s now lengthy career. Occasional dips from the gold-plated standards of their unstoppable early to mid-career run notwithstanding, Revocation has never shit the bed or careened spectacularly off the rails. Nevertheless, nearing the twenty-year milestone since formation, the Angry Metal Guy’s Law of Diminishing Recordings™ looms ominously. Return to form Netherheaven brought a sharper focus and bloodstained atmosphere to the songwriting, delving deeper into Revocation’s deathly impulses with striking results. New Gods, New Masters stays on trend with recent efforts, charting a notably uglier, angrier route in comparison to their thrashier, playful early roots. Veering down increasingly gnarled and brutal spirals and weighing heavily into their deathly persona, New Gods, New Masters has serious fucking teeth, while failing to dull Revocation’s penchant for wildly inventive, technical material and progressive flourishes.

Rumbling into gear with gritty bass lines and thunderous drums, the opening title track ramps up tension before unfolding into a rugged, thrashy rager, complete with playful melodic break and typically mind-bending soloing. Cold and calculating, at its most beastly, New Gods, New Masters cuts an imposing figure, cranking heaviness to the max during the gritty, almost hardcore-leaning crunch of “Dystopian Vermin,” and venomous, blackened swarm of “Despiritualized.” Davidson’s vocals are at their most unhinged and anguished as the pair of gut-wrenching belters are further shaped by moody, unspooling solos, adding a touch of class and improv feel. Ginormous, lumbering grooves shake the core of “Confines of Infinity,” leaving a satisfyingly bruising punch, embellished by blistering blast sections, warp speed riffing, and killer guest spot by Travis Ryan. Featuring an impressively guttural Davy on guest vox, the awesomely and aptly titled “Cronenberged” is even better; its vicious, relentless intensity, mutated riffs, and authoritative rhythm section cut a brutal swathe into your scrambled brain. These are fine additions to Revocation’s stacked repertoire.

Standing out amongst its vocal counterparts, the brilliantly composed instrumental “The All Seeing” is a stunning piece. Pearson and Weber’s excellent combination and jittery, complex rhythms share the spotlight through a multifaceted, proggy journey, bolstered by intricate, groovy riffs and jazz-inspired soloing. Closer “Buried Epoch,” featuring Lemay, largely matches its weighty ambitions and song length, whipping blackened, death, thrash, tech, and prog ingredients into a pummeling, unpredictable, though largely cohesive epic. The new line-up doesn’t miss a beat, striking chemistry and maintaining Revocation’s trademark ear-popping technicality. Weber’s bass is afforded a chunky presence in the mix, lending melodic nuance and reinforced grunt to the album’s bleak, dystopian atmosphere, blunt force grooves, and brutal, uncompromising edge. The underrated Pearson puts in another exceptional performance behind the kit. Meanwhile, riff king Davidson and newcomer Lannon ensure Revocation’s axe-centric tech death-thrash arsenal and intricate, infectious riffcraft remains intact. Davidson’s corkscrewing, endlessly inventive solos feature soulful licks amidst bleaker tones, syncing with the album’s harsh, ominous atmosphere.

Injecting new blood into a familiar formula, New Gods, New Masters opens another shifting chapter for Revocation, though avoids spinning wheels. Marginally less consistent and compelling than Netherheaven, New Gods, New Masters nevertheless marks another fruitful return from Revocation. While it cannot quite match the band’s highest peaks, with songs falling more towards the very good rather than great range, New Gods, New Masters features the hallmarks of a grower. Initial reservations swiftly subsided, revealing another unique entry and exceptionally heavy, vitriolic burst of body slamming, thrashy tech death, catching songcraft and artful shredding.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 1411kbps mp3
Label: Metal Blade Records
Websites: revocation.bandcamp.com | revocationband.com | facebook.com/revocation
Releases Worldwide: September 26th, 2025

#2025 #35 #AmericanMetal #CattleDecapitation #DeathMetal #Gorguts #JobForACowboy #NewGods #NewMasters #ProgressiveMetal #Review #Reviews #Revocation #TechnicalDeathMetal #TechnicalThrashMetal #ThrashMetal

Harvested – Dysthymia Review

By Tyme

Despite a waning stigma, mental illness remains an oft-closeted topic, as those suffering from it struggle not only to cope but to discuss their struggles with others. Here to shed some of their death metal light on the matter are Canadian upstarts Harvested, with their independent debut full-length Dysthymia, which, according to Johns Hopkins Medicine, is defined as a long-lasting form of mild depression. Touching on topics ranging from submitting to one’s long-bottled-up ‘shadow self’ (“Repressed Neurosis”) to the gluttonous way humans abuse the earth (“Unanchored”), something Harvested consider a form of mental illness, they’ve dialed back the lyrically gorier aspects of their eponymous 2022 EP to intensify the focus on their chosen theme. As evidenced by the beautifully rendered CJ Bertram cover art, which main guitarist Mitchi Dimitriadis says depicts ‘an individual in great mental turmoil’ and represents ‘the abstract visualization of the chaos that is the human brain,’ it’s clear that Harvested are committed to the subject. The only question left to answer is whether it’s worth reaping what Harvested’s Dysthymia hopes to have sown.

Nostalgically anchored in 1990s and early 2000s death metal, Harvested also incorporate modern elements of slam and tech-death into the mix to achieve Dysthymia’s goal. This is one brutal fucking record, and from the get, you realize Harvested aren’t messing about, as Dysthymia mashes the potatoes and pulls the meaty steaks off the grill, a muscle-bound manifestation of their Cannibal Corpse, Suffocation, and Deicide (“Harvested,” “The Infestation”) influences. Dimitriadis’ and Vitto Oh’s guitar harmonics are pinched harder than Grier‘s butt cheeks at an enema convention, ensorcelled by viscerally blistering riffs, technically proficient leads, and tornadic, swirling solos. Jacob Collins’ drums1 crack skulls and pummel sternums with whirling fills and destructive double-kicks while Eric Forget’s bass lines remember everything necessary to keep things rumbling along. Adam Semler’s vocals, primarily an homage to George Fisher’s chesty aggression and Glenn Benton’s demonic discernibility, also share elements with Cattle Decapitation’s Travis Ryan at his most high-pitched and raspy. For such a young band, Harvested have planted a flag on the death metal scene, and Dysthymia is the wind through which that flag furls, filled with exuberant, energy-filled performances and solid songwriting.

With highlights aplenty, Dysthymia demands attention by way of its genuine songcraft and near flawless execution. I found myself stank-faced and sweaty through many a listen, whether basking in the glow of galloping riffs and percussive bass on “Unending Madness” or taking in the detailed technicality of the Soreption and The Zenith Passage influenced “Designed Dilemma,” a song that chugs so hard through its last ninety seconds I nearly gave myself whiplash. My favorite track, “Gathered and Deluded,” is a Cattle Decapitation-tinted slammer with pinched harmonic progressions that have been living rent-free in my head for weeks as Forget’s bass marches in flurrying lockstep with Collins’ robotically precise drums, and Selmer channels his best inner Travis Ryan. Harvested is one tight-knit outfit, belying their relatively brief existence and sounding like a band that’s been together much longer.

I’d argue the efforts of Harvested’s “sixth member” deserve as much credit for the success Dysthymia should garner as the band themselves, and that is the excellent work Joe Lyko performed from the booth at Darkmoon Productions. Lyko’s mix and master slathers Dimitriadis’ and Oh’s guitar work in a tone that, for me, defies obvious comparison, as bright and bouncy as it is deadly and devastating. Like a calculated throat punch, it was the first thing that hit me when album opener, “Harvested,” launched, holding my rapt attention all the way through to “The Infestation,” an excellent close to Dysthymia’s very manageable thirty-two-minute runtime. Each instrument exists within its own space, breathing freely and intertwining with high-definition clarity, thereby topping this auditorily successful sundae with a big, fat, juicy cherry.

Lyrically poignant, brutally heavy, and bursting with engagingly twisted, hook-filled instrumentation, Dysthymia is a helluva debut, and one Harvested should be proud of. As poetically as I have waxed, I still believe there’s room for Harvested to grow. God help those who might lay their ears on a sophomore effort from this line-up, should they remain intact. Rest assured, I’ll definitely be watching and waiting. For now, however, I wholeheartedly recommend you spend some long-lasting, quality time with Dysthymia.

Rating: 3.5 / 5.0
DR: 7 | Format Reviewed: 320kbps mp3
Label: Self-Released
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: August 1st, 2025

#2025 #35 #Aug25 #CanadianMetal #CannibalCorpse #CattleDecapitation #DeathMetal #Deicide #Dysthymia #Harvested #Independent #Review #Soreption #Suffocation #TechnicalDeathMetal #TheZenithProcess

Recorruptor – Sorrow Will Drown Us All Review

By Alekhines Gun

One of the most entertaining things about describing death metal in any of its iterations is the limitless well of hyperbolic descriptors one can conjure. Older monikers like “crushes,” “brutalizes,” and “heavy” have given way to fun artistic notions like “being attacked by killer bees,” “gored by rabid rhinos,”1 and “being mated with by a coked out giraffe.” My own newest favorite phrase came by way of one of our loyal commentariat in the phrase “Taint kicker”. Michigan locals Recorruptor have arrived with their third LP, Sorrow Will Drown Us All, and it seeks to continue to force the listener to dig deeper into their well of artistic metaphors to describe the raw carnage on display. Are you up for a swim?

Like frosting with copious sprinkles on an extra chunky cake, Recorruptor use a hodgepodge of ingredients traversing from blackened deathcore to death metal and slam proper. This results in an album that is chuggy, blasty, slammy, and wammy, without easily being pigeonholed into any particular subgenre. A Venn diagram of sound neatly intersecting between Aborted, Cognitive, Cattle Decapitation and Lorna Shore, Sorrow Will Drown Us All flings the listener from one prolonged-shriek-laden chugging presentation with lightly strummed atmospheric lines (“Bearing the Befouled Spawn”) to vaguely OSDM melodic theatrics (“An Unnatural Lust”) without missing a beat or any part sounding out of place. The cohesiveness of songwriting is reflected in how each part is carefully composed for maximum impact without sounding like an unfocused collection of disparaging riffs. Recorruptor have opted for violence on a cinematic scale using a Batman-sized utility belt of tools to get their themes across, and those themes come in abundance.

This diversity of stylings means standout moments will depend entirely on what ingredient you’re most into. “Urn of Verglas” offers up a jumbo-sized plate of green eggs and slam, which is gleefully Ingested in its blunt simplicity, but rendered extra septic by contrast of the ruthless speed of what came before it. “Envenoming” is straight Cattle Decapitation worship with its atmospherics-rooted sense of grind and vocalist Clint Franklin doing a great impression of Travis Ryan at his most esophagus-abusing.2 “Insidious Rot” starts out with modern death metal groove before devolving into a prolonged breakdown set well beyond two-stepping pace and spotlighting some thunky chunky bass from Alex Schmidt. Guitarists Seth Earl and Isaac Marier slather the entire release in solos, which never lose their sense of tension and release to guitar hero wankery.

Where Sorrow Will Drown Us All fails is in the same way cakes can be too rich—too much of a good thing is real, and food is not the only victim. While every song is killer, they’re also long in the tooth and produced more abrasively than the DR would suggest. Vocals also follow the maddening modern trend of bathing the music almost nonstop rather than letting it breathe.3 There’s no denying the technical prowess and kaleidoscopic nature of the performances on display, but the album is so crammed with ideas that it feels much lengthier than its not unreasonable 48-minute runtime, and the two symphonic cuts do little to break up the whole into more palatable chunks. The name of the game for Recorruptor is going to be self-editing. If they can trim down the bulk of their ideas to more immediate offerings, they’ll be ready to blast and brawl their way to the top of the blackened deathcore heap without setting off genre purists in the process.

Sorrow Will Drown Us All is a caliber album, and if you’re a sucker for any of the various bands listed, you’ll find much to love here. There is sonic succulence reminiscent of meat grinders, bulldozers, horny wild animals, and yes, even taint kicking. Nevertheless, the final product topples under its own weight from the sheer glut of ideas on display. Quality ideas though they be, the album is so full of them that they end up fighting for the listener’s attention after the album has long ceased to play. I’m rooting for Recorruptor to hone in on their skillset and opt for a less-is-more approach. For now, grab a fork and let the sorrow get you into a diabetic coma.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Time to Kill Records
Websites: Album Bandcamp | Official Facebook Page
Releases Worldwide: July 18th, 2025

#2025 #30 #Aborted #AmericanMetal #BlackenedDeathcore #CattleDecapitation #Cognitive #DeathMetal #Ingested #Jul25 #LornaShore #Recorruptor #Review #Reviews #SorrowWillDrownUsAll

New post: Cattle Decapitation present ‘From This Flesh’ – 2-hour documentary https://www.moshville.co.uk/news/2025/05/cattle-decapitation-present-from-this-flesh-2-hour-documentary/ #CattleDecapitation

Grindcore, el caos como consigna: 20 álbumes recomendados | vía #NaciónRock

https://www.nacionrock.com/grindcore-el-caos-como-consigna-20-albumes-recomendados/

#anaalnathrakh #assück #brutaltruth #carcass #cattledecapitation #cloudrat #discordanceaxis #escuelagrind #especiales #exhumed #fullofhell #genghistron #gridlink #grindcore #insectwarfare #magrudergrind #nails #napalmdeath #nasum #pigdestroyer #repulsion #terrorizer #wormrot

Grindcore, el caos como consigna: 20 álbumes recomendados | vía #NaciónRock

https://www.nacionrock.com/grindcore-el-caos-como-consigna-20-albumes-recomendados/

#anaalnathrakh #assück #brutaltruth #carcass #cattledecapitation #cloudrat #discordanceaxis #escuelagrind #especiales #exhumed #fullofhell #genghistron #gridlink #grindcore #insectwarfare #magrudergrind #nails #napalmdeath #nasum #pigdestroyer #repulsion #terrorizer #wormrot

AMG Goes Ranking – Whitechapel

By Dear Hollow

The life of the unpaid, overworked metal reviewer is not an easy one. The reviewing collective at AMG lurches from one new release to the next, errors and n00bs strewn in our wake. But what if, once in a while, the collective paused to take stock and consider the discography of those bands that shaped many a taste? What if multiple aspects of the AMG collective personality shared with the slavering masses their personal rankings of that discography, and what if the rest of the personality used a Google sheet some kind of dark magic to produce an official guide to, and an all-around definitive aggregated ranking of, that band’s entire discography? Well, if that happened, we imagine it would look something like this…

Usually, when we do something like this, it increases our street cred in the underground, but I’m dead-set on ensuring our cred goes up in flames. This is Whitechapel, the epitome of why boomer metalheads yell at young ‘uns. For a hot minute, the Nashville juggernaut was ranked among the likes of Suicide Silence, Job for a Cowboy, and Carnifex, thanks to their brutalizing and divisive attack of deathcore. Toss in some lyrics about slaughtering prostitutes in 1880s London, and you’ve got yourself a recipe for millennial Hot Topic fandom.1 In retrospect, however, thanks to the act’s historic three-guitar attack and the iconic performances of vocalist Phil Bozeman, their whole “Cookie Monster with breakdowns” thing was a cut above the rest. I say that not just because I was a teen raised as an evangelical not allowed to listen to “This is Exile” and “Possession” (but secretly did anyway), although I’m sure that plays a very minor part.

Contrary to other long-running deathcore acts like Suicide Silence and Chelsea Grin, flexibility has been the key to Whitechapel’s longevity. Three distinct eras emerge: (1) deathcore for spooky Hot Topic frequenters (2006-2010), (2) chuggy minimalist deathcore (2012-2016),2 and (3) deathcore for Phil Bozeman to unpack personal traumas (2019-2021). With that, in anticipation for the upcoming “return to roots” release Hymns to Dissonance, let’s revisit the eight albums of Whitechapel, that deathcore band you stopped listening to because geezers said deathcore was lame.

– Dear Hollow

Dear Hollow

#8. The Somatic Defilement (2007) – The influence of this album cannot be understated, but its crisis of murky grime and polished clarity – with a never-again-addressed orchestral flare – makes Whitechapel’s first official foray a confused album, nonetheless worthy of the likes of Suicide Silence and Carnifex. Punishment front and center with a murderizing theme that reflected its Jack the Ripper-inspired moniker, there’s a lot of chunky breakdowns and Phil’s absolutely vicious vocals in their fledgling stage, reflected in chunky hatred (“Fairy Fay,” “Ear to Ear”) and shining riffage that cut through the murk (“Vicer Exciser”). Plenty gained with few highlights.

#7. Our Endless War (2014) – Located smack-dab between two other albums stuck in existential crisis, Our Endless War is the pinnacle of the whole cringeworthy “the saw is the law” schtick (sorry Sodom), paired with questionable production choices and simultaneously too much and too little Meshuggah-isms. While tracks like “Let Me Burn” and “Diggs Road” kick some serious ass, the album is doomed by excessive vocal layering and unnecessary songwriting choices. While it benefits most heartily from the three-guitar attack and feels the heftiest of its era, slow bruisers (“The Saw is the Law”) feel stuck in the dense muck and more allegro offerings (“Our Endless War,” “Mono”) can’t seem to keep up.

#6. Mark of the Blade (2016) – It’s not that this one is bad, but it’s often overshadowed by the album that emerged next, as “Bring Me Home” and “Decennium” introduced clean vocals. While retaining the saw imagery and three guitars layered for maximum heft, Mark of the Blade cleans up the obscene murk for a more organic and rhythmic album that is heavy on punishment (“The Void,” “Tremors,”), surprisingly catchy and anthemic in its structure (“Elitist Ones”), and experimental enough for a human touch (“Bring Me Home”). It’s the punchiest of its era, with drummer Ben Harclerode making his last appearance on a Whitechapel album.

#5. Whitechapel (2014) – A landmark album in its own right, this self-titled effort saw Whitechapel cutting the excess from their sound into a lean, mean, killing machine. Groove shining in the spotlight, its starkness allows more freedom, as tracks can delve into more ominous atmospheres and different instrumental tricks (“Make Them Bleed,” “I, Dementia”). However, like any good Whitechapel album, the triple-pronged groove aligns wonderfully with Phil Bozeman’s most menacing performance, descending the tracks into a nadir of darkness and Meshuggah-esque ferity (“Dead Silence,” “Devoid”). A start of a new era.

#4. Kin (2021) – Everything that made The Valley so effective, but with more of the Tennessee flair and a more polished feel. Whitechapel explores the cleanly sung and the wailing guitar solos, enacting a beautiful and yearning feel that doesn’t descend into the bleakness of its predecessor but rather looks upon it as lessons learned. It maintains heaviness even if it is less feral than much of its discography – all for the sake of emotion. With more of Bozeman’s cleans contrasting with that trademark density (“Anticure,” “History is Silent,” “Orphan”), an instrumental and technical theatricality (“Without Us,” “A Bloodsoaked Symphony”), and a slightly Tool-esque edge (“Lost Boy,” “Kin”), it leaves trauma and torture in the rearview.

#3. This is Exile (2008) – As the only album more popular than The Somatic Defilement, it gets extra points for its influence – but the mania at its core has never quite been replicated. While its predecessor had enough chunky breakdowns to kill a grown elephant and This is Exile has its fair share of mindless chug (“Possession,” “Somatically Incorrect”), a palpable groove and wild technicality keeps things both grounded and utterly batshit (“Father of Lies,” “To All That Are Dead”). Yes, the back half finds itself dwelling more in hellish menace than punishment (“Death Becomes Him,” “Messiahbolical”), but for many an introduction to Bozeman’s unmistakable roar and a chaotic technicality that left Suicide Silence in the dust, it was pure deathcore nirvana.

#2. A New Era of Corruption (2010) – While not as popular as This is Exile, A New Era of Corruption is everything its predecessor was and more. Whitechapel amps the dystopian and anti-religious themes with a stunning blend of its early era colossal chunk and a good use of techy leads and dissonant swells, as tracks feel more mature, fleshed out, and purposeful (“Breeding Violence,” “End of Flesh”), the darkness of progress’ terrible cost seeping through (“The Darkest Day of Man,” “Necromechanical”), and a chunky charisma not unlike The Acacia Strain (“Reprogrammed to Hate,” “Murder Sermon”3). A New Era of Corruption was the pinnacle of Whitechapel before its self-titled reinvention.

#1. The Valley (2019) – Bozeman’s cleans in The Valley were a landmark in deathcore’s storied and bloody history, but more impressive is that Whitechapel remained remarkably deathcore – if not more devastating – in spite of them. Cutthroat brutality remained first and foremost, with shredding guitars filling every emotional crevasse (“Forgiveness is Weakness,” “Brimstone,” “Black Bear”), while clean vocals are used as moments of yearning vulnerability and hopelessness (“When a Demon Defiles a Witch,” “Hickory Creek,” “Third Depth”) and apathetic sprawls of godless wilderness reflect an existential emptiness (“We Are One,” “Doom Woods”). It’s an unflinching discussion of pain and trauma in the derelict corners of Tennessee and a vintage horror movie aesthetic that meshes surprisingly perfectly. The Valley is a balancing act of vicious and heartfelt, a monument for deathcore and -core styles in general, seeing Whitechapel’s longevity fully established. Every emotion on the spectrum is present on The Valley, an outstretched hand shrouded by the weight of doom and dread.

Alekhines Gun

For many, deathcore represents the gateway drug to heavy music, enjoyed in your youth before you mature into “real metal” proper, discarding breakdowns and angsty lyrics for reflections on the time signatures of the universe and bigger song structures. Not so, say Whitechapel. Since erupting from the ether in 2006 and dropping their first album a mere year later, this band has remained a fixture in the metal world at large, ever growing in popularity and under the disapproving eyes of genre purists everywhere. Tours opening for the likes of Cannibal Corpse and The Black Dahlia Murder while having such luminaries as Cattle Decapitation and Archspire opening for them have established them as breakdown-heaving mainstays in a world of vests and guitar solos. To celebrate their newest release, we have opted to don our Wvmps and Pvsers hats and rank their discog for your disapproval. You gosh darn elitist ones…

#8. Our Endless War – The last descent into full-on arena-bent mindless groove, Our Endless War finds Whitechapel spinning their wheels with gleeful abandon. Any sense of techy approaches or interesting guitar was stripped down, in favor of a continued distillation of simplistic grooves over Meshuggah-In-Denial tones. Buoyed by the smash hit “The Saw is The Law” – essentially the “Living on a Prayer” of deathcore – Our Endless War is bland, inoffensive, and an easy choice for the bottom of the list. It’s catchy enough – a smooth, sanded-down object of easy grooves and basic-tier breakdowns with Bozeman’s vocals drowning out the riffs as if to hide how boring they are. Tailormade for an alternate universe where heavy music is played in elevators, Our Endless War is bland, easily digestible comfort food.

#7. Mark of the Blade – Still overly polished, still easy-listening, Mark of the Blade at least flows better as an entire album rather than merely being a factory-assembled collection of grooves. Here, the first merciful signs of restlessness in the Whitechapel camp began to be felt. “Dwell in the Shadows” and “Brotherhood” broke out some swell guitar playing, which was almost entirely lacking in Our Endless War, while “Bring Me Home” finally debuted those Heckin’GoshDarn clean vocals and much more dynamic songwriting. It helps that they managed to write a second “The Saw is The Law” in “The Mark of the Blade” to keep their ability for instant catchiness on display. All in all, Mark of the Blade manages to be slightly more interesting than its predecessor, as well as be the bookend of one era for Whitechapel while ushering in the next.

#6. The Somatic Defilement – This is a fun debut ruined by some moderately whack production. Much deathcore at the time had a strange predilection for light switch-click sounding drums and guitar tones thick as plywood, and just as crunchy. The Somatic Defilement overcomes this on the strength of its songwriting. Already avoiding the dubstep style tension-build-and-release permeating breakdowns, Whitechapel emerged from the nothingness fully formed and with a set musical vision. Its youthfulness overcomes its tonal flaws, and its roughhewn edges stand as a stark contrast to what would come later.

#5. The Valley – The first major shift in the Whitechapel sound since their self-titled, The Valley sees the band putting on the closest thing they had to prog boots. Featuring oodles and stroodles of emotive (though unfairly derided as emo) clean singing, acoustic passages and honest-to-goodness ballads, the band attempt to take the listener on a musical journey rather than merely offer up a collection of violent snippets. Songs like “Third Depth” tries to mesh the disparaging sounds with mixed results, while bouncing between tracks like “Forgiveness is Weakness” and “Hickory Creek” keep the listener in a state of tonal whiplash. Not quite as consistent as what would come later, The Valley is still an interesting addition to the Whitechapel canon for its efforts, if not quite its delivery.

#4. Whitechapel – On the heels of a pair of monster successes, the self-titled dropped and announced an immediate bid for stardom. Gone were much of the techy nuances and songwriting that actually used three guitar players, opting instead for immediate savagery and accessibility. On the other hand, this newfound sense of immediacy allowed for an excellent sense of hooks, with their old flair boiled down to moments littering songs. Bouncy leads in “Section 8” and harmonized breakdowns in “Dead Silence” showed the band hadn’t forgotten to imbibe songs with flourish and flavor, a skill that would quickly fade out as they continued their ascent to bigger and basic things. Easily the best of the middle era of albums.

#3. This is Exile – The Certified Hood Classic, this album dropped and almost instantly defined what deathcore was supposed to be. A massive sounding album in both writing and by production values of the time, This Is Exile demonstrated fantastic growth in musical writing chops and performances. Solos rip and shred, breakdowns are creatively inserted and (mostly) avoid walk-in-place stereotypes, and each song comes with personality and pizzazz. Touring it for an anniversary with The Black Dahlia Murder showed that the compositions still hit just as hard today, reminding that deathcore as a genre can be intelligent and engaging.

#2. Kin – A fantastic sequel, Kin grasps the mood swung for by The Valley and usurps it in every way. “To the Wolves” assault with peak modern era violence, while the flow into softer moments and use of cleans are much more organically blended. Higher use of melodic leads and atmospheric layering’s allowed the beauty to shine with the brutality, and the closing title tracks fantastic power ballad transition into synth-laden classic rock styled soloing represents everything The Valley wanted to be. Much more enjoyable as a full body of music rather than a collection of tracks, Kin sees Whitechapel grasping their musical vision in the fullest sense, with an excellent display of vulnerability and pathos littered among trademark forehead-shattering groove.

#1. A New Era of Corruption – Criminally overlooked by fans, criminally neglected in setlist selections, A New Era of Corruption is one of the greatest records in the genre. Taking every skillset from This Is Exile and cranking it up to eleven, this album finds Whitechapel operating at a peak they have yet to return to since. All three guitarists are on full display in the compositions; the breakdowns hit harder, the leads are techier, and the production actually sounds like a full band. Flirting with borderline Nile atmospherics in “Breeding Violence” and full on cinematic flirtations in “Unnerving”, 2010 saw Whitechapel at the peak of their powers, experimenting and tinkering and constantly challenging themselves to write better, bigger, and meaner. A genuine benchmark for the sound of deathcore, listeners can only hope for an eventual return to this ruthless display of excellent musicianship marred with ear-gauge shattering blunt force trauma. If you haven’t listened to this album in a while, you owe it to yourself to give it a spin.

Iceberg

I’m a core kid at heart; it was one of my gateway drugs into metal. While Whitechapel lived on the periphery of my metal consumption for my formative years, the combination of 2019’s The Valley and the pandemic gave me the drive and time to dig into their entire catalogue. Since then I’ve always had a soft spot for the Knoxville sextet, and deathcore in general. There’s something about knuckle-dragging breakdowns, whiplash tempo shifts, and gurgly vocals that lights a fire in my icy core. And as one of AMG‘s official deathcore apologists, I jumped – nay, catapulted myself – at the opportunity to ride Hollow‘s rickety train to breakdown town.

#8. Mark of the Blade (2016) – Mark of the Blade marks the end of Whitechapel’s more-metal-than-deathcore era, and showcases a band running low on creative fuel. What’s put on record is the most radio-ready, sanitized version of Whitechapel, and time hasn’t been too gentle with her caresses. The proximity to Slipknot-esque nu-metal is at its most blatant, the breakdowns are toothless, and the songwriting feels like the band is spinning their saws for the third album in a row. Phil’s cleans make their first appearance in “Bring Me Home” and “Decennium,” and while they’re a harbinger of things to come, they feel sorely out of place here and don’t do much to right the ship.

#7. Our Endless War (2014) – Smack in the middle of the band’s metalcore period, OEW doesn’t feel as phoned in as Mark of the Blade, but loses some of the snarling intensity of the self-titled release. Saws are beginning to spin. Anthemic choruses are beginning to rely on the tired trope of repeating the song’s title. Breakdowns feel more at home at Knotfest than Summer Slaughter. The album has its moments, though; “Worship the Digital Age” is a bit on-the-nose but an earworm, and “Diggs Road” is a strong closer that presents one of the album’s best melodic material in its fist-raising chorus. But against what has been, and what’s to come, Our Endless War fades into the background.

#6. The Somatic Defilement (2007) – Grimy, grindy, blood-soaked, and slammy, Whitechapel’s debut showcases all the hallmarks of turn-of-the-century deathcore with the production of a greenhorn band (especially those drums). But the hunger of a young band is real; the bpm is redlined, the breakdowns are ignorant and prolific, and Phil’s vocals are at their most porcine and guttural. Tracks like “Prostatic Fluid Asphyxiation” and “Vicer Exciser” still hang with the best of them in terms of sheer stankface headbangability. While it lacks in the way of diversity, The Somatic Defilement’s charm has aged like fine hobo wine, and it steadily climbed this list the more I revisited it. In some ways this is Whitechapel at their most genuine.

#5. Whitechapel (2012) – Arguably the most transitional of all Whitechapel albums, the self-titled release sees the band with one foot in ragged deathcore roots and another in the sleek, modern production of metalcore. Tracks like “Hate Creation,” “Section 8,” and “Possibilities of an Impossible Existence” still snap necks and crush spines, but there are changes bubbling beneath. There are more breaks from the onslaught; a piano introduction here, washy acoustic guitar there, tempos dipping below breakneck speed. Overall, Whitechapel ends up being workmanlike, middle-aged deathcore, selling you exactly what it advertises.

#4. Kin (2021) – If it ain’t broke, why fix it? Whitechapel smartly took The Valley’s formula and ran with it, crafting a sequel that seamlessly moves from it’s predecessor (from a lyrical perspective – literally), while doing their best to improve on an already formidable blueprint. While Phil’s clean vocals have never sounded better, they can be too much of a good thing, with parts of the album sagging under the weight of these relaxed vocal passages (“Anticure,” “Orphan”). The bookend tracks are deserving of all-time playlist status, as is mid-album burner “To The Wolves,” but there’s a whiff of filler and a lack of brutality on Kin that keeps it from the lofty highs of The Valley. A fitting closer to a sordid tale but a solid middleweight in the band’s discography.

#3. This Is Exile (2008) – If The Somatic Defilement is the wind-up, This Is Exile is the body blow. Whitechapel burst forth in their second full-length effort – a full-throated refutation of the sophomore slump – as a true blue deathcore outfit in complete possession of their faculties. Solving the production problem of their debut makes This Is Exile a much more satisfactory listenable, and subsequently, this the best example of Whitechapel’s core sound. No envelopes are being pushed here, but the package is stuffed to the brim with quality. The one-two punch of “Father of Exile” and “This Is Exile” chug and blast their way through your brain stem, right up until they wrap their wretched mitts around your throat for the ubiquitous–if not a bit overdone here–breakdown. While “Possession” foreshadows the band’s metalcore meanderings to come, this album is so firmly cemented in early aught’s deathcore that it’s impossible to classify as anything else.

#2. A New Era of Corruption (2010) – If This Is Exile is the body blow, then A New Era of Corruption is the haymaker. ANEoC takes the deathcore template perfected on This Is Exile and pushes its brutality to new limits. The end result is an embarrassment of riches for fans of the heyday of deathcore that wields rather than relies on the breakdown. “End of Flesh” might be one of my all-time favorite Whitechapel tunes, perfectly reining in the feral instincts of earlier records while retaining their ferocity inside a clear song structure. The dissolution of the final breakdown into a distant snare drum shows an attention to detail as of yet unseen in the band’s discography. With very little fat to trim, and a tight production job that stops just short of the dreaded sheen (see the self-titled album), ANEoC is the most musically mature record Whitechapel ever put out. That is, until…

#1. The Valley (2019) – I’m not sure anyone really saw The Valley coming. Whitechapel must have, because they clearly gave shit a good shake up. Deathcore purists should stop reading here; I decree this album as nothing short of a revelation. From the dusty acoustic guitars ushering the album in and out to the much-improved clean vocals and storytelling, Whitechapel bolstered nearly every aspect of their sound. Smartly returning to his concept album roots, Phil’s deeply personal and tragic story of family gone wrong breathes new life into Whitechapel’s modus operandi and cleverly shows just how far the band has come from their razorwire days. I reserve special praise for session drummer extraordinaire Navene Koperweis, who takes an already impressive history of Whitechapel drumming and enhances it with unique, progressive instincts. The album rides the sweet spot between tension and release, with just enough old school piss ‘n vinegar marching alongside the more contemplative, wizened moments (something Kin failed to achieve). The Valley is a stunning opus from a band newly emerged from their chrysalis, a dark and wounded creature that’s transcended the deathcore label and become something wholly different.

AMG’s Official Ranking:

Possible points: 24

#8. Our Endless War (2014) 5 points

#7. The Somatic Defilement (2007) 6 points

#6. Mark of the Blade (2016) 7 points

#5. Whitechapel (2012) 13 points

#4. Kin (2021) 17 points

#3. This is Exile (2008) 18 points

#2. The Valley (2019) 20 points

#1. A New Era of Corruption (2010) 22 points

Wanna feel like a scene kid again? Check out our expert picks for your own personal sellout:

#AMGGoesRanking #AMGRankings #Archspire #BlogPosts #CannibalCorpse #Carnifex #CattleDecapitation #ChelseaGrin #Deathcore #Deftones #JobForACowboy #Meshuggah #Metalcore #Nile #Sodom #SuicideSilence #TheAcaciaStrain #TheBlackDahliaMurder #Tool #Whitechapel

AMG Goes Ranking – Whitechapel

By Dear Hollow

The life of the unpaid, overworked metal reviewer is not an easy one. The reviewing collective at AMG lurches from one new release to the next, errors and n00bs strewn in our wake. But what if, once in a while, the collective paused to take stock and consider the discography of those bands that shaped many a taste? What if multiple aspects of the AMG collective personality shared with the slavering masses their personal rankings of that discography, and what if the rest of the personality used a Google sheet some kind of dark magic to produce an official guide to, and an all-around definitive aggregated ranking of, that band’s entire discography? Well, if that happened, we imagine it would look something like this…

Usually, when we do something like this, it increases our street cred in the underground, but I’m dead-set on ensuring our cred goes up in flames. This is Whitechapel, the epitome of why boomer metalheads yell at young ‘uns. For a hot minute, the Nashville juggernaut was ranked among the likes of Suicide Silence, Job for a Cowboy, and Carnifex, thanks to their brutalizing and divisive attack of deathcore. Toss in some lyrics about slaughtering prostitutes in 1880s London, and you’ve got yourself a recipe for millennial Hot Topic fandom.1 In retrospect, however, thanks to the act’s historic three-guitar attack and the iconic performances of vocalist Phil Bozeman, their whole “Cookie Monster with breakdowns” thing was a cut above the rest. I say that not just because I was a teen raised as an evangelical not allowed to listen to “This is Exile” and “Possession” (but secretly did anyway), although I’m sure that plays a very minor part.

Contrary to other long-running deathcore acts like Suicide Silence and Chelsea Grin, flexibility has been the key to Whitechapel’s longevity. Three distinct eras emerge: (1) deathcore for spooky Hot Topic frequenters (2006-2010), (2) chuggy minimalist deathcore (2012-2016),2 and (3) deathcore for Phil Bozeman to unpack personal traumas (2019-2021). With that, in anticipation for the upcoming “return to roots” release Hymns to Dissonance, let’s revisit the eight albums of Whitechapel, that deathcore band you stopped listening to because geezers said deathcore was lame.

– Dear Hollow

Dear Hollow

#8. The Somatic Defilement (2007) – The influence of this album cannot be understated, but its crisis of murky grime and polished clarity – with a never-again-addressed orchestral flare – makes Whitechapel’s first official foray a confused album, nonetheless worthy of the likes of Suicide Silence and Carnifex. Punishment front and center with a murderizing theme that reflected its Jack the Ripper-inspired moniker, there’s a lot of chunky breakdowns and Phil’s absolutely vicious vocals in their fledgling stage, reflected in chunky hatred (“Fairy Fay,” “Ear to Ear”) and shining riffage that cut through the murk (“Vicer Exciser”). Plenty gained with few highlights.

#7. Our Endless War (2014) – Located smack-dab between two other albums stuck in existential crisis, Our Endless War is the pinnacle of the whole cringeworthy “the saw is the law” schtick (sorry Sodom), paired with questionable production choices and simultaneously too much and too little Meshuggah-isms. While tracks like “Let Me Burn” and “Diggs Road” kick some serious ass, the album is doomed by excessive vocal layering and unnecessary songwriting choices. While it benefits most heartily from the three-guitar attack and feels the heftiest of its era, slow bruisers (“The Saw is the Law”) feel stuck in the dense muck and more allegro offerings (“Our Endless War,” “Mono”) can’t seem to keep up.

#6. Mark of the Blade (2016) – It’s not that this one is bad, but it’s often overshadowed by the album that emerged next, as “Bring Me Home” and “Decennium” introduced clean vocals. While retaining the saw imagery and three guitars layered for maximum heft, Mark of the Blade cleans up the obscene murk for a more organic and rhythmic album that is heavy on punishment (“The Void,” “Tremors,”), surprisingly catchy and anthemic in its structure (“Elitist Ones”), and experimental enough for a human touch (“Bring Me Home”). It’s the punchiest of its era, with drummer Ben Harclerode making his last appearance on a Whitechapel album.

#5. Whitechapel (2014) – A landmark album in its own right, this self-titled effort saw Whitechapel cutting the excess from their sound into a lean, mean, killing machine. Groove shining in the spotlight, its starkness allows more freedom, as tracks can delve into more ominous atmospheres and different instrumental tricks (“Make Them Bleed,” “I, Dementia”). However, like any good Whitechapel album, the triple-pronged groove aligns wonderfully with Phil Bozeman’s most menacing performance, descending the tracks into a nadir of darkness and Meshuggah-esque ferity (“Dead Silence,” “Devoid”). A start of a new era.

#4. Kin (2021) – Everything that made The Valley so effective, but with more of the Tennessee flair and a more polished feel. Whitechapel explores the cleanly sung and the wailing guitar solos, enacting a beautiful and yearning feel that doesn’t descend into the bleakness of its predecessor but rather looks upon it as lessons learned. It maintains heaviness even if it is less feral than much of its discography – all for the sake of emotion. With more of Bozeman’s cleans contrasting with that trademark density (“Anticure,” “History is Silent,” “Orphan”), an instrumental and technical theatricality (“Without Us,” “A Bloodsoaked Symphony”), and a slightly Tool-esque edge (“Lost Boy,” “Kin”), it leaves trauma and torture in the rearview.

#3. This is Exile (2008) – As the only album more popular than The Somatic Defilement, it gets extra points for its influence – but the mania at its core has never quite been replicated. While its predecessor had enough chunky breakdowns to kill a grown elephant and This is Exile has its fair share of mindless chug (“Possession,” “Somatically Incorrect”), a palpable groove and wild technicality keeps things both grounded and utterly batshit (“Father of Lies,” “To All That Are Dead”). Yes, the back half finds itself dwelling more in hellish menace than punishment (“Death Becomes Him,” “Messiahbolical”), but for many an introduction to Bozeman’s unmistakable roar and a chaotic technicality that left Suicide Silence in the dust, it was pure deathcore nirvana.

#2. A New Era of Corruption (2010) – While not as popular as This is Exile, A New Era of Corruption is everything its predecessor was and more. Whitechapel amps the dystopian and anti-religious themes with a stunning blend of its early era colossal chunk and a good use of techy leads and dissonant swells, as tracks feel more mature, fleshed out, and purposeful (“Breeding Violence,” “End of Flesh”), the darkness of progress’ terrible cost seeping through (“The Darkest Day of Man,” “Necromechanical”), and a chunky charisma not unlike The Acacia Strain (“Reprogrammed to Hate,” “Murder Sermon”3). A New Era of Corruption was the pinnacle of Whitechapel before its self-titled reinvention.

#1. The Valley (2019) – Bozeman’s cleans in The Valley were a landmark in deathcore’s storied and bloody history, but more impressive is that Whitechapel remained remarkably deathcore – if not more devastating – in spite of them. Cutthroat brutality remained first and foremost, with shredding guitars filling every emotional crevasse (“Forgiveness is Weakness,” “Brimstone,” “Black Bear”), while clean vocals are used as moments of yearning vulnerability and hopelessness (“When a Demon Defiles a Witch,” “Hickory Creek,” “Third Depth”) and apathetic sprawls of godless wilderness reflect an existential emptiness (“We Are One,” “Doom Woods”). It’s an unflinching discussion of pain and trauma in the derelict corners of Tennessee and a vintage horror movie aesthetic that meshes surprisingly perfectly. The Valley is a balancing act of vicious and heartfelt, a monument for deathcore and -core styles in general, seeing Whitechapel’s longevity fully established. Every emotion on the spectrum is present on The Valley, an outstretched hand shrouded by the weight of doom and dread.

Alekhines Gun

For many, deathcore represents the gateway drug to heavy music, enjoyed in your youth before you mature into “real metal” proper, discarding breakdowns and angsty lyrics for reflections on the time signatures of the universe and bigger song structures. Not so, say Whitechapel. Since erupting from the ether in 2006 and dropping their first album a mere year later, this band has remained a fixture in the metal world at large, ever growing in popularity and under the disapproving eyes of genre purists everywhere. Tours opening for the likes of Cannibal Corpse and The Black Dahlia Murder while having such luminaries as Cattle Decapitation and Archspire opening for them have established them as breakdown-heaving mainstays in a world of vests and guitar solos. To celebrate their newest release, we have opted to don our Wvmps and Pvsers hats and rank their discog for your disapproval. You gosh darn elitist ones…

#8. Our Endless War – The last descent into full-on arena-bent mindless groove, Our Endless War finds Whitechapel spinning their wheels with gleeful abandon. Any sense of techy approaches or interesting guitar was stripped down, in favor of a continued distillation of simplistic grooves over Meshuggah-In-Denial tones. Buoyed by the smash hit “The Saw is The Law” – essentially the “Living on a Prayer” of deathcore – Our Endless War is bland, inoffensive, and an easy choice for the bottom of the list. It’s catchy enough – a smooth, sanded-down object of easy grooves and basic-tier breakdowns with Bozeman’s vocals drowning out the riffs as if to hide how boring they are. Tailormade for an alternate universe where heavy music is played in elevators, Our Endless War is bland, easily digestible comfort food.

#7. Mark of the Blade – Still overly polished, still easy-listening, Mark of the Blade at least flows better as an entire album rather than merely being a factory-assembled collection of grooves. Here, the first merciful signs of restlessness in the Whitechapel camp began to be felt. “Dwell in the Shadows” and “Brotherhood” broke out some swell guitar playing, which was almost entirely lacking in Our Endless War, while “Bring Me Home” finally debuted those Heckin’GoshDarn clean vocals and much more dynamic songwriting. It helps that they managed to write a second “The Saw is The Law” in “The Mark of the Blade” to keep their ability for instant catchiness on display. All in all, Mark of the Blade manages to be slightly more interesting than its predecessor, as well as be the bookend of one era for Whitechapel while ushering in the next.

#6. The Somatic Defilement – This is a fun debut ruined by some moderately whack production. Much deathcore at the time had a strange predilection for light switch-click sounding drums and guitar tones thick as plywood, and just as crunchy. The Somatic Defilement overcomes this on the strength of its songwriting. Already avoiding the dubstep style tension-build-and-release permeating breakdowns, Whitechapel emerged from the nothingness fully formed and with a set musical vision. Its youthfulness overcomes its tonal flaws, and its roughhewn edges stand as a stark contrast to what would come later.

#5. The Valley – The first major shift in the Whitechapel sound since their self-titled, The Valley sees the band putting on the closest thing they had to prog boots. Featuring oodles and stroodles of emotive (though unfairly derided as emo) clean singing, acoustic passages and honest-to-goodness ballads, the band attempt to take the listener on a musical journey rather than merely offer up a collection of violent snippets. Songs like “Third Depth” tries to mesh the disparaging sounds with mixed results, while bouncing between tracks like “Forgiveness is Weakness” and “Hickory Creek” keep the listener in a state of tonal whiplash. Not quite as consistent as what would come later, The Valley is still an interesting addition to the Whitechapel canon for its efforts, if not quite its delivery.

#4. Whitechapel – On the heels of a pair of monster successes, the self-titled dropped and announced an immediate bid for stardom. Gone were much of the techy nuances and songwriting that actually used three guitar players, opting instead for immediate savagery and accessibility. On the other hand, this newfound sense of immediacy allowed for an excellent sense of hooks, with their old flair boiled down to moments littering songs. Bouncy leads in “Section 8” and harmonized breakdowns in “Dead Silence” showed the band hadn’t forgotten to imbibe songs with flourish and flavor, a skill that would quickly fade out as they continued their ascent to bigger and basic things. Easily the best of the middle era of albums.

#3. This is Exile – The Certified Hood Classic, this album dropped and almost instantly defined what deathcore was supposed to be. A massive sounding album in both writing and by production values of the time, This Is Exile demonstrated fantastic growth in musical writing chops and performances. Solos rip and shred, breakdowns are creatively inserted and (mostly) avoid walk-in-place stereotypes, and each song comes with personality and pizzazz. Touring it for an anniversary with The Black Dahlia Murder showed that the compositions still hit just as hard today, reminding that deathcore as a genre can be intelligent and engaging.

#2. Kin – A fantastic sequel, Kin grasps the mood swung for by The Valley and usurps it in every way. “To the Wolves” assault with peak modern era violence, while the flow into softer moments and use of cleans are much more organically blended. Higher use of melodic leads and atmospheric layering’s allowed the beauty to shine with the brutality, and the closing title tracks fantastic power ballad transition into synth-laden classic rock styled soloing represents everything The Valley wanted to be. Much more enjoyable as a full body of music rather than a collection of tracks, Kin sees Whitechapel grasping their musical vision in the fullest sense, with an excellent display of vulnerability and pathos littered among trademark forehead-shattering groove.

#1. A New Era of Corruption – Criminally overlooked by fans, criminally neglected in setlist selections, A New Era of Corruption is one of the greatest records in the genre. Taking every skillset from This Is Exile and cranking it up to eleven, this album finds Whitechapel operating at a peak they have yet to return to since. All three guitarists are on full display in the compositions; the breakdowns hit harder, the leads are techier, and the production actually sounds like a full band. Flirting with borderline Nile atmospherics in “Breeding Violence” and full on cinematic flirtations in “Unnerving”, 2010 saw Whitechapel at the peak of their powers, experimenting and tinkering and constantly challenging themselves to write better, bigger, and meaner. A genuine benchmark for the sound of deathcore, listeners can only hope for an eventual return to this ruthless display of excellent musicianship marred with ear-gauge shattering blunt force trauma. If you haven’t listened to this album in a while, you owe it to yourself to give it a spin.

Iceberg

I’m a core kid at heart; it was one of my gateway drugs into metal. While Whitechapel lived on the periphery of my metal consumption for my formative years, the combination of 2019’s The Valley and the pandemic gave me the drive and time to dig into their entire catalogue. Since then I’ve always had a soft spot for the Knoxville sextet, and deathcore in general. There’s something about knuckle-dragging breakdowns, whiplash tempo shifts, and gurgly vocals that lights a fire in my icy core. And as one of AMG‘s official deathcore apologists, I jumped – nay, catapulted myself – at the opportunity to ride Hollow‘s rickety train to breakdown town.

#8. Mark of the Blade (2016) – Mark of the Blade marks the end of Whitechapel’s more-metal-than-deathcore era, and showcases a band running low on creative fuel. What’s put on record is the most radio-ready, sanitized version of Whitechapel, and time hasn’t been too gentle with her caresses. The proximity to Slipknot-esque nu-metal is at its most blatant, the breakdowns are toothless, and the songwriting feels like the band is spinning their saws for the third album in a row. Phil’s cleans make their first appearance in “Bring Me Home” and “Decennium,” and while they’re a harbinger of things to come, they feel sorely out of place here and don’t do much to right the ship.

#7. Our Endless War (2014) – Smack in the middle of the band’s metalcore period, OEW doesn’t feel as phoned in as Mark of the Blade, but loses some of the snarling intensity of the self-titled release. Saws are beginning to spin. Anthemic choruses are beginning to rely on the tired trope of repeating the song’s title. Breakdowns feel more at home at Knotfest than Summer Slaughter. The album has its moments, though; “Worship the Digital Age” is a bit on-the-nose but an earworm, and “Diggs Road” is a strong closer that presents one of the album’s best melodic material in its fist-raising chorus. But against what has been, and what’s to come, Our Endless War fades into the background.

#6. The Somatic Defilement (2007) – Grimy, grindy, blood-soaked, and slammy, Whitechapel’s debut showcases all the hallmarks of turn-of-the-century deathcore with the production of a greenhorn band (especially those drums). But the hunger of a young band is real; the bpm is redlined, the breakdowns are ignorant and prolific, and Phil’s vocals are at their most porcine and guttural. Tracks like “Prostatic Fluid Asphyxiation” and “Vicer Exciser” still hang with the best of them in terms of sheer stankface headbangability. While it lacks in the way of diversity, The Somatic Defilement’s charm has aged like fine hobo wine, and it steadily climbed this list the more I revisited it. In some ways this is Whitechapel at their most genuine.

#5. Whitechapel (2012) – Arguably the most transitional of all Whitechapel albums, the self-titled release sees the band with one foot in ragged deathcore roots and another in the sleek, modern production of metalcore. Tracks like “Hate Creation,” “Section 8,” and “Possibilities of an Impossible Existence” still snap necks and crush spines, but there are changes bubbling beneath. There are more breaks from the onslaught; a piano introduction here, washy acoustic guitar there, tempos dipping below breakneck speed. Overall, Whitechapel ends up being workmanlike, middle-aged deathcore, selling you exactly what it advertises.

#4. Kin (2021) – If it ain’t broke, why fix it? Whitechapel smartly took The Valley’s formula and ran with it, crafting a sequel that seamlessly moves from it’s predecessor (from a lyrical perspective – literally), while doing their best to improve on an already formidable blueprint. While Phil’s clean vocals have never sounded better, they can be too much of a good thing, with parts of the album sagging under the weight of these relaxed vocal passages (“Anticure,” “Orphan”). The bookend tracks are deserving of all-time playlist status, as is mid-album burner “To The Wolves,” but there’s a whiff of filler and a lack of brutality on Kin that keeps it from the lofty highs of The Valley. A fitting closer to a sordid tale but a solid middleweight in the band’s discography.

#3. This Is Exile (2008) – If The Somatic Defilement is the wind-up, This Is Exile is the body blow. Whitechapel burst forth in their second full-length effort – a full-throated refutation of the sophomore slump – as a true blue deathcore outfit in complete possession of their faculties. Solving the production problem of their debut makes This Is Exile a much more satisfactory listenable, and subsequently, this the best example of Whitechapel’s core sound. No envelopes are being pushed here, but the package is stuffed to the brim with quality. The one-two punch of “Father of Exile” and “This Is Exile” chug and blast their way through your brain stem, right up until they wrap their wretched mitts around your throat for the ubiquitous–if not a bit overdone here–breakdown. While “Possession” foreshadows the band’s metalcore meanderings to come, this album is so firmly cemented in early aught’s deathcore that it’s impossible to classify as anything else.

#2. A New Era of Corruption (2010) – If This Is Exile is the body blow, then A New Era of Corruption is the haymaker. ANEoC takes the deathcore template perfected on This Is Exile and pushes its brutality to new limits. The end result is an embarrassment of riches for fans of the heyday of deathcore that wields rather than relies on the breakdown. “End of Flesh” might be one of my all-time favorite Whitechapel tunes, perfectly reining in the feral instincts of earlier records while retaining their ferocity inside a clear song structure. The dissolution of the final breakdown into a distant snare drum shows an attention to detail as of yet unseen in the band’s discography. With very little fat to trim, and a tight production job that stops just short of the dreaded sheen (see the self-titled album), ANEoC is the most musically mature record Whitechapel ever put out. That is, until…

#1. The Valley (2019) – I’m not sure anyone really saw The Valley coming. Whitechapel must have, because they clearly gave shit a good shake up. Deathcore purists should stop reading here; I decree this album as nothing short of a revelation. From the dusty acoustic guitars ushering the album in and out to the much-improved clean vocals and storytelling, Whitechapel bolstered nearly every aspect of their sound. Smartly returning to his concept album roots, Phil’s deeply personal and tragic story of family gone wrong breathes new life into Whitechapel’s modus operandi and cleverly shows just how far the band has come from their razorwire days. I reserve special praise for session drummer extraordinaire Navene Koperweis, who takes an already impressive history of Whitechapel drumming and enhances it with unique, progressive instincts. The album rides the sweet spot between tension and release, with just enough old school piss ‘n vinegar marching alongside the more contemplative, wizened moments (something Kin failed to achieve). The Valley is a stunning opus from a band newly emerged from their chrysalis, a dark and wounded creature that’s transcended the deathcore label and become something wholly different.

AMG’s Official Ranking:

Possible points: 24

#8. Our Endless War (2014) 5 points

#7. The Somatic Defilement (2007) 6 points

#6. Mark of the Blade (2016) 7 points

#5. Whitechapel (2012) 13 points

#4. Kin (2021) 17 points

#3. This is Exile (2008) 18 points

#2. The Valley (2019) 20 points

#1. A New Era of Corruption (2010) 22 points

Wanna feel like a scene kid again? Check out our expert picks for your own personal sellout:

#AMGGoesRanking #AMGRankings #Archspire #BlogPosts #CannibalCorpse #Carnifex #CattleDecapitation #ChelseaGrin #Deathcore #Deftones #JobForACowboy #Meshuggah #Metalcore #Nile #Sodom #SuicideSilence #TheAcaciaStrain #TheBlackDahliaMurder #Tool #Whitechapel

AMG Goes Ranking – Whitechapel

By Dear Hollow

The life of the unpaid, overworked metal reviewer is not an easy one. The reviewing collective at AMG lurches from one new release to the next, errors and n00bs strewn in our wake. But what if, once in a while, the collective paused to take stock and consider the discography of those bands that shaped many a taste? What if multiple aspects of the AMG collective personality shared with the slavering masses their personal rankings of that discography, and what if the rest of the personality used a Google sheet some kind of dark magic to produce an official guide to, and an all-around definitive aggregated ranking of, that band’s entire discography? Well, if that happened, we imagine it would look something like this…

Usually, when we do something like this, it increases our street cred in the underground, but I’m dead-set on ensuring our cred goes up in flames. This is Whitechapel, the epitome of why boomer metalheads yell at young ‘uns. For a hot minute, the Nashville juggernaut was ranked among the likes of Suicide Silence, Job for a Cowboy, and Carnifex, thanks to their brutalizing and divisive attack of deathcore. Toss in some lyrics about slaughtering prostitutes in 1880s London, and you’ve got yourself a recipe for millennial Hot Topic fandom.1 In retrospect, however, thanks to the act’s historic three-guitar attack and the iconic performances of vocalist Phil Bozeman, their whole “Cookie Monster with breakdowns” thing was a cut above the rest. I say that not just because I was a teen raised as an evangelical not allowed to listen to “This is Exile” and “Possession” (but secretly did anyway), although I’m sure that plays a very minor part.

Contrary to other long-running deathcore acts like Suicide Silence and Chelsea Grin, flexibility has been the key to Whitechapel’s longevity. Three distinct eras emerge: (1) deathcore for spooky Hot Topic frequenters (2006-2010), (2) chuggy minimalist deathcore (2012-2016),2 and (3) deathcore for Phil Bozeman to unpack personal traumas (2019-2021). With that, in anticipation for the upcoming “return to roots” release Hymns to Dissonance, let’s revisit the eight albums of Whitechapel, that deathcore band you stopped listening to because geezers said deathcore was lame.

– Dear Hollow

Dear Hollow

#8. The Somatic Defilement (2007) – The influence of this album cannot be understated, but its crisis of murky grime and polished clarity – with a never-again-addressed orchestral flare – makes Whitechapel’s first official foray a confused album, nonetheless worthy of the likes of Suicide Silence and Carnifex. Punishment front and center with a murderizing theme that reflected its Jack the Ripper-inspired moniker, there’s a lot of chunky breakdowns and Phil’s absolutely vicious vocals in their fledgling stage, reflected in chunky hatred (“Fairy Fay,” “Ear to Ear”) and shining riffage that cut through the murk (“Vicer Exciser”). Plenty gained with few highlights.

#7. Our Endless War (2014) – Located smack-dab between two other albums stuck in existential crisis, Our Endless War is the pinnacle of the whole cringeworthy “the saw is the law” schtick (sorry Sodom), paired with questionable production choices and simultaneously too much and too little Meshuggah-isms. While tracks like “Let Me Burn” and “Diggs Road” kick some serious ass, the album is doomed by excessive vocal layering and unnecessary songwriting choices. While it benefits most heartily from the three-guitar attack and feels the heftiest of its era, slow bruisers (“The Saw is the Law”) feel stuck in the dense muck and more allegro offerings (“Our Endless War,” “Mono”) can’t seem to keep up.

#6. Mark of the Blade (2016) – It’s not that this one is bad, but it’s often overshadowed by the album that emerged next, as “Bring Me Home” and “Decennium” introduced clean vocals. While retaining the saw imagery and three guitars layered for maximum heft, Mark of the Blade cleans up the obscene murk for a more organic and rhythmic album that is heavy on punishment (“The Void,” “Tremors,”), surprisingly catchy and anthemic in its structure (“Elitist Ones”), and experimental enough for a human touch (“Bring Me Home”). It’s the punchiest of its era, with drummer Ben Harclerode making his last appearance on a Whitechapel album.

#5. Whitechapel (2014) – A landmark album in its own right, this self-titled effort saw Whitechapel cutting the excess from their sound into a lean, mean, killing machine. Groove shining in the spotlight, its starkness allows more freedom, as tracks can delve into more ominous atmospheres and different instrumental tricks (“Make Them Bleed,” “I, Dementia”). However, like any good Whitechapel album, the triple-pronged groove aligns wonderfully with Phil Bozeman’s most menacing performance, descending the tracks into a nadir of darkness and Meshuggah-esque ferity (“Dead Silence,” “Devoid”). A start of a new era.

#4. Kin (2021) – Everything that made The Valley so effective, but with more of the Tennessee flair and a more polished feel. Whitechapel explores the cleanly sung and the wailing guitar solos, enacting a beautiful and yearning feel that doesn’t descend into the bleakness of its predecessor but rather looks upon it as lessons learned. It maintains heaviness even if it is less feral than much of its discography – all for the sake of emotion. With more of Bozeman’s cleans contrasting with that trademark density (“Anticure,” “History is Silent,” “Orphan”), an instrumental and technical theatricality (“Without Us,” “A Bloodsoaked Symphony”), and a slightly Tool-esque edge (“Lost Boy,” “Kin”), it leaves trauma and torture in the rearview.

#3. This is Exile (2008) – As the only album more popular than The Somatic Defilement, it gets extra points for its influence – but the mania at its core has never quite been replicated. While its predecessor had enough chunky breakdowns to kill a grown elephant and This is Exile has its fair share of mindless chug (“Possession,” “Somatically Incorrect”), a palpable groove and wild technicality keeps things both grounded and utterly batshit (“Father of Lies,” “To All That Are Dead”). Yes, the back half finds itself dwelling more in hellish menace than punishment (“Death Becomes Him,” “Messiahbolical”), but for many an introduction to Bozeman’s unmistakable roar and a chaotic technicality that left Suicide Silence in the dust, it was pure deathcore nirvana.

#2. A New Era of Corruption (2010) – While not as popular as This is Exile, A New Era of Corruption is everything its predecessor was and more. Whitechapel amps the dystopian and anti-religious themes with a stunning blend of its early era colossal chunk and a good use of techy leads and dissonant swells, as tracks feel more mature, fleshed out, and purposeful (“Breeding Violence,” “End of Flesh”), the darkness of progress’ terrible cost seeping through (“The Darkest Day of Man,” “Necromechanical”), and a chunky charisma not unlike The Acacia Strain (“Reprogrammed to Hate,” “Murder Sermon”3). A New Era of Corruption was the pinnacle of Whitechapel before its self-titled reinvention.

#1. The Valley (2019) – Bozeman’s cleans in The Valley were a landmark in deathcore’s storied and bloody history, but more impressive is that Whitechapel remained remarkably deathcore – if not more devastating – in spite of them. Cutthroat brutality remained first and foremost, with shredding guitars filling every emotional crevasse (“Forgiveness is Weakness,” “Brimstone,” “Black Bear”), while clean vocals are used as moments of yearning vulnerability and hopelessness (“When a Demon Defiles a Witch,” “Hickory Creek,” “Third Depth”) and apathetic sprawls of godless wilderness reflect an existential emptiness (“We Are One,” “Doom Woods”). It’s an unflinching discussion of pain and trauma in the derelict corners of Tennessee and a vintage horror movie aesthetic that meshes surprisingly perfectly. The Valley is a balancing act of vicious and heartfelt, a monument for deathcore and -core styles in general, seeing Whitechapel’s longevity fully established. Every emotion on the spectrum is present on The Valley, an outstretched hand shrouded by the weight of doom and dread.

Alekhines Gun

For many, deathcore represents the gateway drug to heavy music, enjoyed in your youth before you mature into “real metal” proper, discarding breakdowns and angsty lyrics for reflections on the time signatures of the universe and bigger song structures. Not so, say Whitechapel. Since erupting from the ether in 2006 and dropping their first album a mere year later, this band has remained a fixture in the metal world at large, ever growing in popularity and under the disapproving eyes of genre purists everywhere. Tours opening for the likes of Cannibal Corpse and The Black Dahlia Murder while having such luminaries as Cattle Decapitation and Archspire opening for them have established them as breakdown-heaving mainstays in a world of vests and guitar solos. To celebrate their newest release, we have opted to don our Wvmps and Pvsers hats and rank their discog for your disapproval. You gosh darn elitist ones…

#8. Our Endless War – The last descent into full-on arena-bent mindless groove, Our Endless War finds Whitechapel spinning their wheels with gleeful abandon. Any sense of techy approaches or interesting guitar was stripped down, in favor of a continued distillation of simplistic grooves over Meshuggah-In-Denial tones. Buoyed by the smash hit “The Saw is The Law” – essentially the “Living on a Prayer” of deathcore – Our Endless War is bland, inoffensive, and an easy choice for the bottom of the list. It’s catchy enough – a smooth, sanded-down object of easy grooves and basic-tier breakdowns with Bozeman’s vocals drowning out the riffs as if to hide how boring they are. Tailormade for an alternate universe where heavy music is played in elevators, Our Endless War is bland, easily digestible comfort food.

#7. Mark of the Blade – Still overly polished, still easy-listening, Mark of the Blade at least flows better as an entire album rather than merely being a factory-assembled collection of grooves. Here, the first merciful signs of restlessness in the Whitechapel camp began to be felt. “Dwell in the Shadows” and “Brotherhood” broke out some swell guitar playing, which was almost entirely lacking in Our Endless War, while “Bring Me Home” finally debuted those Heckin’GoshDarn clean vocals and much more dynamic songwriting. It helps that they managed to write a second “The Saw is The Law” in “The Mark of the Blade” to keep their ability for instant catchiness on display. All in all, Mark of the Blade manages to be slightly more interesting than its predecessor, as well as be the bookend of one era for Whitechapel while ushering in the next.

#6. The Somatic Defilement – This is a fun debut ruined by some moderately whack production. Much deathcore at the time had a strange predilection for light switch-click sounding drums and guitar tones thick as plywood, and just as crunchy. The Somatic Defilement overcomes this on the strength of its songwriting. Already avoiding the dubstep style tension-build-and-release permeating breakdowns, Whitechapel emerged from the nothingness fully formed and with a set musical vision. Its youthfulness overcomes its tonal flaws, and its roughhewn edges stand as a stark contrast to what would come later.

#5. The Valley – The first major shift in the Whitechapel sound since their self-titled, The Valley sees the band putting on the closest thing they had to prog boots. Featuring oodles and stroodles of emotive (though unfairly derided as emo) clean singing, acoustic passages and honest-to-goodness ballads, the band attempt to take the listener on a musical journey rather than merely offer up a collection of violent snippets. Songs like “Third Depth” tries to mesh the disparaging sounds with mixed results, while bouncing between tracks like “Forgiveness is Weakness” and “Hickory Creek” keep the listener in a state of tonal whiplash. Not quite as consistent as what would come later, The Valley is still an interesting addition to the Whitechapel canon for its efforts, if not quite its delivery.

#4. Whitechapel – On the heels of a pair of monster successes, the self-titled dropped and announced an immediate bid for stardom. Gone were much of the techy nuances and songwriting that actually used three guitar players, opting instead for immediate savagery and accessibility. On the other hand, this newfound sense of immediacy allowed for an excellent sense of hooks, with their old flair boiled down to moments littering songs. Bouncy leads in “Section 8” and harmonized breakdowns in “Dead Silence” showed the band hadn’t forgotten to imbibe songs with flourish and flavor, a skill that would quickly fade out as they continued their ascent to bigger and basic things. Easily the best of the middle era of albums.

#3. This is Exile – The Certified Hood Classic, this album dropped and almost instantly defined what deathcore was supposed to be. A massive sounding album in both writing and by production values of the time, This Is Exile demonstrated fantastic growth in musical writing chops and performances. Solos rip and shred, breakdowns are creatively inserted and (mostly) avoid walk-in-place stereotypes, and each song comes with personality and pizzazz. Touring it for an anniversary with The Black Dahlia Murder showed that the compositions still hit just as hard today, reminding that deathcore as a genre can be intelligent and engaging.

#2. Kin – A fantastic sequel, Kin grasps the mood swung for by The Valley and usurps it in every way. “To the Wolves” assault with peak modern era violence, while the flow into softer moments and use of cleans are much more organically blended. Higher use of melodic leads and atmospheric layering’s allowed the beauty to shine with the brutality, and the closing title tracks fantastic power ballad transition into synth-laden classic rock styled soloing represents everything The Valley wanted to be. Much more enjoyable as a full body of music rather than a collection of tracks, Kin sees Whitechapel grasping their musical vision in the fullest sense, with an excellent display of vulnerability and pathos littered among trademark forehead-shattering groove.

#1. A New Era of Corruption – Criminally overlooked by fans, criminally neglected in setlist selections, A New Era of Corruption is one of the greatest records in the genre. Taking every skillset from This Is Exile and cranking it up to eleven, this album finds Whitechapel operating at a peak they have yet to return to since. All three guitarists are on full display in the compositions; the breakdowns hit harder, the leads are techier, and the production actually sounds like a full band. Flirting with borderline Nile atmospherics in “Breeding Violence” and full on cinematic flirtations in “Unnerving”, 2010 saw Whitechapel at the peak of their powers, experimenting and tinkering and constantly challenging themselves to write better, bigger, and meaner. A genuine benchmark for the sound of deathcore, listeners can only hope for an eventual return to this ruthless display of excellent musicianship marred with ear-gauge shattering blunt force trauma. If you haven’t listened to this album in a while, you owe it to yourself to give it a spin.

Iceberg

I’m a core kid at heart; it was one of my gateway drugs into metal. While Whitechapel lived on the periphery of my metal consumption for my formative years, the combination of 2019’s The Valley and the pandemic gave me the drive and time to dig into their entire catalogue. Since then I’ve always had a soft spot for the Knoxville sextet, and deathcore in general. There’s something about knuckle-dragging breakdowns, whiplash tempo shifts, and gurgly vocals that lights a fire in my icy core. And as one of AMG‘s official deathcore apologists, I jumped – nay, catapulted myself – at the opportunity to ride Hollow‘s rickety train to breakdown town.

#8. Mark of the Blade (2016) – Mark of the Blade marks the end of Whitechapel’s more-metal-than-deathcore era, and showcases a band running low on creative fuel. What’s put on record is the most radio-ready, sanitized version of Whitechapel, and time hasn’t been too gentle with her caresses. The proximity to Slipknot-esque nu-metal is at its most blatant, the breakdowns are toothless, and the songwriting feels like the band is spinning their saws for the third album in a row. Phil’s cleans make their first appearance in “Bring Me Home” and “Decennium,” and while they’re a harbinger of things to come, they feel sorely out of place here and don’t do much to right the ship.

#7. Our Endless War (2014) – Smack in the middle of the band’s metalcore period, OEW doesn’t feel as phoned in as Mark of the Blade, but loses some of the snarling intensity of the self-titled release. Saws are beginning to spin. Anthemic choruses are beginning to rely on the tired trope of repeating the song’s title. Breakdowns feel more at home at Knotfest than Summer Slaughter. The album has its moments, though; “Worship the Digital Age” is a bit on-the-nose but an earworm, and “Diggs Road” is a strong closer that presents one of the album’s best melodic material in its fist-raising chorus. But against what has been, and what’s to come, Our Endless War fades into the background.

#6. The Somatic Defilement (2007) – Grimy, grindy, blood-soaked, and slammy, Whitechapel’s debut showcases all the hallmarks of turn-of-the-century deathcore with the production of a greenhorn band (especially those drums). But the hunger of a young band is real; the bpm is redlined, the breakdowns are ignorant and prolific, and Phil’s vocals are at their most porcine and guttural. Tracks like “Prostatic Fluid Asphyxiation” and “Vicer Exciser” still hang with the best of them in terms of sheer stankface headbangability. While it lacks in the way of diversity, The Somatic Defilement’s charm has aged like fine hobo wine, and it steadily climbed this list the more I revisited it. In some ways this is Whitechapel at their most genuine.

#5. Whitechapel (2012) – Arguably the most transitional of all Whitechapel albums, the self-titled release sees the band with one foot in ragged deathcore roots and another in the sleek, modern production of metalcore. Tracks like “Hate Creation,” “Section 8,” and “Possibilities of an Impossible Existence” still snap necks and crush spines, but there are changes bubbling beneath. There are more breaks from the onslaught; a piano introduction here, washy acoustic guitar there, tempos dipping below breakneck speed. Overall, Whitechapel ends up being workmanlike, middle-aged deathcore, selling you exactly what it advertises.

#4. Kin (2021) – If it ain’t broke, why fix it? Whitechapel smartly took The Valley’s formula and ran with it, crafting a sequel that seamlessly moves from it’s predecessor (from a lyrical perspective – literally), while doing their best to improve on an already formidable blueprint. While Phil’s clean vocals have never sounded better, they can be too much of a good thing, with parts of the album sagging under the weight of these relaxed vocal passages (“Anticure,” “Orphan”). The bookend tracks are deserving of all-time playlist status, as is mid-album burner “To The Wolves,” but there’s a whiff of filler and a lack of brutality on Kin that keeps it from the lofty highs of The Valley. A fitting closer to a sordid tale but a solid middleweight in the band’s discography.

#3. This Is Exile (2008) – If The Somatic Defilement is the wind-up, This Is Exile is the body blow. Whitechapel burst forth in their second full-length effort – a full-throated refutation of the sophomore slump – as a true blue deathcore outfit in complete possession of their faculties. Solving the production problem of their debut makes This Is Exile a much more satisfactory listenable, and subsequently, this the best example of Whitechapel’s core sound. No envelopes are being pushed here, but the package is stuffed to the brim with quality. The one-two punch of “Father of Exile” and “This Is Exile” chug and blast their way through your brain stem, right up until they wrap their wretched mitts around your throat for the ubiquitous–if not a bit overdone here–breakdown. While “Possession” foreshadows the band’s metalcore meanderings to come, this album is so firmly cemented in early aught’s deathcore that it’s impossible to classify as anything else.

#2. A New Era of Corruption (2010) – If This Is Exile is the body blow, then A New Era of Corruption is the haymaker. ANEoC takes the deathcore template perfected on This Is Exile and pushes its brutality to new limits. The end result is an embarrassment of riches for fans of the heyday of deathcore that wields rather than relies on the breakdown. “End of Flesh” might be one of my all-time favorite Whitechapel tunes, perfectly reining in the feral instincts of earlier records while retaining their ferocity inside a clear song structure. The dissolution of the final breakdown into a distant snare drum shows an attention to detail as of yet unseen in the band’s discography. With very little fat to trim, and a tight production job that stops just short of the dreaded sheen (see the self-titled album), ANEoC is the most musically mature record Whitechapel ever put out. That is, until…

#1. The Valley (2019) – I’m not sure anyone really saw The Valley coming. Whitechapel must have, because they clearly gave shit a good shake up. Deathcore purists should stop reading here; I decree this album as nothing short of a revelation. From the dusty acoustic guitars ushering the album in and out to the much-improved clean vocals and storytelling, Whitechapel bolstered nearly every aspect of their sound. Smartly returning to his concept album roots, Phil’s deeply personal and tragic story of family gone wrong breathes new life into Whitechapel’s modus operandi and cleverly shows just how far the band has come from their razorwire days. I reserve special praise for session drummer extraordinaire Navene Koperweis, who takes an already impressive history of Whitechapel drumming and enhances it with unique, progressive instincts. The album rides the sweet spot between tension and release, with just enough old school piss ‘n vinegar marching alongside the more contemplative, wizened moments (something Kin failed to achieve). The Valley is a stunning opus from a band newly emerged from their chrysalis, a dark and wounded creature that’s transcended the deathcore label and become something wholly different.

AMG’s Official Ranking:

Possible points: 24

#8. Our Endless War (2014) 5 points

#7. The Somatic Defilement (2007) 6 points

#6. Mark of the Blade (2016) 7 points

#5. Whitechapel (2012) 13 points

#4. Kin (2021) 17 points

#3. This is Exile (2008) 18 points

#2. The Valley (2019) 20 points

#1. A New Era of Corruption (2010) 22 points

Wanna feel like a scene kid again? Check out our expert picks for your own personal sellout:

#AMGGoesRanking #AMGRankings #Archspire #BlogPosts #CannibalCorpse #Carnifex #CattleDecapitation #ChelseaGrin #Deathcore #Deftones #JobForACowboy #Meshuggah #Metalcore #Nile #Sodom #SuicideSilence #TheAcaciaStrain #TheBlackDahliaMurder #Tool #Whitechapel

AMG Goes Ranking – Whitechapel

By Dear Hollow

The life of the unpaid, overworked metal reviewer is not an easy one. The reviewing collective at AMG lurches from one new release to the next, errors and n00bs strewn in our wake. But what if, once in a while, the collective paused to take stock and consider the discography of those bands that shaped many a taste? What if multiple aspects of the AMG collective personality shared with the slavering masses their personal rankings of that discography, and what if the rest of the personality used a Google sheet some kind of dark magic to produce an official guide to, and an all-around definitive aggregated ranking of, that band’s entire discography? Well, if that happened, we imagine it would look something like this…

Usually, when we do something like this, it increases our street cred in the underground, but I’m dead-set on ensuring our cred goes up in flames. This is Whitechapel, the epitome of why boomer metalheads yell at young ‘uns. For a hot minute, the Nashville juggernaut was ranked among the likes of Suicide Silence, Job for a Cowboy, and Carnifex, thanks to their brutalizing and divisive attack of deathcore. Toss in some lyrics about slaughtering prostitutes in 1880s London, and you’ve got yourself a recipe for millennial Hot Topic fandom.1 In retrospect, however, thanks to the act’s historic three-guitar attack and the iconic performances of vocalist Phil Bozeman, their whole “Cookie Monster with breakdowns” thing was a cut above the rest. I say that not just because I was a teen raised as an evangelical not allowed to listen to “This is Exile” and “Possession” (but secretly did anyway), although I’m sure that plays a very minor part.

Contrary to other long-running deathcore acts like Suicide Silence and Chelsea Grin, flexibility has been the key to Whitechapel’s longevity. Three distinct eras emerge: (1) deathcore for spooky Hot Topic frequenters (2006-2010), (2) chuggy minimalist deathcore (2012-2016),2 and (3) deathcore for Phil Bozeman to unpack personal traumas (2019-2021). With that, in anticipation for the upcoming “return to roots” release Hymns to Dissonance, let’s revisit the eight albums of Whitechapel, that deathcore band you stopped listening to because geezers said deathcore was lame.

– Dear Hollow

Dear Hollow

#8. The Somatic Defilement (2007) – The influence of this album cannot be understated, but its crisis of murky grime and polished clarity – with a never-again-addressed orchestral flare – makes Whitechapel’s first official foray a confused album, nonetheless worthy of the likes of Suicide Silence and Carnifex. Punishment front and center with a murderizing theme that reflected its Jack the Ripper-inspired moniker, there’s a lot of chunky breakdowns and Phil’s absolutely vicious vocals in their fledgling stage, reflected in chunky hatred (“Fairy Fay,” “Ear to Ear”) and shining riffage that cut through the murk (“Vicer Exciser”). Plenty gained with few highlights.

#7. Our Endless War (2014) – Located smack-dab between two other albums stuck in existential crisis, Our Endless War is the pinnacle of the whole cringeworthy “the saw is the law” schtick (sorry Sodom), paired with questionable production choices and simultaneously too much and too little Meshuggah-isms. While tracks like “Let Me Burn” and “Diggs Road” kick some serious ass, the album is doomed by excessive vocal layering and unnecessary songwriting choices. While it benefits most heartily from the three-guitar attack and feels the heftiest of its era, slow bruisers (“The Saw is the Law”) feel stuck in the dense muck and more allegro offerings (“Our Endless War,” “Mono”) can’t seem to keep up.

#6. Mark of the Blade (2016) – It’s not that this one is bad, but it’s often overshadowed by the album that emerged next, as “Bring Me Home” and “Decennium” introduced clean vocals. While retaining the saw imagery and three guitars layered for maximum heft, Mark of the Blade cleans up the obscene murk for a more organic and rhythmic album that is heavy on punishment (“The Void,” “Tremors,”), surprisingly catchy and anthemic in its structure (“Elitist Ones”), and experimental enough for a human touch (“Bring Me Home”). It’s the punchiest of its era, with drummer Ben Harclerode making his last appearance on a Whitechapel album.

#5. Whitechapel (2014) – A landmark album in its own right, this self-titled effort saw Whitechapel cutting the excess from their sound into a lean, mean, killing machine. Groove shining in the spotlight, its starkness allows more freedom, as tracks can delve into more ominous atmospheres and different instrumental tricks (“Make Them Bleed,” “I, Dementia”). However, like any good Whitechapel album, the triple-pronged groove aligns wonderfully with Phil Bozeman’s most menacing performance, descending the tracks into a nadir of darkness and Meshuggah-esque ferity (“Dead Silence,” “Devoid”). A start of a new era.

#4. Kin (2021) – Everything that made The Valley so effective, but with more of the Tennessee flair and a more polished feel. Whitechapel explores the cleanly sung and the wailing guitar solos, enacting a beautiful and yearning feel that doesn’t descend into the bleakness of its predecessor but rather looks upon it as lessons learned. It maintains heaviness even if it is less feral than much of its discography – all for the sake of emotion. With more of Bozeman’s cleans contrasting with that trademark density (“Anticure,” “History is Silent,” “Orphan”), an instrumental and technical theatricality (“Without Us,” “A Bloodsoaked Symphony”), and a slightly Tool-esque edge (“Lost Boy,” “Kin”), it leaves trauma and torture in the rearview.

#3. This is Exile (2008) – As the only album more popular than The Somatic Defilement, it gets extra points for its influence – but the mania at its core has never quite been replicated. While its predecessor had enough chunky breakdowns to kill a grown elephant and This is Exile has its fair share of mindless chug (“Possession,” “Somatically Incorrect”), a palpable groove and wild technicality keeps things both grounded and utterly batshit (“Father of Lies,” “To All That Are Dead”). Yes, the back half finds itself dwelling more in hellish menace than punishment (“Death Becomes Him,” “Messiahbolical”), but for many an introduction to Bozeman’s unmistakable roar and a chaotic technicality that left Suicide Silence in the dust, it was pure deathcore nirvana.

#2. A New Era of Corruption (2010) – While not as popular as This is Exile, A New Era of Corruption is everything its predecessor was and more. Whitechapel amps the dystopian and anti-religious themes with a stunning blend of its early era colossal chunk and a good use of techy leads and dissonant swells, as tracks feel more mature, fleshed out, and purposeful (“Breeding Violence,” “End of Flesh”), the darkness of progress’ terrible cost seeping through (“The Darkest Day of Man,” “Necromechanical”), and a chunky charisma not unlike The Acacia Strain (“Reprogrammed to Hate,” “Murder Sermon”3). A New Era of Corruption was the pinnacle of Whitechapel before its self-titled reinvention.

#1. The Valley (2019) – Bozeman’s cleans in The Valley were a landmark in deathcore’s storied and bloody history, but more impressive is that Whitechapel remained remarkably deathcore – if not more devastating – in spite of them. Cutthroat brutality remained first and foremost, with shredding guitars filling every emotional crevasse (“Forgiveness is Weakness,” “Brimstone,” “Black Bear”), while clean vocals are used as moments of yearning vulnerability and hopelessness (“When a Demon Defiles a Witch,” “Hickory Creek,” “Third Depth”) and apathetic sprawls of godless wilderness reflect an existential emptiness (“We Are One,” “Doom Woods”). It’s an unflinching discussion of pain and trauma in the derelict corners of Tennessee and a vintage horror movie aesthetic that meshes surprisingly perfectly. The Valley is a balancing act of vicious and heartfelt, a monument for deathcore and -core styles in general, seeing Whitechapel’s longevity fully established. Every emotion on the spectrum is present on The Valley, an outstretched hand shrouded by the weight of doom and dread.

Alekhines Gun

For many, deathcore represents the gateway drug to heavy music, enjoyed in your youth before you mature into “real metal” proper, discarding breakdowns and angsty lyrics for reflections on the time signatures of the universe and bigger song structures. Not so, say Whitechapel. Since erupting from the ether in 2006 and dropping their first album a mere year later, this band has remained a fixture in the metal world at large, ever growing in popularity and under the disapproving eyes of genre purists everywhere. Tours opening for the likes of Cannibal Corpse and The Black Dahlia Murder while having such luminaries as Cattle Decapitation and Archspire opening for them have established them as breakdown-heaving mainstays in a world of vests and guitar solos. To celebrate their newest release, we have opted to don our Wvmps and Pvsers hats and rank their discog for your disapproval. You gosh darn elitist ones…

#8. Our Endless War – The last descent into full-on arena-bent mindless groove, Our Endless War finds Whitechapel spinning their wheels with gleeful abandon. Any sense of techy approaches or interesting guitar was stripped down, in favor of a continued distillation of simplistic grooves over Meshuggah-In-Denial tones. Buoyed by the smash hit “The Saw is The Law” – essentially the “Living on a Prayer” of deathcore – Our Endless War is bland, inoffensive, and an easy choice for the bottom of the list. It’s catchy enough – a smooth, sanded-down object of easy grooves and basic-tier breakdowns with Bozeman’s vocals drowning out the riffs as if to hide how boring they are. Tailormade for an alternate universe where heavy music is played in elevators, Our Endless War is bland, easily digestible comfort food.

#7. Mark of the Blade – Still overly polished, still easy-listening, Mark of the Blade at least flows better as an entire album rather than merely being a factory-assembled collection of grooves. Here, the first merciful signs of restlessness in the Whitechapel camp began to be felt. “Dwell in the Shadows” and “Brotherhood” broke out some swell guitar playing, which was almost entirely lacking in Our Endless War, while “Bring Me Home” finally debuted those Heckin’GoshDarn clean vocals and much more dynamic songwriting. It helps that they managed to write a second “The Saw is The Law” in “The Mark of the Blade” to keep their ability for instant catchiness on display. All in all, Mark of the Blade manages to be slightly more interesting than its predecessor, as well as be the bookend of one era for Whitechapel while ushering in the next.

#6. The Somatic Defilement – This is a fun debut ruined by some moderately whack production. Much deathcore at the time had a strange predilection for light switch-click sounding drums and guitar tones thick as plywood, and just as crunchy. The Somatic Defilement overcomes this on the strength of its songwriting. Already avoiding the dubstep style tension-build-and-release permeating breakdowns, Whitechapel emerged from the nothingness fully formed and with a set musical vision. Its youthfulness overcomes its tonal flaws, and its roughhewn edges stand as a stark contrast to what would come later.

#5. The Valley – The first major shift in the Whitechapel sound since their self-titled, The Valley sees the band putting on the closest thing they had to prog boots. Featuring oodles and stroodles of emotive (though unfairly derided as emo) clean singing, acoustic passages and honest-to-goodness ballads, the band attempt to take the listener on a musical journey rather than merely offer up a collection of violent snippets. Songs like “Third Depth” tries to mesh the disparaging sounds with mixed results, while bouncing between tracks like “Forgiveness is Weakness” and “Hickory Creek” keep the listener in a state of tonal whiplash. Not quite as consistent as what would come later, The Valley is still an interesting addition to the Whitechapel canon for its efforts, if not quite its delivery.

#4. Whitechapel – On the heels of a pair of monster successes, the self-titled dropped and announced an immediate bid for stardom. Gone were much of the techy nuances and songwriting that actually used three guitar players, opting instead for immediate savagery and accessibility. On the other hand, this newfound sense of immediacy allowed for an excellent sense of hooks, with their old flair boiled down to moments littering songs. Bouncy leads in “Section 8” and harmonized breakdowns in “Dead Silence” showed the band hadn’t forgotten to imbibe songs with flourish and flavor, a skill that would quickly fade out as they continued their ascent to bigger and basic things. Easily the best of the middle era of albums.

#3. This is Exile – The Certified Hood Classic, this album dropped and almost instantly defined what deathcore was supposed to be. A massive sounding album in both writing and by production values of the time, This Is Exile demonstrated fantastic growth in musical writing chops and performances. Solos rip and shred, breakdowns are creatively inserted and (mostly) avoid walk-in-place stereotypes, and each song comes with personality and pizzazz. Touring it for an anniversary with The Black Dahlia Murder showed that the compositions still hit just as hard today, reminding that deathcore as a genre can be intelligent and engaging.

#2. Kin – A fantastic sequel, Kin grasps the mood swung for by The Valley and usurps it in every way. “To the Wolves” assault with peak modern era violence, while the flow into softer moments and use of cleans are much more organically blended. Higher use of melodic leads and atmospheric layering’s allowed the beauty to shine with the brutality, and the closing title tracks fantastic power ballad transition into synth-laden classic rock styled soloing represents everything The Valley wanted to be. Much more enjoyable as a full body of music rather than a collection of tracks, Kin sees Whitechapel grasping their musical vision in the fullest sense, with an excellent display of vulnerability and pathos littered among trademark forehead-shattering groove.

#1. A New Era of Corruption – Criminally overlooked by fans, criminally neglected in setlist selections, A New Era of Corruption is one of the greatest records in the genre. Taking every skillset from This Is Exile and cranking it up to eleven, this album finds Whitechapel operating at a peak they have yet to return to since. All three guitarists are on full display in the compositions; the breakdowns hit harder, the leads are techier, and the production actually sounds like a full band. Flirting with borderline Nile atmospherics in “Breeding Violence” and full on cinematic flirtations in “Unnerving”, 2010 saw Whitechapel at the peak of their powers, experimenting and tinkering and constantly challenging themselves to write better, bigger, and meaner. A genuine benchmark for the sound of deathcore, listeners can only hope for an eventual return to this ruthless display of excellent musicianship marred with ear-gauge shattering blunt force trauma. If you haven’t listened to this album in a while, you owe it to yourself to give it a spin.

Iceberg

I’m a core kid at heart; it was one of my gateway drugs into metal. While Whitechapel lived on the periphery of my metal consumption for my formative years, the combination of 2019’s The Valley and the pandemic gave me the drive and time to dig into their entire catalogue. Since then I’ve always had a soft spot for the Knoxville sextet, and deathcore in general. There’s something about knuckle-dragging breakdowns, whiplash tempo shifts, and gurgly vocals that lights a fire in my icy core. And as one of AMG‘s official deathcore apologists, I jumped – nay, catapulted myself – at the opportunity to ride Hollow‘s rickety train to breakdown town.

#8. Mark of the Blade (2016) – Mark of the Blade marks the end of Whitechapel’s more-metal-than-deathcore era, and showcases a band running low on creative fuel. What’s put on record is the most radio-ready, sanitized version of Whitechapel, and time hasn’t been too gentle with her caresses. The proximity to Slipknot-esque nu-metal is at its most blatant, the breakdowns are toothless, and the songwriting feels like the band is spinning their saws for the third album in a row. Phil’s cleans make their first appearance in “Bring Me Home” and “Decennium,” and while they’re a harbinger of things to come, they feel sorely out of place here and don’t do much to right the ship.

#7. Our Endless War (2014) – Smack in the middle of the band’s metalcore period, OEW doesn’t feel as phoned in as Mark of the Blade, but loses some of the snarling intensity of the self-titled release. Saws are beginning to spin. Anthemic choruses are beginning to rely on the tired trope of repeating the song’s title. Breakdowns feel more at home at Knotfest than Summer Slaughter. The album has its moments, though; “Worship the Digital Age” is a bit on-the-nose but an earworm, and “Diggs Road” is a strong closer that presents one of the album’s best melodic material in its fist-raising chorus. But against what has been, and what’s to come, Our Endless War fades into the background.

#6. The Somatic Defilement (2007) – Grimy, grindy, blood-soaked, and slammy, Whitechapel’s debut showcases all the hallmarks of turn-of-the-century deathcore with the production of a greenhorn band (especially those drums). But the hunger of a young band is real; the bpm is redlined, the breakdowns are ignorant and prolific, and Phil’s vocals are at their most porcine and guttural. Tracks like “Prostatic Fluid Asphyxiation” and “Vicer Exciser” still hang with the best of them in terms of sheer stankface headbangability. While it lacks in the way of diversity, The Somatic Defilement’s charm has aged like fine hobo wine, and it steadily climbed this list the more I revisited it. In some ways this is Whitechapel at their most genuine.

#5. Whitechapel (2012) – Arguably the most transitional of all Whitechapel albums, the self-titled release sees the band with one foot in ragged deathcore roots and another in the sleek, modern production of metalcore. Tracks like “Hate Creation,” “Section 8,” and “Possibilities of an Impossible Existence” still snap necks and crush spines, but there are changes bubbling beneath. There are more breaks from the onslaught; a piano introduction here, washy acoustic guitar there, tempos dipping below breakneck speed. Overall, Whitechapel ends up being workmanlike, middle-aged deathcore, selling you exactly what it advertises.

#4. Kin (2021) – If it ain’t broke, why fix it? Whitechapel smartly took The Valley’s formula and ran with it, crafting a sequel that seamlessly moves from it’s predecessor (from a lyrical perspective – literally), while doing their best to improve on an already formidable blueprint. While Phil’s clean vocals have never sounded better, they can be too much of a good thing, with parts of the album sagging under the weight of these relaxed vocal passages (“Anticure,” “Orphan”). The bookend tracks are deserving of all-time playlist status, as is mid-album burner “To The Wolves,” but there’s a whiff of filler and a lack of brutality on Kin that keeps it from the lofty highs of The Valley. A fitting closer to a sordid tale but a solid middleweight in the band’s discography.

#3. This Is Exile (2008) – If The Somatic Defilement is the wind-up, This Is Exile is the body blow. Whitechapel burst forth in their second full-length effort – a full-throated refutation of the sophomore slump – as a true blue deathcore outfit in complete possession of their faculties. Solving the production problem of their debut makes This Is Exile a much more satisfactory listenable, and subsequently, this the best example of Whitechapel’s core sound. No envelopes are being pushed here, but the package is stuffed to the brim with quality. The one-two punch of “Father of Exile” and “This Is Exile” chug and blast their way through your brain stem, right up until they wrap their wretched mitts around your throat for the ubiquitous–if not a bit overdone here–breakdown. While “Possession” foreshadows the band’s metalcore meanderings to come, this album is so firmly cemented in early aught’s deathcore that it’s impossible to classify as anything else.

#2. A New Era of Corruption (2010) – If This Is Exile is the body blow, then A New Era of Corruption is the haymaker. ANEoC takes the deathcore template perfected on This Is Exile and pushes its brutality to new limits. The end result is an embarrassment of riches for fans of the heyday of deathcore that wields rather than relies on the breakdown. “End of Flesh” might be one of my all-time favorite Whitechapel tunes, perfectly reining in the feral instincts of earlier records while retaining their ferocity inside a clear song structure. The dissolution of the final breakdown into a distant snare drum shows an attention to detail as of yet unseen in the band’s discography. With very little fat to trim, and a tight production job that stops just short of the dreaded sheen (see the self-titled album), ANEoC is the most musically mature record Whitechapel ever put out. That is, until…

#1. The Valley (2019) – I’m not sure anyone really saw The Valley coming. Whitechapel must have, because they clearly gave shit a good shake up. Deathcore purists should stop reading here; I decree this album as nothing short of a revelation. From the dusty acoustic guitars ushering the album in and out to the much-improved clean vocals and storytelling, Whitechapel bolstered nearly every aspect of their sound. Smartly returning to his concept album roots, Phil’s deeply personal and tragic story of family gone wrong breathes new life into Whitechapel’s modus operandi and cleverly shows just how far the band has come from their razorwire days. I reserve special praise for session drummer extraordinaire Navene Koperweis, who takes an already impressive history of Whitechapel drumming and enhances it with unique, progressive instincts. The album rides the sweet spot between tension and release, with just enough old school piss ‘n vinegar marching alongside the more contemplative, wizened moments (something Kin failed to achieve). The Valley is a stunning opus from a band newly emerged from their chrysalis, a dark and wounded creature that’s transcended the deathcore label and become something wholly different.

AMG’s Official Ranking:

Possible points: 24

#8. Our Endless War (2014) 5 points

#7. The Somatic Defilement (2007) 6 points

#6. Mark of the Blade (2016) 7 points

#5. Whitechapel (2012) 13 points

#4. Kin (2021) 17 points

#3. This is Exile (2008) 18 points

#2. The Valley (2019) 20 points

#1. A New Era of Corruption (2010) 22 points

Wanna feel like a scene kid again? Check out our expert picks for your own personal sellout:

#AMGGoesRanking #AMGRankings #Archspire #BlogPosts #CannibalCorpse #Carnifex #CattleDecapitation #ChelseaGrin #Deathcore #Deftones #JobForACowboy #Meshuggah #Metalcore #Nile #Sodom #SuicideSilence #TheAcaciaStrain #TheBlackDahliaMurder #Tool #Whitechapel

📷 Tonight's photo office #Vulvodynia , #Revocation , #ShadowofIntent , #CattleDecapitation

📷 Tonight's photo office #Vulvodynia , #Revocation , #ShadowofIntent , #CattleDecapitation

📷 Tonight's photo office #Vulvodynia , #Revocation , #ShadowofIntent , #CattleDecapitation

:megaphone: DEMNÄCHST!
*Zusammenfassung 14.02. bis 17.03. für Berlin

Brat
14.02.2025 Berlin / Astra

Bullet For My Valentine & Trivium
14.02.2025 Berlin / Max Schmeling Halle

Caribou
14.02.2025 Berlin / Velodrom

Dirty Sound Magnet
14.02.2025 Berlin / Cassiopeia

Geometric Vision
14.02.2025 Berlin / Slaughterhouse

Joseph Boys
14.02.2025 Berlin / Schokoladen

Napalm Death, Crowbar und Full Of Hell
14.02.2025 Berlin / Astra

Pankow
14.02.2025 Neuruppin / Kulturhaus Stadtgarten

The Heavy Heavy
14.02.2025 Berlin / Lido

Alex Mofa Gang
15.02.2025 Berlin / Lido

Blutgott
15.02.2025 Berlin / Slaughterhouse

#AlexMofaGang #Astra #Berlin #Blutgott #Brat #BulletForMyValentineTrivium #Caribou #Cassiopeia #CattleDecapitation #DirtySo #GeometricVision #Huxleys #JosephBoys #KulturhausStadtgarten #Lido #MaxSchmelingHalle #NapalmDeath #Neuruppin #Pankow #Schokoladen #Slaughterhouse #TheHeavyHeavy #Velodrom #SteelFeed #SteelFeedSoon

Gig Review: Cattle Decapitation / Shadow of Intent / Revocation / Vulvodynia – O2 Institute, Birmingham (28th January 2025)

We’re back at the O2 Institute in Birmingham for an evening of very heavy, heavy metal. The Institute is a great looking venue, and I rememb

https://www.moshville.co.uk/misc/2025/02/gig-review-cattle-decapitation-shadow-of-intent-revocation-vulvodynia-o2-institute-birmingham-28th-january-2025/

#Misc #CattleDecapitation #Revocation #ShadowOfIntent #Vulvodynia

Gig Review: Cattle Decapitation / Shadow of Intent / Revocation / Vulvodynia – O2 Institute, Birmingham (28th January 2025)

We’re back at the O2 Institute in Birmingham for an evening of very heavy, heavy metal. The Institute is a great looking venue, and I rememb

https://www.moshville.co.uk/misc/2025/02/gig-review-cattle-decapitation-shadow-of-intent-revocation-vulvodynia-o2-institute-birmingham-28th-january-2025/

#Misc #CattleDecapitation #Revocation #ShadowOfIntent #Vulvodynia

Gig Review: Cattle Decapitation / Shadow of Intent / Revocation / Vulvodynia – O2 Institute, Birmingham (28th January 2025)

We’re back at the O2 Institute in Birmingham for an evening of very heavy, heavy metal. The Institute is a great looking venue, and I rememb

https://www.moshville.co.uk/misc/2025/02/gig-review-cattle-decapitation-shadow-of-intent-revocation-vulvodynia-o2-institute-birmingham-28th-january-2025/

#Misc #CattleDecapitation #Revocation #ShadowOfIntent #Vulvodynia

Want some #deathmetal this dreary Sunday? Watch #revocation #ShadowOfIntent and #cattledecapitation play at the #melkweg in Amsterdam here: https://www.youtube.com/watch?v=tyujqyAmG-A&list=PLmn2ED1LqEvCrz2A1Xy2N5RQb7sgsRz_6&index=2

Excellent #deathmetal evening at a packed #melkweg courtesy of #revocation #ShadowOfIntent and #cattledecapitation This kind of tour should happen more often!

Tänker nog kika på dem igen - skönt rens!
#cattledecapitation #sthlm

https://youtu.be/ksCKFkioYL8?si=UdZ_6JCXuk6eqZRC

#TheMetalDogArticleList #MetalInjection The Charismatic Voice Launches A Kickstarter To Fund Vocal Research metalinjection.net/news/the-cha... #TheCharismaticVoice #ElizabethZharoff #VocalResearch #Kickstarter #Juilliard #MentalHealth #Depression #Anxiety #VagusNerve #CattleDecapitation

#TheMetalDogArticleList
#MetalInjection
The Charismatic Voice Launches A Kickstarter To Fund Vocal Research

https://metalinjection.net/news/the-charismatic-voice-launches-a-kickstarter-to-fund-vocal-research

#TheCharismaticVoice #ElizabethZharoff #VocalResearch #Kickstarter #Juilliard #MentalHealth #Depression #Anxiety #VagusNerve #CattleDecapitation #Whitechapel #Kardashev #AdInfinitum #Kamelot #ArchEnemy #Periphery #Jinjer #DevinTownsend

#TheMetalDogArticleList
#BraveWords
Today In Metal History 🤘 August 7th, 2024🤘
BRUCE DICKINSON, PETE WAY, BLACK SABBATH, EXTREME, BEHEMOTH

https://bravewords.com/news/today-in-metal-history-august-7th-2024bruce-dickinson-pete-way-black-sabbath-extreme-behemoth

#BruceDickinson #PeteWay #BlackSabbath #Extreme #Behemoth #IronMaiden #Samson #Helloween #UFO #Waysted #IanGillan #TonyMacAlpine #AntagonistAD #ReverendBizarre #TheAbsence #DrowningPool #StillRemains #Throwdown #Behemoth #Memorain #CattleDecapitation #FearFactory #Krisiun #MissMayI #Avatar #Batushka #BlackCrownInitiate

#TheMetalDogArticleList
#BraveWords
Today In Metal History 🤘 August 7th, 2024🤘
BRUCE DICKINSON, PETE WAY, BLACK SABBATH, EXTREME, BEHEMOTH

https://bravewords.com/news/today-in-metal-history-august-7th-2024bruce-dickinson-pete-way-black-sabbath-extreme-behemoth

#BruceDickinson #PeteWay #BlackSabbath #Extreme #Behemoth #IronMaiden #Samson #Helloween #UFO #Waysted #IanGillan #TonyMacAlpine #AntagonistAD #ReverendBizarre #TheAbsence #DrowningPool #StillRemains #Throwdown #Behemoth #Memorain #CattleDecapitation #FearFactory #Krisiun #MissMayI #Avatar #Batushka #BlackCrownInitiate

#TheMetalDogArticleList
#BraveWords
Today In Metal History 🤘 August 7th, 2024🤘
BRUCE DICKINSON, PETE WAY, BLACK SABBATH, EXTREME, BEHEMOTH

https://bravewords.com/news/today-in-metal-history-august-7th-2024bruce-dickinson-pete-way-black-sabbath-extreme-behemoth

#BruceDickinson #PeteWay #BlackSabbath #Extreme #Behemoth #IronMaiden #Samson #Helloween #UFO #Waysted #IanGillan #TonyMacAlpine #AntagonistAD #ReverendBizarre #TheAbsence #DrowningPool #StillRemains #Throwdown #Behemoth #Memorain #CattleDecapitation #FearFactory #Krisiun #MissMayI #Avatar #Batushka #BlackCrownInitiate

#TheMetalDogArticleList
#BraveWords
Today In Metal History 🤘 August 7th, 2024🤘
BRUCE DICKINSON, PETE WAY, BLACK SABBATH, EXTREME, BEHEMOTH

https://bravewords.com/news/today-in-metal-history-august-7th-2024bruce-dickinson-pete-way-black-sabbath-extreme-behemoth

#BruceDickinson #PeteWay #BlackSabbath #Extreme #Behemoth #IronMaiden #Samson #Helloween #UFO #Waysted #IanGillan #TonyMacAlpine #AntagonistAD #ReverendBizarre #TheAbsence #DrowningPool #StillRemains #Throwdown #Behemoth #Memorain #CattleDecapitation #FearFactory #Krisiun #MissMayI #Avatar #Batushka #BlackCrownInitiate

#TheMetalDogArticleList
#BraveWords
Today In Metal History 🤘 August 7th, 2024🤘
BRUCE DICKINSON, PETE WAY, BLACK SABBATH, EXTREME, BEHEMOTH

https://bravewords.com/news/today-in-metal-history-august-7th-2024bruce-dickinson-pete-way-black-sabbath-extreme-behemoth

#BruceDickinson #PeteWay #BlackSabbath #Extreme #Behemoth #IronMaiden #Samson #Helloween #UFO #Waysted #IanGillan #TonyMacAlpine #AntagonistAD #ReverendBizarre #TheAbsence #DrowningPool #StillRemains #Throwdown #Behemoth #Memorain #CattleDecapitation #FearFactory #Krisiun #MissMayI #Avatar #Batushka #BlackCrownInitiate

#NowPlaying: #Terrasite by #CattleDecapitation

Metal Insider’s Combined Top 15 Albums of 2023:

#CattleDecapitation #TwilightForce #Blackbraid #MetalInsider #Top15 #BestOf2023 #AlbumRankings #AlbumsOfTheYear #MetalInsiderPicks #Thatsawrap

https://metalinsider.net/columns/top-15/metal-insiders-combined-top-15-albums-of-2023

Saunders and Felagund’s Top Ten(ish) of 2023

By Saunders

They weren’t shitting, time really does fly. Another year is done and dusted and it’s time to assemble our respective takes on the music that mattered in 2023. How a year in heavy music stacks up is of course subjective and often genre and taste-dependent. Overall, I found 2023 to be a solid year for metal, without standing out as one of the humongously awesome years in recent memory. Nevertheless, most death metal fans would be satisfied with the smorgasbord of quality releases that flooded the airwaves. It was particularly cool to hear so many classy veteran acts still going strong, with a slew of solid to borderline great albums from the esteemed likes of Dying Fetus, Vomitory, Cannibal Corpse, Suffocation, Cryptopsy, and Autopsy. Outside of death realms, Enslaved also released their most noteworthy album in a number of years. A couple of list-wrecking behemoths popped up late, Phobocosm and Convocation, with not enough time afforded to fully absorb and appreciate. Xoth, Sulphur Aeon, and Warcrab rolled out quality albums late in the year without quite breaking into list territory. The latter two in particular were steps down from their immediate predecessors. While on the nostalgia front, the old-school melodeath charms of Omnicidal and Majesties warmed the heart.

Highlights? Well, the aforementioned brigade representing old school, classic death metal, and longevity stood out, while being able to contribute to ranking pieces for two long-time favorites in Dying Fetus and Suffocation were treasured writing experiences. By contrast, 2023 also threw up some tremendous releases from less-established death metal acts and young gun outfits, including a handful of show-stopping debut albums (Bloodgutter, Fabricant, Begravement, Rotpit). It also never ceases to amaze the growth and strength of AMG.com year to year. Approaching a decade of service to the blog, I tend to get sentimental and nostalgic at this time of year, and still being a part of the AMG crew, albeit from the far away corners of Australia, is an endlessly awesome privilege, especially when surrounded by the talented folk that write alongside me.

Cheers to everyone who frequents these pages and helps contribute to the best online metal community going ’round, and special thanks to Steel, Angry Metal Guy, Madam X, Doc Grier, the tech wizardry of Sentynel, and all the other higher-ups and editors for their tireless behind the scenes work and smooth, authoritative running of this mighty blog. All the best for a safe, happy, and healthy 2024.

#ish: Godthrymm // Distortions – In the odd occasion I sought out a doom fix in 2023, invariably Godthrymm’s epic second LP Distortions delivered the goods. I only recall giving their debut a cursory listen. However, Distortions gripped me from the outset and drifted in and out of rotation since its release when the mood struck for some melancholic, muscular, and gorgeously crafted doom that packed serious heft on both a sonic and emotional level. The My Dying Bride pedigree always held the band in good stead, yet it is how Godthrymm embraces their classic roots while spinning modern elements and fresh ideas into their brooding template that raises the bar. Yeah perhaps a few minutes could have been trimmed from the final package, with some minor bloat, but the strikingly powerful guitar work, earworm melodies, and towering, multi-faceted vocal performance crushes any minor gripes on length.

#10. Sodomisery // Mazzaroth – Every now and again the good olde Doc Grier and I’s tastes overlap. With the shared appreciation and dabbling in the progressive/post-metal waters of The Ocean, the quirky underground charms of Son of Sam, and rejuvenated veterans Green Carnation’s triumphant comeback album from 2020 most recently come to mind. Sodomisery, and their second album Mazzaroth, was exactly the palette-cleansing blackened storm I needed in 2023. The unheralded Swedish act expertly weaves icy melodic black, galloping melodeath, bleak atmospheres and tastefully presented orchestration into epic, catchy, fist-pumping tunes. Subtle shifts and striking dynamics highlight an album bursting with vicious, throat-grabbing hooks, ripping aggression and at least in nostalgia and melancholic tone, the quieter, clean passages remind me of early Opeth. You get the feeling the best is yet to come, however, Sodomisery has firmly grabbed my attention and banged out a helluva album.

#9. Outer Heaven // Infinite Psychic Depths – For whatever reason, Outer Heaven’s 2018 debut Realms of Eternity didn’t do a whole lot for me. It certainly resided in my wheelhouse but failed to gain traction at the time. Perhaps I need to revisit, as their long in the works, conceptual sophomore album, Infinite Psychic Depths, took me by storm from the get-go. Infinite Psychic Depths hooked me in and has kept me coming back for more. I particularly enjoy how the band straddles influences and eras across the death spectrum, all while cultivating a distinctive sound their own. There’s an ugly old-school vibe, residing next to the band’s modern inclinations and exploratory, experimental angle. Meanwhile, technical firepower under the hood and sick, guttural brutality offer plenty to keep the brutal death and tech fiends happy. However, Infinite Psychic Depths is neatly grounded by the bevy of excellent riffs, brain-melting solos, and nasty, viscous grooves. There are aspects of the production I don’t love, while the length is a little overdone, but these nitpicks fail to bring down one of death metal’s powerhouse releases of 2023.

#8. Bloodgutter // Death Mountain – There were a number of impressive death metal debuts in 2023, however, it was the ultra-chunky debut from Danish heavy hitters Bloodgutter that warranted much attention and stayed in heavy rotation from its middle-of-the-year release. There were more brutal, heavier, technical, and ultimately better death platters to indulge in throughout 2023, but few stirred up the adrenaline, brought the fun factor, and kept the head banging as frequently as Death Mountain. Boasting one of the year’s best and heaviest guitar tones, Death Mountain is a blast of no-frills old-school brawn with a hefty modern crunch. The songs are uncomplicated but well-constructed, tightly played, and possess a thick, catchy streak that has kept me clambering back for more on a regular basis. Featuring a member of underrated Danish bruisers Dawn of Demise, Bloodgutter brings a similarly rib-shattering intensity and keen sense of violent, swaggering groove and riffcraft to the table. Such an exciting and consistent debut bodes well for a bright future.

#7. Horrendous // Ontological Mysterium – It is no secret to anyone who has frequented these pages over the years that Horrendous are a big fucking deal to me. The old-school progressive death heavyweights have done little wrong over the past decade or so, smashing out a string of triumphant platters with nostalgic nods to the past, and a boot firmly planted in forward-thinking and innovative territories. Following their longest recording break thus far, Horrendous finally returned with their fifth LP, Ontological Mysterium. Despite unreasonable expectations and the album taking a few extra listens to fully unveil its greatness, make no mistake, Horrendous once again proved themselves masters of the modern prog-death craft. Listeners not fully on board with the band’s increased proggy bent, will likely take issue, but Horrendous have long been on the progressive path and the balance is still deftly handled, with the deathlier aspects remaining prominent, carrying the torch of later era Death. Throw in the best production in the business and you have yet another spectacular addition to an increasingly essential discography.

#6. Mutoid Man // Mutants – Mutoid Man is an absolute personal favorite of mine and their music never fails to excite, energize and provide bucketloads of endlessly wacky fun. After a lengthy wait, third LP Mutants finally arrived and largely met high expectations. Back in 2017 War Moans made a huge impact on me, while also helping navigate tough times, so it’s an album I hold in especially high regard. Mutants may not exceed or quite match the front-to-back awesomeness of its predecessor, but it’s a top-notch album in its own right. Continuing to blur lines between rock, metal, punk, math, hardcore, and everything in between, Mutants offered a more measured, melodic batch of slick, uber fun tunes, without watering down their zany characteristics. Despite being a less wild ride than its predecessor, Mutants still manages to surprise and delight, even throwing down a couple of nastier, discordant ditties recalling the spastic turns of their early days. The replay factor has remained strong, and when seeking something sharp, fun, and laden with infectious riffs and juicy hooks, Mutoid Man delivered again and again, being the ultimate pick-me-up album of 2023.

#5. Wormhole // Almost Human – Along with Afterbirth, Baltimore’s Wormhole paved the way for what slam can be in 2023. Following a different but equally appealing trajectory, Wormhole took all that was great about their previous releases and enhanced all aspects of their visceral, ridiculously heavy, sci-fi-themed tech-slam assault. As much as I enjoyed its predecessor, 2020’s The Weakest Among Us, the songwriting consistency, quality, and replayability elevates Almost Human to more elite, essential realms. The production and musicianship are top-shelf, but beyond the sonic attributes and technical showmanship reside a batch of killer songs that remain unrelentingly brutal, slammy, yet oddly accessible, memorable, and intelligently crafted for the style. Throw in the almost EP territory album length, and you’re left with one of the most compact, deadly efficient, and catchy slam albums in recent memory. Wormhole makes every song count and cycling through favorites is an ever-shifting task, though such addictive, devastating gems like “Elysiism,” “Spine Shattering High-Velocity Impact,” and monstrous “Delta Labs” are fine advertisements to an unforgettable brutal tech-slam experience.

#4. Carnosus // Visions of Infinihility – Considering its early year release, Visions of Infinihility has impressively stayed in and around regular rotation, the depth of its quality creeping in through its persistent presence, razor-sharp hooks, and technical supremacy. French vets Gorod also released a cool tech-death platter, however, it was this unheralded Swedish act that stole the show. Carnosus ensures their tight, techy attacks don’t forget to have fun. The songs are melodic, thrashy, chock full of interesting twists and tasty hooks, yet still boasts a brutal edge and tons of groove. Although the five-piece line-up impresses with their supreme technical skills across the board, the real wildcard is vocalist Jonatan Karasiak. His diverse and charismatic vocals add a further layer of intrigue and versatility, effortlessly shifting tones from high-pitched blackened rasps and screams to deeper, more guttural fare, occasionally bringing to mind the sadly departed Trevor Strnad. It all makes for a delightfully acrobatic, crunchy, and explosive album experience.

#3. Somnuri // Desiderium – The surprise packet of the year. Initially, I missed Cherd‘s enthusiastic review of this New York band’s second LP, Desiderium. However, once I eventually clued in, Somnuri proceeded to blow me away with their potent hybrid and hook-laden blend of hardcore, sludge, and ’90s-inspired alt/grunge rock. Ever since I have been hopelessly hooked in what has become one of the year’s most addictive albums. Somnuri never skimps on the vicious hardcore bite meets sludgy heft, and the way they juggle these aspects with the earworm clean vocal hooks and ’90s influence is a thing of songwriting beauty. Desiderium is an album of wall-to-wall bangers and nary a sign of weakness. Hard to pick a firm favorite, but the stretch from “Pale Eyes” through to “Desiderium” is tremendous, without discounting the quality of the other tunes. The main beef I can level at the album is regarding production, with the in-your-face sound packing punch but the crushed mastering fails to do justice to the wonderful dynamism of the top-shelf songwriting. It’s hardly a deal breaker on a marvelous collection of biting, catchy tunes.

#2. Afterbirth // In But Not Of – The third full-length endeavor from the once long-dormant New York brutal death/slam crew Afterbirth has been the talk of the town since its October release, and rightfully so. Though the hype train can get carried away in over-the-top praise and hyperbole wankery, in this case, I am well and truly on board. Four Dimensional Flesh was a terrific album, so expectations were high. Afterbirth crafted an album that pushed the envelope of brutal death and slam, a subgenre generally not renowned for innovation or such wildly brave experimentation. I get listeners not on board with the album’s brooding atmospherics and spacey, post-metalisms. In particular, the album’s trippy back half takes some time to fully appreciate after the dense, jugular-grabbing first half of brutally proficient and proggy slam-death. However, the pay-off of the atmospheric, springy, and gorgeous melodic bent and contrasting gurgled vox somehow works and elevates an already great album into some weirdly off-kilter cosmic slam meets post-death hybrid that shouldn’t work but does.

#1. Sermon // Of Golden Verse – Weirdly enough when seeking my prog fix in 2023, it was mostly looking backward to previous releases, with minimal 2023 prog albums gaining much traction. Way back in March, UK’s mysterious dark progressive metal band Sermon returned with a momentous sophomore album, raising the bar high for prog metal in 2023. Perhaps the 4.5 rating was a tad overzealous, only time will tell. But as my highest rating review of 2023, the album hit me hard and stayed in solid rotation throughout the year. Despite never being a foregone conclusion, it seems fitting to bestow top honors on Of Golden Verse. Sermon plays prog metal like none other. Sure, influences and similarities to like-minded acts exist, however, Sermon boasts a unique sound they can call their own, dark, eerie and deadly serious vibes and almost melodramatic flair flows through towering, intelligent, and emotive prog metal epics. The constantly heightened tension and ritualistic edge permeating the album creates a mysterious, tense, and beguiling atmosphere, consolidated by consistently gripping songwriting and skyscraping hooks on such memorable gems as “Golden,” “Light the Witch” “Wake the Silent” and stunning closer, “Departure.”

Honorable Mentions:

• Suffocation // Hymns from the Apocrypha – A surprising and unexpectedly strong return from the rejuvenated New York brutal death masters. Featuring a new vocalist and refreshed, yet familiar sound, Hymns of the Apocrypha perhaps marked a fresh era of renewed inspiration.
• Shores of Null // The Loss of Beauty -The always impressive Italian doomsters bring the sadboi feels, hooky melodies, and deathly heft through another taut, catchy collection of quality doom-death tunes.
• Gridlink // Coronet Jupiter – A welcome return from the mighty Gridlink. Although not quite the momentous, all-conquering achievement of Longhena, and nearly overshadowed by exciting newcomers Walking Corpse, Gridlink’s comeback was a noteworthy and impressive burst of intense, elastic grind.
• Dying Fetus // Make Them Beg for Death – A back-to-basics, curb-stomping return from the legendary Dying Fetus. May not challenge their best albums but it’s a fun, slammy blast of signature awesomeness nonetheless.
• Vanishing Kids // Miracle of Death – When the dust settles, I’ll no doubt regret not ranking this ghostly, dreamy, and utterly spellbinding doom platter higher on the list proper. My main excuse is I feel there is much still to unlock and appreciate. but the urge to return has only gotten stronger with each listen.
• Kruelty // Untopia – Rabid Swedish-inspired old-school death meets hardcore, with a fresh Japanese twist and doomy, grindy edge. Killer stuff.
• Walking Corpse // Our Hands, Your Throat – Unheralded grinders Walking Corpse unleashed an utterly devastating, black as coal, barn-burning grind platter, wielding a precision, borderline chaotic attack. They skillfully whipped nifty dynamic shifts and discordant bursts of hardcore and noise into a fresh, deceptively catchy batch of songs.

Disappointments o’ the Year

• Middling to okay efforts from long-time favorites Soen and The Ocean stood out the most considering their stellar track records. I wasn’t overly taken by the new Haken either. Royal Thunder was solid, yet it was their first album not to really grip me. A revisit is on the cards.

Non-Heavy Picks

• Queens of the Stone Age, Gunship, Dorthia Cottrell, Killer Mike

Return to Form

• Baroness // Stone – I had begun to lose interest in the sludgy, exploratory rock stylings of Baroness when they turned tone-deaf and started wrecking albums with horrid production. After more or less skipping their last release, I cautiously checked out Stone and left pleasantly surprised. Finally, the band ditched the ear bleeding production traits for something more organic and palatable. Additionally, John Baizley and crew wrote a rather punchy, experimental batch of tunes that mostly hit the mark and reinvigorated my interest in the band. Hallelujah!

Song ‘o the Year

A lot of cool songs kicked arse, so narrowing it down to one is really a futile task in 2023. Therefore, I selected the following belter from a shortlist and ran with it. With a thick, sludgy, hardcore edge and earworm chorus, Somnuri’s “What a Way to Go” was frequently close to hand when I needed a pick-me-up tune.

Felagund

What a difference a year makes! Since last, I sat down to compile my completely objective, highly-regarded Top Ten(ish) list in the dying days of 2022, much has changed in the world o’ Felagund. I left a job, started my own business, and tried in vain to get my six-year-old to show even a fleeting interest in The Hobbit. In the immortal words of The Dude, 2023 was full of “strikes and gutters, ups and downs.” But isn’t that always the case? None of us emerge completely unscathed, but I hope you and yours were able to weather any storms this dastardly year threw your way and emerge with your sanity intact. Not dignity, though. You spend far too much time on this site to have any of that left.

Now, as I embark on my third end-of-year list as a spit-at and put-upon AMG staffer, I can look back at twelve months chock full of musical riches, particularly in the death metal department. It was certainly a solid year for my pet genre, and I think my list (and honorable mentions) reflect that. But some things never change. Just like last year, I didn’t find nearly enough time to listen to all the music I wanted to, nor was I able to take a deep dive into some of the albums reviewed on this very site (although, if we’re being honest, most of them are probably just overrated 2.5s). And just like last year, my output continues to be a source of shame, ridicule, and scorn. I’m going to blame my lack of productivity on being a new business owner, but I know that no amount of excuses, pleas, or cries will ever earn Steel’s forgiveness.

Now before we get to my many metal musings, I’d be remiss if I didn’t first acknowledge and thank my returning listmate Saunders, who once again inadvertently introduced me to yet another prog album that ended up in my top five. Many thanks must also go to the mighty Steely Dan and the rarely-seen but universally-beloved Madam X. Steelcut Oats has put up with a lot from your friendly neighborhood Noldor this past year, what with my incessant tardiness and my penchant for “altering” his well-respected moniker in my reviews. On a more serious note, kudos are also required for his steadfast leadership and ongoing support as he keeps the derelict denizens (read: staffers) in line and out of trouble. The beatings have continued, morale has not improved, and I’m convinced we deserve far, far worse. And yet, I find myself uplifted and inspired by a growing crew of long-suffering editors and fellow authors who, despite their questionable taste, make AMG the special, endearingly deranged place that it is. And let us not forget the man, the myth, the bearded legend himself, Angry Metal Guy, the namesake of this digital institution, a learned doctor as determined by an accredited institution, and the final arbiter of all things trve.

Now, without further ado, entirely too much aplomb, and lacking all pomp, I present my top ten(ish) albums of 2023. May you listen, may you learn, and may you realize just how wrong you are.

#ish. Mutoid Man // Mutants – From the first few moments of album opener “Call of the Void,” I knew right away that this was an album I’d be spinning again and again. And while it didn’t quite crack my official top ten, it’s hard to deny Mutants’ infectious groove, the earworm hooks, the Voivod-esque sci-fi oddities, and the effective interplay between clean and extreme. Mutoid Man can seamlessly blend an array of disparate genres, from progressive metal and punk to hard rock and a dose of dissonant noise, and that makes their latest album a worthy #ish for any discerning weirdo.

#10. Anareta // Fear Not – I was unfamiliar with New Orleans-based Anareta until I read Dolphin Whisperer’s glowing review. My interest was further piqued when I saw AMG‘s equally gushing prose, declaring Fear Not April’s Record o’ the Month. I’m glad I took a chance on this album, because Anareta is definitely something special, delivering both crushing extremity and lush beauty, caustic rage and bitter anguish. This interplay is made all the more effective by the melodious stringed instruments that thrive against the shrieked, furious vox. Perhaps in less adept hands, this mix would grate on the listener, but Anareta’s self-styled brand of “Chamber Metal” uplifts the traditional bass, guitar, and drums by adding in virtuosic orchestration, doomy chants, and blackened vocals to deliver a unified sound that grabbed my attention and refused to let go.

#9. Horrendous // Ontological Mysterium – Horrendous is a band unafraid of growth, as evidenced by their consistent evolution across five high-quality releases. Ontological Mysterium builds on this trend, both as a towering slab o’ death and further proof that Horrendous continues to evolve as musicians and songwriters. Leaning further into their progressive tendencies only strengthens their arsenal, and while I didn’t find Ontological Mysterium as immediately engaging as some of their previous releases, repeated spins proved increasingly rewarding. Horrendous is a band that has proven that they can stay true to my beloved OSDM while still boasting technical freneticism and hefty groove, and for that, they’ve earned their spot on this list.

#8. Xoth // Exogalatic – Sci-fi-tinged thrash? Check. Lovecraftian horrors delivered via a blackened death onslaught? Check. All wrapped up in a catchy, crunchy, crushing record over 39 minutes? Count. Me. In. On Exogalatic, Xoth builds upon very familiar themes, and I couldn’t be happier that they’re still hard at work, honing their sound in the Stygian depths of space, where no one can hear you shred. Exogalatic boasts both razor-sharp technicality and thrashy speed without ever sacrificing melody, memorability or heaviness. And there are songs about trading blows with reptilian alien pugilists and quenching a newly-forged space-blade in the blood of dead gods? Take my money and welcome to my list, lads.

#7. Wayfarer // American Gothic – If Cormac McCarthy’s Blood Meridian ever had a soundtrack, Wayfarer would be the party responsible, and rightly so. So well-honed is their moody, emotive, brutally cynical (for good reason) Wild West-inspired take on black metal that I can almost hear their compositions accompanying McCarthy’s narrative. Any band with the ability to place the listener into such a specific time and location is worth your time and money. Wayfarer accomplishes this over and over again on American Gothic, and the result is a beautiful, furious, and sad rumination on industry, exploitation, death, and the power of myth. if American Gothic isn’t on your end-of-year list, it’s just because you haven’t listened to it yet.

#6. Sodomisery // Mazzaroth – Did Grier talk about Sodomisery endlessly? Yes, he did. And because our tastes are so divergent (and because he makes fun of me for the stuff I like) I nearly avoided this one. But so convincing was his review that I decided to give it a chance, and wouldn’t you know it? Here sits Mazzaroth, nearly breaking into my top Five. Much has been made of the band’s name, and while it lacks subtlety, have you seen some of the other garbage we’ve covered? Besides, instead of clutching pearls, you should be busy enjoying the majestic tones of Sodomisery’s melodic blackened death metal, replete with emotive orchestration, earworm hooks, effective vocal variations, and a songwriting approach that deftly balances heaviness with accessibility. With nary a filler tune in sight, the lesson is simple: don’t let Grier scare you, as long as you list an album he likes.

#5. Carnosus // Visions of Infinihility – And just like that, we’ve entered the Top Five. As I said in the introduction, 2023 was a year of death metal riches, and for me, that assertion is perhaps best embodied by Carnosus’ and their sophomore effort. I was unaware of this band until this year, but ’tis far better to be late than to be…never. Carnosus delivers a heaping slab of evocative technical death metal without ever forgetting that good songs need good riffs. And boy is this album overflowing with riff after succulent riff. I must also mention Vocalist Jonatan Karasiak, who delivers every high-pitched shriek, DM growl, and percussive grunt, lending even more variety to an already diverse platter while still maintaining album cohesion. This is a bold, mature, expansive tech death album from a band that has no right to be this good this early in their careers. As such, this album was an easy lister.

#4. Sermon // Of Golden Verse – Last year, Saunders’ endorsement of Disillusion’s Ayam ultimately led me to award it my vaunted number two spot. And now, I find myself in a similar situation: Saunders awarded Of Golden Verse a lofty, nearly unattainable 4.5, and now here I sit, placing yet another one of his chosen progressive metal acts into my Top Five. While I could take issue with my listmate’s worrying control over my decision-making, I’m instead going to celebrate this twist of fate, as it brought me this gem of an album. And what an album it is! Sermon establishes a consistent, ominous atmosphere without ever losing momentum. Instead, Sermon relies on wave after wave of musical variation; the lush and emotive can give way to the more intense and extreme; progressive, churning melodicism can grow and cascade into an all-enveloping chorus. Of Gold Verse is a beautiful, complex album that only gets better with repeated listens and deserves a spot on any respectable Top Ten.

#3. Crypta // Shades of Sorrow – What a way to kick off my Top Three! Ever since 2021’s Echoes of the Soul, I’ve been a vocal supporter of these Brazilian death metalers. And after two years, Fernanda and co. have once again delivered the goods. It’s clear they’ve grown as a band, crafting an even stronger album that feels more mature, bolder, and heavier than their previous effort, chock full of grimace-inducing riffs, impressive vocal acrobatics, and a drum sound that pins you to the wall and dares you to peel yourself off. While Crypta is still fetid, OSDM adherents, Shades of Sorrow also amps both the black and thrash influences, resulting in a compelling sophomore effort that packs a significant, unforgettable punch. In a year where quality death metal releases were not in short supply, I think it says a lot that Crypta was able to set themselves apart not only from the blistering success of their first album but from the rest of 2023’s excellent releases.

#2. Cattle Decapitation // Terrasite – Last year I caught grief for daring to include Ghost in my Top Ten. This year, I’m sure some maladjusted malcontents will take issue with me including Terrasite so high on my list. “Their old stuff is better!” or “There are too many awkward cleans!” I can hear you loudly posting in the comment section. But the unfortunate truth is that Cattle Decapitation remains a force to be reckoned and 2023 marked yet another great addition to an already undeniable discography. I’m still enamored with CD’s ability to craft memorable, pummeling death metal that often veers into grind, brutal death, or melodeath territory. I also cannot get enough of Travis Ryan’s vocal range, from blackened snarls to percussive, deathened growls to plaintive cleans. But as I mentioned in my Terrasite review, my favorite aspect of the album isn’t just the rage they level at the human race, but the accompanying resignation. This adds an emotive layer while also paving the way for oddly beautiful, destructive tracks like “Scourge of the Offspring.” I’m proud to call Terrasite my number two, and I scoff at those elitists unwilling to enjoy a good album, even after it’s been shoved down their ungrateful gullets.

#1. Afterbirth // In But Not Of – The album that snagged the top spot on my year-end list did so surprisingly fast, after only a few spins. I knew right away that In But Not Of was something special, and that belief has only been reaffirmed after multiple listens and even deeper dives. Death metal certainly had a bumper year, and in my humble (and correct) opinion, Afterbirth is the ideal example of a band that helped bolster the genre and propel it to loftier heights in 2023. And why wouldn’t it be? For a band that traffics in slammy, knuckle-dragging brutal death, In But Not Of carries with it an undeniable progressive, cerebral quality, which will come as no surprise to fans and feels like a logical outgrowth from their previous effort Four Dimensional Flesh. But as Ferox pointed out in his review, perhaps the most impressive, engaging, and effective aspect of In But Not Of is the clear distinction on display; while the first half of the record comports itself as a tried-and-true, brutal death metal scourge that’ll leave you happily battered and bruised, the second half explores more progressive fair, featuring unexpected atmosphere, slower sections, and even some non-metal influences. Indeed, In But Not Of is the kind of album that grabs your attention immediately, but like a legend, it grows in the retelling, and it requires repeat spins to uncover all the tasty little morsels tucked between animalistic grunts and frenetic, chunky riffs. You’re listening to elevated slam here, and don’t you forget it; I know I won’t.

Honorable Mentions:

• Cannibal Corpse // Chaos Horrific – I an unrepentant fan of the good ‘ol Corpse, and while their newest album isn’t some massive departure from their releases over the past few years, they’re good at what they do and I love listening to them do it.
• Carnation // Cursed Mortality – While I still don’t quite understand the name, I understand the music, and I suppose that’s more important. Carnation has delivered another high-quality slab of buzzy, OSDM that’s more than worthy of a spin or six.
• Ahab // The Coral Tombs – You’ll notice my list doesn’t include much in the way of doom, and that’s by design. However, Ahab’s The Coral Tombs is the exception that proves the rule. Is it too long? Yes. But even so, this album is big, emotive, and much like the sea, I found it impossible to ignore its cunning allure.
• Tardigrade Inferno // Burn the Circus – Burn the Circus feels like the rock opera Stephen Sondheim may have written if he’d spent too much time at the carnival following the success of Sweeney Todd. Brash, over-the-top, and offensively catchy, I can’t get over just how much I enjoyed Tardigrade Inferno’s latest this year.
• Outer Heaven // Infinite Psychic Depths – A death metal concept record can be a tough sell, mostly because it’s hard to follow a story when you can’t understand a word the vocalist is grumbling at you. Be that as it may, Infinite Psychic Depths still presents an old-school, prog-tinged, off-kilter journey that’s well worth taking.
• Disguised Malignance // Entering the Gateways – all hail Holdeneye, whose slavish devotion to this new band piqued my curiosity and earned them a strong honorable mention as a result. Their brand of OSDM with slight prog influences is right up my alley, and while there were other releases this year that held my attention longer, Disguised Malignance was somehow able to make a big splash on their debut alone, and I can’t wait to see what these young whippersnappers do next.

Song o’ the Year

Afterbirth – ”Devils with Dead Eyes” What are you waiting for? Listen to this track and tell me it doesn’t evoke some of the most chaotic, overwhelming moments of 2023. Sure, Sodomisery’s Delusion is the far more catchy option, but when I think of a song that represents all that 2023 was (and wasn’t), I can’t help but return to “Devils with Dead Eyes.” It doesn’t hurt that it features a truly killer riff, Iron Maiden-esque chuggery, and even a touch of grunge. Make of all that what you will, just as long as you’re about to press play.

#2023 #Afterbirth #Ahab #Anareta #BlogPost #Bloodgutter #CannibalCorpse #Carnation #Carnosus #CattleDecapitation #Crypta #DisguisedMalignance #DyingFetus #Godthrymm #Gridlink #Horrendous #Kruelty #Lists #Listurnalia #MutoidMan #OuterHeaven #SaundersAndFelagundSTopTenIshOf2023 #Sermon #ShoresOfNull #Sodomisery #Somnuri #Suffocation #TardigradeInferno #VanishingKids #WalkingCorpse #Wayfarer #Wormhole #Xoth

Saunders and Felagund’s Top Ten(ish) of 2023

By Saunders

They weren’t shitting, time really does fly. Another year is done and dusted and it’s time to assemble our respective takes on the music that mattered in 2023. How a year in heavy music stacks up is of course subjective and often genre and taste-dependent. Overall, I found 2023 to be a solid year for metal, without standing out as one of the humongously awesome years in recent memory. Nevertheless, most death metal fans would be satisfied with the smorgasbord of quality releases that flooded the airwaves. It was particularly cool to hear so many classy veteran acts still going strong, with a slew of solid to borderline great albums from the esteemed likes of Dying Fetus, Vomitory, Cannibal Corpse, Suffocation, Cryptopsy, and Autopsy. Outside of death realms, Enslaved also released their most noteworthy album in a number of years. A couple of list-wrecking behemoths popped up late, Phobocosm and Convocation, with not enough time afforded to fully absorb and appreciate. Xoth, Sulphur Aeon, and Warcrab rolled out quality albums late in the year without quite breaking into list territory. The latter two in particular were steps down from their immediate predecessors. While on the nostalgia front, the old-school melodeath charms of Omnicidal and Majesties warmed the heart.

Highlights? Well, the aforementioned brigade representing old school, classic death metal, and longevity stood out, while being able to contribute to ranking pieces for two long-time favorites in Dying Fetus and Suffocation were treasured writing experiences. By contrast, 2023 also threw up some tremendous releases from less-established death metal acts and young gun outfits, including a handful of show-stopping debut albums (Bloodgutter, Fabricant, Begravement, Rotpit). It also never ceases to amaze the growth and strength of AMG.com year to year. Approaching a decade of service to the blog, I tend to get sentimental and nostalgic at this time of year, and still being a part of the AMG crew, albeit from the far away corners of Australia, is an endlessly awesome privilege, especially when surrounded by the talented folk that write alongside me.

Cheers to everyone who frequents these pages and helps contribute to the best online metal community going ’round, and special thanks to Steel, Angry Metal Guy, Madam X, Doc Grier, the tech wizardry of Sentynel, and all the other higher-ups and editors for their tireless behind the scenes work and smooth, authoritative running of this mighty blog. All the best for a safe, happy, and healthy 2024.

#ish: Godthrymm // Distortions – In the odd occasion I sought out a doom fix in 2023, invariably Godthrymm’s epic second LP Distortions delivered the goods. I only recall giving their debut a cursory listen. However, Distortions gripped me from the outset and drifted in and out of rotation since its release when the mood struck for some melancholic, muscular, and gorgeously crafted doom that packed serious heft on both a sonic and emotional level. The My Dying Bride pedigree always held the band in good stead, yet it is how Godthrymm embraces their classic roots while spinning modern elements and fresh ideas into their brooding template that raises the bar. Yeah perhaps a few minutes could have been trimmed from the final package, with some minor bloat, but the strikingly powerful guitar work, earworm melodies, and towering, multi-faceted vocal performance crushes any minor gripes on length.

#10. Sodomisery // Mazzaroth – Every now and again the good olde Doc Grier and I’s tastes overlap. With the shared appreciation and dabbling in the progressive/post-metal waters of The Ocean, the quirky underground charms of Son of Sam, and rejuvenated veterans Green Carnation’s triumphant comeback album from 2020 most recently come to mind. Sodomisery, and their second album Mazzaroth, was exactly the palette-cleansing blackened storm I needed in 2023. The unheralded Swedish act expertly weaves icy melodic black, galloping melodeath, bleak atmospheres and tastefully presented orchestration into epic, catchy, fist-pumping tunes. Subtle shifts and striking dynamics highlight an album bursting with vicious, throat-grabbing hooks, ripping aggression and at least in nostalgia and melancholic tone, the quieter, clean passages remind me of early Opeth. You get the feeling the best is yet to come, however, Sodomisery has firmly grabbed my attention and banged out a helluva album.

#9. Outer Heaven // Infinite Psychic Depths – For whatever reason, Outer Heaven’s 2018 debut Realms of Eternity didn’t do a whole lot for me. It certainly resided in my wheelhouse but failed to gain traction at the time. Perhaps I need to revisit, as their long in the works, conceptual sophomore album, Infinite Psychic Depths, took me by storm from the get-go. Infinite Psychic Depths hooked me in and has kept me coming back for more. I particularly enjoy how the band straddles influences and eras across the death spectrum, all while cultivating a distinctive sound their own. There’s an ugly old-school vibe, residing next to the band’s modern inclinations and exploratory, experimental angle. Meanwhile, technical firepower under the hood and sick, guttural brutality offer plenty to keep the brutal death and tech fiends happy. However, Infinite Psychic Depths is neatly grounded by the bevy of excellent riffs, brain-melting solos, and nasty, viscous grooves. There are aspects of the production I don’t love, while the length is a little overdone, but these nitpicks fail to bring down one of death metal’s powerhouse releases of 2023.

#8. Bloodgutter // Death Mountain – There were a number of impressive death metal debuts in 2023, however, it was the ultra-chunky debut from Danish heavy hitters Bloodgutter that warranted much attention and stayed in heavy rotation from its middle-of-the-year release. There were more brutal, heavier, technical, and ultimately better death platters to indulge in throughout 2023, but few stirred up the adrenaline, brought the fun factor, and kept the head banging as frequently as Death Mountain. Boasting one of the year’s best and heaviest guitar tones, Death Mountain is a blast of no-frills old-school brawn with a hefty modern crunch. The songs are uncomplicated but well-constructed, tightly played, and possess a thick, catchy streak that has kept me clambering back for more on a regular basis. Featuring a member of underrated Danish bruisers Dawn of Demise, Bloodgutter brings a similarly rib-shattering intensity and keen sense of violent, swaggering groove and riffcraft to the table. Such an exciting and consistent debut bodes well for a bright future.

#7. Horrendous // Ontological Mysterium – It is no secret to anyone who has frequented these pages over the years that Horrendous are a big fucking deal to me. The old-school progressive death heavyweights have done little wrong over the past decade or so, smashing out a string of triumphant platters with nostalgic nods to the past, and a boot firmly planted in forward-thinking and innovative territories. Following their longest recording break thus far, Horrendous finally returned with their fifth LP, Ontological Mysterium. Despite unreasonable expectations and the album taking a few extra listens to fully unveil its greatness, make no mistake, Horrendous once again proved themselves masters of the modern prog-death craft. Listeners not fully on board with the band’s increased proggy bent, will likely take issue, but Horrendous have long been on the progressive path and the balance is still deftly handled, with the deathlier aspects remaining prominent, carrying the torch of later era Death. Throw in the best production in the business and you have yet another spectacular addition to an increasingly essential discography.

#6. Mutoid Man // Mutants – Mutoid Man is an absolute personal favorite of mine and their music never fails to excite, energize and provide bucketloads of endlessly wacky fun. After a lengthy wait, third LP Mutants finally arrived and largely met high expectations. Back in 2017 War Moans made a huge impact on me, while also helping navigate tough times, so it’s an album I hold in especially high regard. Mutants may not exceed or quite match the front-to-back awesomeness of its predecessor, but it’s a top-notch album in its own right. Continuing to blur lines between rock, metal, punk, math, hardcore, and everything in between, Mutants offered a more measured, melodic batch of slick, uber fun tunes, without watering down their zany characteristics. Despite being a less wild ride than its predecessor, Mutants still manages to surprise and delight, even throwing down a couple of nastier, discordant ditties recalling the spastic turns of their early days. The replay factor has remained strong, and when seeking something sharp, fun, and laden with infectious riffs and juicy hooks, Mutoid Man delivered again and again, being the ultimate pick-me-up album of 2023.

#5. Wormhole // Almost Human – Along with Afterbirth, Baltimore’s Wormhole paved the way for what slam can be in 2023. Following a different but equally appealing trajectory, Wormhole took all that was great about their previous releases and enhanced all aspects of their visceral, ridiculously heavy, sci-fi-themed tech-slam assault. As much as I enjoyed its predecessor, 2020’s The Weakest Among Us, the songwriting consistency, quality, and replayability elevates Almost Human to more elite, essential realms. The production and musicianship are top-shelf, but beyond the sonic attributes and technical showmanship reside a batch of killer songs that remain unrelentingly brutal, slammy, yet oddly accessible, memorable, and intelligently crafted for the style. Throw in the almost EP territory album length, and you’re left with one of the most compact, deadly efficient, and catchy slam albums in recent memory. Wormhole makes every song count and cycling through favorites is an ever-shifting task, though such addictive, devastating gems like “Elysiism,” “Spine Shattering High-Velocity Impact,” and monstrous “Delta Labs” are fine advertisements to an unforgettable brutal tech-slam experience.

#4. Carnosus // Visions of Infinihility – Considering its early year release, Visions of Infinihility has impressively stayed in and around regular rotation, the depth of its quality creeping in through its persistent presence, razor-sharp hooks, and technical supremacy. French vets Gorod also released a cool tech-death platter, however, it was this unheralded Swedish act that stole the show. Carnosus ensures their tight, techy attacks don’t forget to have fun. The songs are melodic, thrashy, chock full of interesting twists and tasty hooks, yet still boasts a brutal edge and tons of groove. Although the five-piece line-up impresses with their supreme technical skills across the board, the real wildcard is vocalist Jonatan Karasiak. His diverse and charismatic vocals add a further layer of intrigue and versatility, effortlessly shifting tones from high-pitched blackened rasps and screams to deeper, more guttural fare, occasionally bringing to mind the sadly departed Trevor Strnad. It all makes for a delightfully acrobatic, crunchy, and explosive album experience.

#3. Somnuri // Desiderium – The surprise packet of the year. Initially, I missed Cherd‘s enthusiastic review of this New York band’s second LP, Desiderium. However, once I eventually clued in, Somnuri proceeded to blow me away with their potent hybrid and hook-laden blend of hardcore, sludge, and ’90s-inspired alt/grunge rock. Ever since I have been hopelessly hooked in what has become one of the year’s most addictive albums. Somnuri never skimps on the vicious hardcore bite meets sludgy heft, and the way they juggle these aspects with the earworm clean vocal hooks and ’90s influence is a thing of songwriting beauty. Desiderium is an album of wall-to-wall bangers and nary a sign of weakness. Hard to pick a firm favorite, but the stretch from “Pale Eyes” through to “Desiderium” is tremendous, without discounting the quality of the other tunes. The main beef I can level at the album is regarding production, with the in-your-face sound packing punch but the crushed mastering fails to do justice to the wonderful dynamism of the top-shelf songwriting. It’s hardly a deal breaker on a marvelous collection of biting, catchy tunes.

#2. Afterbirth // In But Not Of – The third full-length endeavor from the once long-dormant New York brutal death/slam crew Afterbirth has been the talk of the town since its October release, and rightfully so. Though the hype train can get carried away in over-the-top praise and hyperbole wankery, in this case, I am well and truly on board. Four Dimensional Flesh was a terrific album, so expectations were high. Afterbirth crafted an album that pushed the envelope of brutal death and slam, a subgenre generally not renowned for innovation or such wildly brave experimentation. I get listeners not on board with the album’s brooding atmospherics and spacey, post-metalisms. In particular, the album’s trippy back half takes some time to fully appreciate after the dense, jugular-grabbing first half of brutally proficient and proggy slam-death. However, the pay-off of the atmospheric, springy, and gorgeous melodic bent and contrasting gurgled vox somehow works and elevates an already great album into some weirdly off-kilter cosmic slam meets post-death hybrid that shouldn’t work but does.

#1. Sermon // Of Golden Verse – Weirdly enough when seeking my prog fix in 2023, it was mostly looking backward to previous releases, with minimal 2023 prog albums gaining much traction. Way back in March, UK’s mysterious dark progressive metal band Sermon returned with a momentous sophomore album, raising the bar high for prog metal in 2023. Perhaps the 4.5 rating was a tad overzealous, only time will tell. But as my highest rating review of 2023, the album hit me hard and stayed in solid rotation throughout the year. Despite never being a foregone conclusion, it seems fitting to bestow top honors on Of Golden Verse. Sermon plays prog metal like none other. Sure, influences and similarities to like-minded acts exist, however, Sermon boasts a unique sound they can call their own, dark, eerie and deadly serious vibes and almost melodramatic flair flows through towering, intelligent, and emotive prog metal epics. The constantly heightened tension and ritualistic edge permeating the album creates a mysterious, tense, and beguiling atmosphere, consolidated by consistently gripping songwriting and skyscraping hooks on such memorable gems as “Golden,” “Light the Witch” “Wake the Silent” and stunning closer, “Departure.”

Honorable Mentions:

• Suffocation // Hymns from the Apocrypha – A surprising and unexpectedly strong return from the rejuvenated New York brutal death masters. Featuring a new vocalist and refreshed, yet familiar sound, Hymns of the Apocrypha perhaps marked a fresh era of renewed inspiration.
• Shores of Null // The Loss of Beauty -The always impressive Italian doomsters bring the sadboi feels, hooky melodies, and deathly heft through another taut, catchy collection of quality doom-death tunes.
• Gridlink // Coronet Jupiter – A welcome return from the mighty Gridlink. Although not quite the momentous, all-conquering achievement of Longhena, and nearly overshadowed by exciting newcomers Walking Corpse, Gridlink’s comeback was a noteworthy and impressive burst of intense, elastic grind.
• Dying Fetus // Make Them Beg for Death – A back-to-basics, curb-stomping return from the legendary Dying Fetus. May not challenge their best albums but it’s a fun, slammy blast of signature awesomeness nonetheless.
• Vanishing Kids // Miracle of Death – When the dust settles, I’ll no doubt regret not ranking this ghostly, dreamy, and utterly spellbinding doom platter higher on the list proper. My main excuse is I feel there is much still to unlock and appreciate. but the urge to return has only gotten stronger with each listen.
• Kruelty // Untopia – Rabid Swedish-inspired old-school death meets hardcore, with a fresh Japanese twist and doomy, grindy edge. Killer stuff.
• Walking Corpse // Our Hands, Your Throat – Unheralded grinders Walking Corpse unleashed an utterly devastating, black as coal, barn-burning grind platter, wielding a precision, borderline chaotic attack. They skillfully whipped nifty dynamic shifts and discordant bursts of hardcore and noise into a fresh, deceptively catchy batch of songs.

Disappointments o’ the Year

• Middling to okay efforts from long-time favorites Soen and The Ocean stood out the most considering their stellar track records. I wasn’t overly taken by the new Haken either. Royal Thunder was solid, yet it was their first album not to really grip me. A revisit is on the cards.

Non-Heavy Picks

• Queens of the Stone Age, Gunship, Dorthia Cottrell, Killer Mike

Return to Form

• Baroness // Stone – I had begun to lose interest in the sludgy, exploratory rock stylings of Baroness when they turned tone-deaf and started wrecking albums with horrid production. After more or less skipping their last release, I cautiously checked out Stone and left pleasantly surprised. Finally, the band ditched the ear bleeding production traits for something more organic and palatable. Additionally, John Baizley and crew wrote a rather punchy, experimental batch of tunes that mostly hit the mark and reinvigorated my interest in the band. Hallelujah!

Song ‘o the Year

A lot of cool songs kicked arse, so narrowing it down to one is really a futile task in 2023. Therefore, I selected the following belter from a shortlist and ran with it. With a thick, sludgy, hardcore edge and earworm chorus, Somnuri’s “What a Way to Go” was frequently close to hand when I needed a pick-me-up tune.

Felagund

What a difference a year makes! Since last, I sat down to compile my completely objective, highly-regarded Top Ten(ish) list in the dying days of 2022, much has changed in the world o’ Felagund. I left a job, started my own business, and tried in vain to get my six-year-old to show even a fleeting interest in The Hobbit. In the immortal words of The Dude, 2023 was full of “strikes and gutters, ups and downs.” But isn’t that always the case? None of us emerge completely unscathed, but I hope you and yours were able to weather any storms this dastardly year threw your way and emerge with your sanity intact. Not dignity, though. You spend far too much time on this site to have any of that left.

Now, as I embark on my third end-of-year list as a spit-at and put-upon AMG staffer, I can look back at twelve months chock full of musical riches, particularly in the death metal department. It was certainly a solid year for my pet genre, and I think my list (and honorable mentions) reflect that. But some things never change. Just like last year, I didn’t find nearly enough time to listen to all the music I wanted to, nor was I able to take a deep dive into some of the albums reviewed on this very site (although, if we’re being honest, most of them are probably just overrated 2.5s). And just like last year, my output continues to be a source of shame, ridicule, and scorn. I’m going to blame my lack of productivity on being a new business owner, but I know that no amount of excuses, pleas, or cries will ever earn Steel’s forgiveness.

Now before we get to my many metal musings, I’d be remiss if I didn’t first acknowledge and thank my returning listmate Saunders, who once again inadvertently introduced me to yet another prog album that ended up in my top five. Many thanks must also go to the mighty Steely Dan and the rarely-seen but universally-beloved Madam X. Steelcut Oats has put up with a lot from your friendly neighborhood Noldor this past year, what with my incessant tardiness and my penchant for “altering” his well-respected moniker in my reviews. On a more serious note, kudos are also required for his steadfast leadership and ongoing support as he keeps the derelict denizens (read: staffers) in line and out of trouble. The beatings have continued, morale has not improved, and I’m convinced we deserve far, far worse. And yet, I find myself uplifted and inspired by a growing crew of long-suffering editors and fellow authors who, despite their questionable taste, make AMG the special, endearingly deranged place that it is. And let us not forget the man, the myth, the bearded legend himself, Angry Metal Guy, the namesake of this digital institution, a learned doctor as determined by an accredited institution, and the final arbiter of all things trve.

Now, without further ado, entirely too much aplomb, and lacking all pomp, I present my top ten(ish) albums of 2023. May you listen, may you learn, and may you realize just how wrong you are.

#ish. Mutoid Man // Mutants – From the first few moments of album opener “Call of the Void,” I knew right away that this was an album I’d be spinning again and again. And while it didn’t quite crack my official top ten, it’s hard to deny Mutants’ infectious groove, the earworm hooks, the Voivod-esque sci-fi oddities, and the effective interplay between clean and extreme. Mutoid Man can seamlessly blend an array of disparate genres, from progressive metal and punk to hard rock and a dose of dissonant noise, and that makes their latest album a worthy #ish for any discerning weirdo.

#10. Anareta // Fear Not – I was unfamiliar with New Orleans-based Anareta until I read Dolphin Whisperer’s glowing review. My interest was further piqued when I saw AMG‘s equally gushing prose, declaring Fear Not April’s Record o’ the Month. I’m glad I took a chance on this album, because Anareta is definitely something special, delivering both crushing extremity and lush beauty, caustic rage and bitter anguish. This interplay is made all the more effective by the melodious stringed instruments that thrive against the shrieked, furious vox. Perhaps in less adept hands, this mix would grate on the listener, but Anareta’s self-styled brand of “Chamber Metal” uplifts the traditional bass, guitar, and drums by adding in virtuosic orchestration, doomy chants, and blackened vocals to deliver a unified sound that grabbed my attention and refused to let go.

#9. Horrendous // Ontological Mysterium – Horrendous is a band unafraid of growth, as evidenced by their consistent evolution across five high-quality releases. Ontological Mysterium builds on this trend, both as a towering slab o’ death and further proof that Horrendous continues to evolve as musicians and songwriters. Leaning further into their progressive tendencies only strengthens their arsenal, and while I didn’t find Ontological Mysterium as immediately engaging as some of their previous releases, repeated spins proved increasingly rewarding. Horrendous is a band that has proven that they can stay true to my beloved OSDM while still boasting technical freneticism and hefty groove, and for that, they’ve earned their spot on this list.

#8. Xoth // Exogalatic – Sci-fi-tinged thrash? Check. Lovecraftian horrors delivered via a blackened death onslaught? Check. All wrapped up in a catchy, crunchy, crushing record over 39 minutes? Count. Me. In. On Exogalatic, Xoth builds upon very familiar themes, and I couldn’t be happier that they’re still hard at work, honing their sound in the Stygian depths of space, where no one can hear you shred. Exogalatic boasts both razor-sharp technicality and thrashy speed without ever sacrificing melody, memorability or heaviness. And there are songs about trading blows with reptilian alien pugilists and quenching a newly-forged space-blade in the blood of dead gods? Take my money and welcome to my list, lads.

#7. Wayfarer // American Gothic – If Cormac McCarthy’s Blood Meridian ever had a soundtrack, Wayfarer would be the party responsible, and rightly so. So well-honed is their moody, emotive, brutally cynical (for good reason) Wild West-inspired take on black metal that I can almost hear their compositions accompanying McCarthy’s narrative. Any band with the ability to place the listener into such a specific time and location is worth your time and money. Wayfarer accomplishes this over and over again on American Gothic, and the result is a beautiful, furious, and sad rumination on industry, exploitation, death, and the power of myth. if American Gothic isn’t on your end-of-year list, it’s just because you haven’t listened to it yet.

#6. Sodomisery // Mazzaroth – Did Grier talk about Sodomisery endlessly? Yes, he did. And because our tastes are so divergent (and because he makes fun of me for the stuff I like) I nearly avoided this one. But so convincing was his review that I decided to give it a chance, and wouldn’t you know it? Here sits Mazzaroth, nearly breaking into my top Five. Much has been made of the band’s name, and while it lacks subtlety, have you seen some of the other garbage we’ve covered? Besides, instead of clutching pearls, you should be busy enjoying the majestic tones of Sodomisery’s melodic blackened death metal, replete with emotive orchestration, earworm hooks, effective vocal variations, and a songwriting approach that deftly balances heaviness with accessibility. With nary a filler tune in sight, the lesson is simple: don’t let Grier scare you, as long as you list an album he likes.

#5. Carnosus // Visions of Infinihility – And just like that, we’ve entered the Top Five. As I said in the introduction, 2023 was a year of death metal riches, and for me, that assertion is perhaps best embodied by Carnosus’ and their sophomore effort. I was unaware of this band until this year, but ’tis far better to be late than to be…never. Carnosus delivers a heaping slab of evocative technical death metal without ever forgetting that good songs need good riffs. And boy is this album overflowing with riff after succulent riff. I must also mention Vocalist Jonatan Karasiak, who delivers every high-pitched shriek, DM growl, and percussive grunt, lending even more variety to an already diverse platter while still maintaining album cohesion. This is a bold, mature, expansive tech death album from a band that has no right to be this good this early in their careers. As such, this album was an easy lister.

#4. Sermon // Of Golden Verse – Last year, Saunders’ endorsement of Disillusion’s Ayam ultimately led me to award it my vaunted number two spot. And now, I find myself in a similar situation: Saunders awarded Of Golden Verse a lofty, nearly unattainable 4.5, and now here I sit, placing yet another one of his chosen progressive metal acts into my Top Five. While I could take issue with my listmate’s worrying control over my decision-making, I’m instead going to celebrate this twist of fate, as it brought me this gem of an album. And what an album it is! Sermon establishes a consistent, ominous atmosphere without ever losing momentum. Instead, Sermon relies on wave after wave of musical variation; the lush and emotive can give way to the more intense and extreme; progressive, churning melodicism can grow and cascade into an all-enveloping chorus. Of Gold Verse is a beautiful, complex album that only gets better with repeated listens and deserves a spot on any respectable Top Ten.

#3. Crypta // Shades of Sorrow – What a way to kick off my Top Three! Ever since 2021’s Echoes of the Soul, I’ve been a vocal supporter of these Brazilian death metalers. And after two years, Fernanda and co. have once again delivered the goods. It’s clear they’ve grown as a band, crafting an even stronger album that feels more mature, bolder, and heavier than their previous effort, chock full of grimace-inducing riffs, impressive vocal acrobatics, and a drum sound that pins you to the wall and dares you to peel yourself off. While Crypta is still fetid, OSDM adherents, Shades of Sorrow also amps both the black and thrash influences, resulting in a compelling sophomore effort that packs a significant, unforgettable punch. In a year where quality death metal releases were not in short supply, I think it says a lot that Crypta was able to set themselves apart not only from the blistering success of their first album but from the rest of 2023’s excellent releases.

#2. Cattle Decapitation // Terrasite – Last year I caught grief for daring to include Ghost in my Top Ten. This year, I’m sure some maladjusted malcontents will take issue with me including Terrasite so high on my list. “Their old stuff is better!” or “There are too many awkward cleans!” I can hear you loudly posting in the comment section. But the unfortunate truth is that Cattle Decapitation remains a force to be reckoned and 2023 marked yet another great addition to an already undeniable discography. I’m still enamored with CD’s ability to craft memorable, pummeling death metal that often veers into grind, brutal death, or melodeath territory. I also cannot get enough of Travis Ryan’s vocal range, from blackened snarls to percussive, deathened growls to plaintive cleans. But as I mentioned in my Terrasite review, my favorite aspect of the album isn’t just the rage they level at the human race, but the accompanying resignation. This adds an emotive layer while also paving the way for oddly beautiful, destructive tracks like “Scourge of the Offspring.” I’m proud to call Terrasite my number two, and I scoff at those elitists unwilling to enjoy a good album, even after it’s been shoved down their ungrateful gullets.

#1. Afterbirth // In But Not Of – The album that snagged the top spot on my year-end list did so surprisingly fast, after only a few spins. I knew right away that In But Not Of was something special, and that belief has only been reaffirmed after multiple listens and even deeper dives. Death metal certainly had a bumper year, and in my humble (and correct) opinion, Afterbirth is the ideal example of a band that helped bolster the genre and propel it to loftier heights in 2023. And why wouldn’t it be? For a band that traffics in slammy, knuckle-dragging brutal death, In But Not Of carries with it an undeniable progressive, cerebral quality, which will come as no surprise to fans and feels like a logical outgrowth from their previous effort Four Dimensional Flesh. But as Ferox pointed out in his review, perhaps the most impressive, engaging, and effective aspect of In But Not Of is the clear distinction on display; while the first half of the record comports itself as a tried-and-true, brutal death metal scourge that’ll leave you happily battered and bruised, the second half explores more progressive fair, featuring unexpected atmosphere, slower sections, and even some non-metal influences. Indeed, In But Not Of is the kind of album that grabs your attention immediately, but like a legend, it grows in the retelling, and it requires repeat spins to uncover all the tasty little morsels tucked between animalistic grunts and frenetic, chunky riffs. You’re listening to elevated slam here, and don’t you forget it; I know I won’t.

Honorable Mentions:

• Cannibal Corpse // Chaos Horrific – I an unrepentant fan of the good ‘ol Corpse, and while their newest album isn’t some massive departure from their releases over the past few years, they’re good at what they do and I love listening to them do it.
• Carnation // Cursed Mortality – While I still don’t quite understand the name, I understand the music, and I suppose that’s more important. Carnation has delivered another high-quality slab of buzzy, OSDM that’s more than worthy of a spin or six.
• Ahab // The Coral Tombs – You’ll notice my list doesn’t include much in the way of doom, and that’s by design. However, Ahab’s The Coral Tombs is the exception that proves the rule. Is it too long? Yes. But even so, this album is big, emotive, and much like the sea, I found it impossible to ignore its cunning allure.
• Tardigrade Inferno // Burn the Circus – Burn the Circus feels like the rock opera Stephen Sondheim may have written if he’d spent too much time at the carnival following the success of Sweeney Todd. Brash, over-the-top, and offensively catchy, I can’t get over just how much I enjoyed Tardigrade Inferno’s latest this year.
• Outer Heaven // Infinite Psychic Depths – A death metal concept record can be a tough sell, mostly because it’s hard to follow a story when you can’t understand a word the vocalist is grumbling at you. Be that as it may, Infinite Psychic Depths still presents an old-school, prog-tinged, off-kilter journey that’s well worth taking.
• Disguised Malignance // Entering the Gateways – all hail Holdeneye, whose slavish devotion to this new band piqued my curiosity and earned them a strong honorable mention as a result. Their brand of OSDM with slight prog influences is right up my alley, and while there were other releases this year that held my attention longer, Disguised Malignance was somehow able to make a big splash on their debut alone, and I can’t wait to see what these young whippersnappers do next.

Song o’ the Year

Afterbirth – ”Devils with Dead Eyes” What are you waiting for? Listen to this track and tell me it doesn’t evoke some of the most chaotic, overwhelming moments of 2023. Sure, Sodomisery’s Delusion is the far more catchy option, but when I think of a song that represents all that 2023 was (and wasn’t), I can’t help but return to “Devils with Dead Eyes.” It doesn’t hurt that it features a truly killer riff, Iron Maiden-esque chuggery, and even a touch of grunge. Make of all that what you will, just as long as you’re about to press play.

#2023 #Afterbirth #Ahab #Anareta #BlogPost #Bloodgutter #CannibalCorpse #Carnation #Carnosus #CattleDecapitation #Crypta #DisguisedMalignance #DyingFetus #Godthrymm #Gridlink #Horrendous #Kruelty #Lists #Listurnalia #MutoidMan #OuterHeaven #SaundersAndFelagundSTopTenIshOf2023 #Sermon #ShoresOfNull #Sodomisery #Somnuri #Suffocation #TardigradeInferno #VanishingKids #WalkingCorpse #Wayfarer #Wormhole #Xoth

Heavy Moves Heavy 2023 – AMG’s Ultimate Workout Playlist

By Ferox

Before I was press-ganged into the Skull Pit, I, Ferox, began curating an exercise playlist named Heavy Moves Heavy. For nearly a decade, I alone reaped the benefits of this creation–many were the hours spent preening aboard my Squat Yacht, mixing oils so that I could marvel at the glistening gainz unlocked by the List. My indentured servitude is your good fortune, because a new and improved version of the Heavy Moves Heavy playlist is now available to all readers of AMG in good standing.1 The lifters among us have spent countless hours in the Exercise Oubliette testing these songs for tensile strength and ideological purity. Enjoy–but don’t listen if you are being screened for PEDs in the near future. This music will cause your free testosterone levels to skyrocket even as it adds length and sheen to your back pelt.

Only a blind master of epic poetry could capture the feats of strength performed by the lifters of AMG in 2023. We did have a bard wandering around the Hall, but no one has seen him since the last n00b uprising was put down. Suffice it to say that 2023 saw the List spur our Fearsome Five on to ever-more-epic achievements. These are the songs that got us there.

Whose contributions are best? What omissions expose us as dilettantes? Add your comments and song suggestions below. The song suggestions will be subjected to a remorseless testing process we call The Winnowing, and those that survive will be added to the master list. The comments will of course be ignored.

To the list!

Kenstrosity Bursts Through His Own Workout Gear:

“Askoma (Sorethroat)” // Massen (Gentle Brutality) – I am a psychopathic gym goer. If I can’t listen to huge grooves, massively thick guitars and meaty growls, I want to pump iron in silence. Thankfully, Massen refuse to let me work out without a soundtrack brimming with those exact parameters, and thereby allows me to break PRs on the reg.

“Catapulted into Hyperspace” // Nothingness (Supraliminal) – An unbelievably hooky death metal monster, “Catapulted into Hyperspace” has been my iron giant for almost a full year. The incredible momentum with which this song pushes my body should destroy me. Yet, the crazy swagger held in these riffs enlivens my nerves and oxygenates my blood like nothing else.

“Clockwork God” // Tardigrade Inferno (Burn the Circus) – Have you seen the physique of your average circus acrobat? Those fuckers are seriously jacked and shredded, yet lithe and agile. Hence, when the chunky chugs of “Clockwork God” enter my earballs, I can see my future, and it shows me at peak physical condition. All thanks to a vengeful little water bear.

“Destined to be Killed” // Phlebotomized (Clouds of Confusion) – Phlebotomized may be one of the weirder death metal bands to feature on this list, but “Destined to be Killed” is nothing short of a ripper. Great for those high-intensity intervals, the blistering blasts and tempered marches held here make for a great workout banger.

“Elysiism” // Wormhole (Almost Human) – Form is everything. Form is the only path to heavy. Once you get there, you’ll want a companion that understands what heavy means. Slam is that companion, and “Elysiism” contains one of the best set of slamming riffs of the year, hands down. Get it in you and watch your gainz balloon past your wildest expectations!

“Lift the Blindfold” // Crypta (Shades of Sorrow) – Sometimes you really just need something classic and thrashy to get the blood hot and the muscles flexing. Crypta understood the assignment with “Lift the Blindfold,” a clinic in shredding riffs and thrashy energy sure to get you movin’ and groovin’ with gusto.

“Liquified Mind” // Outer Heaven (Infinite Psychic Depths) – The bar is pressing into my traps. I’m deep in this squat and failure is approaching fast. There’s nothing I can do, I’m not going to make it back to start position. “Liquified Mind” starts playing and all of a sudden, I’ve pumped out three more reps as if I’m on autopilot. Such is the power of filthy, grooving, massive death metal.

“Ode to the Meatsaw” // Vomitory (All Heads are Gonna Roll) – Nothing beats an arena banger, an anthemic, fist-pumping slab of chunky death for the gym. That’s where Vomitory’s “Ode to the Meatsaw” shines in full glory, carving up bodies with a meatsaw as I sculpt mine with dumbbells. What more could a gym rat like me ask for?

“Symphony of a Dying Star” // Mental Cruelty (Zweilicht) – Versatility is a virtue. Variety is key to an adaptable body. So, when I want to swap between high-intensity cardio, intervals, or just pick up a heavy thing and put it back down again, the powerful genre-swapping talents of Mental Cruelty’s “Symphony of a Dying Star” serve me brilliantly.

“Tormenting Fungal Infestation” // Vomitheist (NekroFuneral) – I love a mid-tempo banger to fuel my weightlifting hour, and there’s no better fodder for that than Vomitheist’s “Tormenting Fungal Infestation.” Ideal for any gym session where metered, disciplined breaths are essential to an effective movement, this song will keep you in the pocket all day long.

Ferox vs. The Curlers in the Squat Rack:

“In But Not Of” // Afterbirth (In But Not Of) – The shotgun marriage of post-metal crescendoes and a climactic brutal death freakout makes for the (Workout) Song O’ The Year. The end of this song will leave you well and truly berzerkified and ready to do less than prudent things to yourself.

“Breath of Satan” // Svartkonst (May the Night Fall) – Stop fucking around and focus. “Breath of Satan” is a fleeting blast of blistering intensity that’s guaranteed to help you accomplish ONE THING before the rest of the List does its work.

“Castle of Grief” // Carnosus (Visions of Infinihility) – Carnosus’s tech death onslaught is spry and engaging enough to keep you distracted from the suffering that is only now commencing. The saucy rolled tongue flourish midway through is a reliable font of joy in troubled times.

“Manuscripts of Madness” // Xoth (Exogalactic) – Certain dullards crossed their arms at Xoth’s latest, but do they even lift? This track infuses melodeath into the band’s pan-genre stew, and its sing-along chorus is just the thing to keep you tumescent during the early-mid workout blues.

“Warlocks Grim and Withered Hags” // Hellripper (Warlocks Grim and Withered Hags) – Here’s a black thrash epic to lose yourself in while you can still recognize the concept of “fun.” It’s gonna hurt from here on out, so you might as well make the most of this track.

“Throatsaw” // Autopsy (Ashes, Organs, Blood, and Crypts) – Only “Throatsaw” is real. This List could be “Throatsaw” repeated fifty times and still be equally effective.

“Mother of Ghouls” // Nexorum (Tongue of Thorns) – “Too many riffs,” sniffed a dainty staffer about Nexorum’s debut album. God help that timid soul if he’s ever exposed to this track from the band’s follow-up, which showcases riffs on riffs AND the Guitar Solo O’ The Year (Slayer-Inspired Division).

“Bastard Creature” // Angerot (The Profound Recreant) – A bit o’ bombast to help you puff your chest out for the endgame. “Rejoice in the birth of the bastard creature!” Angerot is talking about you, in whatever new form you take after finishing this workout.

“Pitch Black Resolve/Nickel Grass Mosaic” // Gridlink (Coronet Jupiter) – Here’s a grind double shot to keep you moving after your brain quits on you.2 This slice of tuneful madness sets a relentless marching pace and will not hesitate to holler at you until the thing is done.

“Throne ov the Morning Star” // Plaguewielder (Hot Graves) – Pick up something heavy and walk across the gym with it before softness sets in. You need an iron grip to get through life unscathed by the handshakes of farmers. Grip strength blowouts are the one trve way to finish any workout and this track will help you attain those Meathooks Ov Doom.

Thus Spoke and the Smiting of the Half-Depth Heretics:

“Join me in Armageddon” // Thy Art is Murder (Godlike) – Say whatever you’re going to say about TAiM, this is exactly the kind of anthemic banger you need when you’re chucking heavy stuff about. So what are you waiting for? Come and join me in armageddon the gym.

“Enlighten Through Agony” // Dying Fetus (Make Them Beg for Death) – Fun fact: I’d never listened to Dying Fetus before this year—DON’T COME FOR ME PLEASE OK, I’M WORKING ON IT. The rhythm on this thing, the brutality, the incredibly appropriate title. Time to get enlightened.

“Leper by the Grace of God” // God Disease (Apocalyptic Doom) – Dark, brutal, and dragging. This is the resting-bitch-face workout accompaniment you absolutely cannot do without on a playlist like this. Plus, it has an awesome, haunting solo that I personally find very motivating.

“Serrated Jaws” // Grand Cadaver (Deities of Deathlike Sleep) – Tell me these aren’t the perfect lyrics for lifting: “Go for the kill//Tighten the grip//Stare into the eyes of fear.” Yeah, I didn’t think so. The real ones get their spot from the music like this.

“Manhunt” // To the Grave (Director’s Cuts) – I would stick the whole album here if I could, but this one gets the most plays. Pure menace and rage. And the way those “TRUST MEEE…“’s are delivered…chills. And gains.

“Taufbefehl” // Nightmarer (Deformity Adrift) – Having a title I can barely pronounce correctly doesn’t stop me from wanting to belt it out every time I hear it alongside those glorious concrete-head-smashing chord-and-beat combos each chorus. Stone-cold banger and perfect for lifting.

“Mortal Shells” // Mental Cruelty (Zweilicht) – Oh my word, that descending minor melody surge that is the chorus of this song, blastbeats coming in, symphonics soaring, “THIS EEARRTH FORRRSAAKES MEE” makes me feel fucking invincible. And it will make you feel invincible too.

“The Insignificants” // Cattle Decapitation (Terrasite) – It’s angry, it’s nihilistic, its rhythms are on point. And it ends with an utterly bleak and brilliant sung/screamed refrain that is just the right balance between brooding and motivating. Weird but it works.

“Catastrophize” // Humanity’s Last Breath (Ashen) – “Ugh why is there so much deathcore on this playlist, Thus?” “Shut up,” I say, as I put another plate on the pendulum squat for you, “this one’s going to help.” It just beat album neighbor “Death Spiral” to make it here and you’re gonna feel its worth.

“Hammer from the Howling Void” // Sulphur Aeon (Seven Crowns and Seven Seals) – This song is just kind of epic. Its driving urgent melodies, group shouts and wails, and grand scale are like a shield of armor. It’s also possessed of a chorus with that ideal lifting tempo. You are the hammer from the howling void. Embrace it.

Holdeneye Practices Radical Body Acceptance:

“Unholy Hell” // Mystic Prophecy (Hellriot) – Mystic Prophecy has been delivering the beef for over twenty years, and this year’s album was especially beefy. “Unholy Hell” is a plodding groove-fest that makes me feel like I’m taking a 40 oz tomahawk steak to the face and swallowing it whole. Thank you, sir, may I have another?

“War Remains” // Enforced (War Remains) – Few bands can bring forth my deeply repressed primal rage like Enforced. “War Remains” has a snarling groove that just won’t quit, and I’ve been using it as a performance-enhancing sound-substance all year.

“Blood Blind” // Cannibal Corpse (Chaos Horrific) – While “Blood Blind” may not be my favorite CC gym song ever, it’s damn close. Corpsegrinder’s vocal build-up over the the chugging riff that leads up to the song’s “chorus” makes me see more red than any Cannibal Corpse album cover can hope to muster.

“Academia” // Finality (Technocracy) – One of the most ferocious album-openers I heard all year, “Academia” has been helping me dominate gym class ever since its release. Intensely melodic and powerfully groovy, this power/thrash barnburner will give you a doctorate in gainz.

“Best Served Cold” // Frozen Soul (Glacial Domination) – Current research shows that cold exposure can inhibit muscle growth and strength gain, but I’ve found that Frozen Soul has the opposite effect. Not only does “Best Served Cold” contain enough groove to fuel an entire workout, it also reminds you how to best enjoy your protein shake to refuel after.

“Mountain of Power” // All for Metal (Legends) – Do I really need to say anything about this one? It’s a song about a mountainous man of enormous strength with spoken word parts performed by a mountainous man of enormous strength. This is pure Holdeneye-bait.

“Tithe (The Money Song)” // By Fire and Sword (Glory)- When you’re trying to give 110% in the gym, sometimes that last 10% can be hard to come by. “Tithe” mentions building up kingdoms with our sweat and tells us to ‘remember that the pain is brief.’ With that kind of motivation, how can we not blow right past our preconceived limitations?

“Confined” // Disguised Malignance (Entering the Gateways) – I couldn’t let Steel corner the market on grimy old-school death metal, so I offer you “Confined,” one of the grooviest tracks of the year. If you’re like me, you’ll have a tough time keeping your arms confined within your sleeves after listening to this one.

“Power Surge” // Cruel Force (Dawn of the Axe) – No Heavy Moves Heavy playlist would be complete without some old-timey metal sounds, and “Power Surge” delivers its ancient payload with lethal precision. I dare you not to feel a surge in power as the intro gives way to the speedy main riff.

“Sword of Mars” // Warcrab (The Howling Silence) – “Sword of Mars” uses burly Bolt Thrower tremolos with hate-filled sludgy hardcore vocals to transform its listeners into statues of blade-wielding Greek (or Roman) gods. Queue this one up and experience divine results.

Steel Druhm Feeds the Floor to Posers:

“Slimebreeder” // Rotpit (Let There Be Rot) – No-nonsense, stupid heavy OSDM for no-nonsense stupid heavy gym days, Rotpit has the goods and the slime you need for the gainz and the pain. Feed this slime directly into your leg day. Not FDA approved.

“Cerebral Ingestion” // Carnal Tomb (Embalmed in Decay) – Mid-tempo caveman grooves heavy enough to pulp a power rack and with enough forward momentum to power you through any kind of exercise rigor. Just the right levels of ugly, brutal and gross,

“Vortex of Blood” // Grand Cadaver (Deities of Deathlike Sleep) – D-beating Swedeath goes grandly in the gym and Grand Cadaver drags a big stinking corpse into the room with this one. Entombed and Dismember-isms run like an everflowing stream directly into your veins and make you a better version of your crappy self.

“Cremator” // Dripping Decay (Festering Grotesquieries) – Short, sharp, shocking and so good at getting you all geeked up for that next big lift. This is Slaughter-core all day and that means thrashing, nasty heaviness in your face. You need this 2-minute adrenaline injection.

“Nemesis” // Serpent Corpse (Blood Sabbath) – When you fortify classic OSDM with massive, bone-crunching riffs and a scuzzy sound profile, it brings forth your worst angels. “Nemesis” borrows from Autopsy but goes nuclear with it and the results are tailor-made for gym idiots.

“Decrowned” // Vomitory (All Heads Are Gonna Roll) – Vomitory have been cranking out gym-friendly animalistic death forever, and “Decrowned” is a great example of their knuckle-dragging art. That fat chug at 1:55 will loosen your molars and make you feel things. Vomit: it’s not just for breakfast anymore.

“The Surgeon” // Overkill (Scorched) – A non-death metal song?? Hell yes, because Overkill is all about fists, broken bottles, and rusty shanks. 100% NJ attitude in one 5-minute dose. If that doesn’t get you in a focused place, no amount of preworkout will help your sorry ass.

“Planetary Obliteration” // Re-Buried (Repulsive Nature) – On the ragged edge of OSDM and slam lies this sick twist of a bastard. Feel the muscles in your arms and legs contort and start to fracture your skeletal system as the primal beatdowns blast your feeble mind. It’s obnoxious, brutish, and sounds like deadlifts gone very wrong.

“Me the Nothing” // Metal Church (Congregation of Annihilation) – An atypically heavy, grinding, vicious cut from the elder statesmen in Metal Church. There is simply no way to blast this and not feel the aggression surging in your blood. The insane vocals at chorus time will make you grind your teeth and hunger for weight.

“Who Told Me” // Prong (State of Emergency) – Prong supplied many songs to the Lift Lists ov Steel over the years, and “Who Told Me” is the latest nugget of New York-style hostility to get up in your face and make you want to brawl Jersey Shore idiots. Poke somebody in the chest after a personal best.

#2023 #Afterbirth #AllForMetal #Angerot #Autopsy #ByFireAndSword #CannibalCorpse #CarnalTomb #Carnosus #CattleDecapitation #CruelForce #Crypta #DisguisedMalignance #DrippingDecay #DyingFetus #Enforced #Finality #FrozenSoul #GodDisease #GrandCadaver #Gridlink #HeavyMovesHeavy #Hellripper #HumanitySLastBreath #Massen #MentalCruelty #MetalChurch #MysticProphecy #Nexorum #Nightmarer #Nothingness #OuterHeaven #Overkill #Phlebotomized #Plaguewielder #Prong #ReBuried #Rotpit #SerpentCorpse #SulphurAeon #Svartkonst #TardigradeInferno #ThyArtIsMurder #ToTheGrave #Vomitheist #Vomitory #Warcrab #Wormhole #Xoth

Heavy Moves Heavy 2023 – AMG’s Ultimate Workout Playlist

By Ferox

Before I was press-ganged into the Skull Pit, I, Ferox, began curating an exercise playlist named Heavy Moves Heavy. For nearly a decade, I alone reaped the benefits of this creation–many were the hours spent preening aboard my Squat Yacht, mixing oils so that I could marvel at the glistening gainz unlocked by the List. My indentured servitude is your good fortune, because a new and improved version of the Heavy Moves Heavy playlist is now available to all readers of AMG in good standing.1 The lifters among us have spent countless hours in the Exercise Oubliette testing these songs for tensile strength and ideological purity. Enjoy–but don’t listen if you are being screened for PEDs in the near future. This music will cause your free testosterone levels to skyrocket even as it adds length and sheen to your back pelt.

Only a blind master of epic poetry could capture the feats of strength performed by the lifters of AMG in 2023. We did have a bard wandering around the Hall, but no one has seen him since the last n00b uprising was put down. Suffice it to say that 2023 saw the List spur our Fearsome Five on to ever-more-epic achievements. These are the songs that got us there.

Whose contributions are best? What omissions expose us as dilettantes? Add your comments and song suggestions below. The song suggestions will be subjected to a remorseless testing process we call The Winnowing, and those that survive will be added to the master list. The comments will of course be ignored.

To the list!

Kenstrosity Bursts Through His Own Workout Gear:

“Askoma (Sorethroat)” // Massen (Gentle Brutality) – I am a psychopathic gym goer. If I can’t listen to huge grooves, massively thick guitars and meaty growls, I want to pump iron in silence. Thankfully, Massen refuse to let me work out without a soundtrack brimming with those exact parameters, and thereby allows me to break PRs on the reg.

“Catapulted into Hyperspace” // Nothingness (Supraliminal) – An unbelievably hooky death metal monster, “Catapulted into Hyperspace” has been my iron giant for almost a full year. The incredible momentum with which this song pushes my body should destroy me. Yet, the crazy swagger held in these riffs enlivens my nerves and oxygenates my blood like nothing else.

“Clockwork God” // Tardigrade Inferno (Burn the Circus) – Have you seen the physique of your average circus acrobat? Those fuckers are seriously jacked and shredded, yet lithe and agile. Hence, when the chunky chugs of “Clockwork God” enter my earballs, I can see my future, and it shows me at peak physical condition. All thanks to a vengeful little water bear.

“Destined to be Killed” // Phlebotomized (Clouds of Confusion) – Phlebotomized may be one of the weirder death metal bands to feature on this list, but “Destined to be Killed” is nothing short of a ripper. Great for those high-intensity intervals, the blistering blasts and tempered marches held here make for a great workout banger.

“Elysiism” // Wormhole (Almost Human) – Form is everything. Form is the only path to heavy. Once you get there, you’ll want a companion that understands what heavy means. Slam is that companion, and “Elysiism” contains one of the best set of slamming riffs of the year, hands down. Get it in you and watch your gainz balloon past your wildest expectations!

“Lift the Blindfold” // Crypta (Shades of Sorrow) – Sometimes you really just need something classic and thrashy to get the blood hot and the muscles flexing. Crypta understood the assignment with “Lift the Blindfold,” a clinic in shredding riffs and thrashy energy sure to get you movin’ and groovin’ with gusto.

“Liquified Mind” // Outer Heaven (Infinite Psychic Depths) – The bar is pressing into my traps. I’m deep in this squat and failure is approaching fast. There’s nothing I can do, I’m not going to make it back to start position. “Liquified Mind” starts playing and all of a sudden, I’ve pumped out three more reps as if I’m on autopilot. Such is the power of filthy, grooving, massive death metal.

“Ode to the Meatsaw” // Vomitory (All Heads are Gonna Roll) – Nothing beats an arena banger, an anthemic, fist-pumping slab of chunky death for the gym. That’s where Vomitory’s “Ode to the Meatsaw” shines in full glory, carving up bodies with a meatsaw as I sculpt mine with dumbbells. What more could a gym rat like me ask for?

“Symphony of a Dying Star” // Mental Cruelty (Zweilicht) – Versatility is a virtue. Variety is key to an adaptable body. So, when I want to swap between high-intensity cardio, intervals, or just pick up a heavy thing and put it back down again, the powerful genre-swapping talents of Mental Cruelty’s “Symphony of a Dying Star” serve me brilliantly.

“Tormenting Fungal Infestation” // Vomitheist (NekroFuneral) – I love a mid-tempo banger to fuel my weightlifting hour, and there’s no better fodder for that than Vomitheist’s “Tormenting Fungal Infestation.” Ideal for any gym session where metered, disciplined breaths are essential to an effective movement, this song will keep you in the pocket all day long.

Ferox vs. The Curlers in the Squat Rack:

“In But Not Of” // Afterbirth (In But Not Of) – The shotgun marriage of post-metal crescendoes and a climactic brutal death freakout makes for the (Workout) Song O’ The Year. The end of this song will leave you well and truly berzerkified and ready to do less than prudent things to yourself.

“Breath of Satan” // Svartkonst (May the Night Fall) – Stop fucking around and focus. “Breath of Satan” is a fleeting blast of blistering intensity that’s guaranteed to help you accomplish ONE THING before the rest of the List does its work.

“Castle of Grief” // Carnosus (Visions of Infinihility) – Carnosus’s tech death onslaught is spry and engaging enough to keep you distracted from the suffering that is only now commencing. The saucy rolled tongue flourish midway through is a reliable font of joy in troubled times.

“Manuscripts of Madness” // Xoth (Exogalactic) – Certain dullards crossed their arms at Xoth’s latest, but do they even lift? This track infuses melodeath into the band’s pan-genre stew, and its sing-along chorus is just the thing to keep you tumescent during the early-mid workout blues.

“Warlocks Grim and Withered Hags” // Hellripper (Warlocks Grim and Withered Hags) – Here’s a black thrash epic to lose yourself in while you can still recognize the concept of “fun.” It’s gonna hurt from here on out, so you might as well make the most of this track.

“Throatsaw” // Autopsy (Ashes, Organs, Blood, and Crypts) – Only “Throatsaw” is real. This List could be “Throatsaw” repeated fifty times and still be equally effective.

“Mother of Ghouls” // Nexorum (Tongue of Thorns) – “Too many riffs,” sniffed a dainty staffer about Nexorum’s debut album. God help that timid soul if he’s ever exposed to this track from the band’s follow-up, which showcases riffs on riffs AND the Guitar Solo O’ The Year (Slayer-Inspired Division).

“Bastard Creature” // Angerot (The Profound Recreant) – A bit o’ bombast to help you puff your chest out for the endgame. “Rejoice in the birth of the bastard creature!” Angerot is talking about you, in whatever new form you take after finishing this workout.

“Pitch Black Resolve/Nickel Grass Mosaic” // Gridlink (Coronet Jupiter) – Here’s a grind double shot to keep you moving after your brain quits on you.2 This slice of tuneful madness sets a relentless marching pace and will not hesitate to holler at you until the thing is done.

“Throne ov the Morning Star” // Plaguewielder (Hot Graves) – Pick up something heavy and walk across the gym with it before softness sets in. You need an iron grip to get through life unscathed by the handshakes of farmers. Grip strength blowouts are the one trve way to finish any workout and this track will help you attain those Meathooks Ov Doom.

Thus Spoke and the Smiting of the Half-Depth Heretics:

“Join me in Armageddon” // Thy Art is Murder (Godlike) – Say whatever you’re going to say about TAiM, this is exactly the kind of anthemic banger you need when you’re chucking heavy stuff about. So what are you waiting for? Come and join me in armageddon the gym.

“Enlighten Through Agony” // Dying Fetus (Make Them Beg for Death) – Fun fact: I’d never listened to Dying Fetus before this year—DON’T COME FOR ME PLEASE OK, I’M WORKING ON IT. The rhythm on this thing, the brutality, the incredibly appropriate title. Time to get enlightened.

“Leper by the Grace of God” // God Disease (Apocalyptic Doom) – Dark, brutal, and dragging. This is the resting-bitch-face workout accompaniment you absolutely cannot do without on a playlist like this. Plus, it has an awesome, haunting solo that I personally find very motivating.

“Serrated Jaws” // Grand Cadaver (Deities of Deathlike Sleep) – Tell me these aren’t the perfect lyrics for lifting: “Go for the kill//Tighten the grip//Stare into the eyes of fear.” Yeah, I didn’t think so. The real ones get their spot from the music like this.

“Manhunt” // To the Grave (Director’s Cuts) – I would stick the whole album here if I could, but this one gets the most plays. Pure menace and rage. And the way those “TRUST MEEE…“’s are delivered…chills. And gains.

“Taufbefehl” // Nightmarer (Deformity Adrift) – Having a title I can barely pronounce correctly doesn’t stop me from wanting to belt it out every time I hear it alongside those glorious concrete-head-smashing chord-and-beat combos each chorus. Stone-cold banger and perfect for lifting.

“Mortal Shells” // Mental Cruelty (Zweilicht) – Oh my word, that descending minor melody surge that is the chorus of this song, blastbeats coming in, symphonics soaring, “THIS EEARRTH FORRRSAAKES MEE” makes me feel fucking invincible. And it will make you feel invincible too.

“The Insignificants” // Cattle Decapitation (Terrasite) – It’s angry, it’s nihilistic, its rhythms are on point. And it ends with an utterly bleak and brilliant sung/screamed refrain that is just the right balance between brooding and motivating. Weird but it works.

“Catastrophize” // Humanity’s Last Breath (Ashen) – “Ugh why is there so much deathcore on this playlist, Thus?” “Shut up,” I say, as I put another plate on the pendulum squat for you, “this one’s going to help.” It just beat album neighbor “Death Spiral” to make it here and you’re gonna feel its worth.

“Hammer from the Howling Void” // Sulphur Aeon (Seven Crowns and Seven Seals) – This song is just kind of epic. Its driving urgent melodies, group shouts and wails, and grand scale are like a shield of armor. It’s also possessed of a chorus with that ideal lifting tempo. You are the hammer from the howling void. Embrace it.

Holdeneye Practices Radical Body Acceptance:

“Unholy Hell” // Mystic Prophecy (Hellriot) – Mystic Prophecy has been delivering the beef for over twenty years, and this year’s album was especially beefy. “Unholy Hell” is a plodding groove-fest that makes me feel like I’m taking a 40 oz tomahawk steak to the face and swallowing it whole. Thank you, sir, may I have another?

“War Remains” // Enforced (War Remains) – Few bands can bring forth my deeply repressed primal rage like Enforced. “War Remains” has a snarling groove that just won’t quit, and I’ve been using it as a performance-enhancing sound-substance all year.

“Blood Blind” // Cannibal Corpse (Chaos Horrific) – While “Blood Blind” may not be my favorite CC gym song ever, it’s damn close. Corpsegrinder’s vocal build-up over the the chugging riff that leads up to the song’s “chorus” makes me see more red than any Cannibal Corpse album cover can hope to muster.

“Academia” // Finality (Technocracy) – One of the most ferocious album-openers I heard all year, “Academia” has been helping me dominate gym class ever since its release. Intensely melodic and powerfully groovy, this power/thrash barnburner will give you a doctorate in gainz.

“Best Served Cold” // Frozen Soul (Glacial Domination) – Current research shows that cold exposure can inhibit muscle growth and strength gain, but I’ve found that Frozen Soul has the opposite effect. Not only does “Best Served Cold” contain enough groove to fuel an entire workout, it also reminds you how to best enjoy your protein shake to refuel after.

“Mountain of Power” // All for Metal (Legends) – Do I really need to say anything about this one? It’s a song about a mountainous man of enormous strength with spoken word parts performed by a mountainous man of enormous strength. This is pure Holdeneye-bait.

“Tithe (The Money Song)” // By Fire and Sword (Glory)- When you’re trying to give 110% in the gym, sometimes that last 10% can be hard to come by. “Tithe” mentions building up kingdoms with our sweat and tells us to ‘remember that the pain is brief.’ With that kind of motivation, how can we not blow right past our preconceived limitations?

“Confined” // Disguised Malignance (Entering the Gateways) – I couldn’t let Steel corner the market on grimy old-school death metal, so I offer you “Confined,” one of the grooviest tracks of the year. If you’re like me, you’ll have a tough time keeping your arms confined within your sleeves after listening to this one.

“Power Surge” // Cruel Force (Dawn of the Axe) – No Heavy Moves Heavy playlist would be complete without some old-timey metal sounds, and “Power Surge” delivers its ancient payload with lethal precision. I dare you not to feel a surge in power as the intro gives way to the speedy main riff.

“Sword of Mars” // Warcrab (The Howling Silence) – “Sword of Mars” uses burly Bolt Thrower tremolos with hate-filled sludgy hardcore vocals to transform its listeners into statues of blade-wielding Greek (or Roman) gods. Queue this one up and experience divine results.

Steel Druhm Feeds the Floor to Posers:

“Slimebreeder” // Rotpit (Let There Be Rot) – No-nonsense, stupid heavy OSDM for no-nonsense stupid heavy gym days, Rotpit has the goods and the slime you need for the gainz and the pain. Feed this slime directly into your leg day. Not FDA approved.

“Cerebral Ingestion” // Carnal Tomb (Embalmed in Decay) – Mid-tempo caveman grooves heavy enough to pulp a power rack and with enough forward momentum to power you through any kind of exercise rigor. Just the right levels of ugly, brutal and gross,

“Vortex of Blood” // Grand Cadaver (Deities of Deathlike Sleep) – D-beating Swedeath goes grandly in the gym and Grand Cadaver drags a big stinking corpse into the room with this one. Entombed and Dismember-isms run like an everflowing stream directly into your veins and make you a better version of your crappy self.

“Cremator” // Dripping Decay (Festering Grotesquieries) – Short, sharp, shocking and so good at getting you all geeked up for that next big lift. This is Slaughter-core all day and that means thrashing, nasty heaviness in your face. You need this 2-minute adrenaline injection.

“Nemesis” // Serpent Corpse (Blood Sabbath) – When you fortify classic OSDM with massive, bone-crunching riffs and a scuzzy sound profile, it brings forth your worst angels. “Nemesis” borrows from Autopsy but goes nuclear with it and the results are tailor-made for gym idiots.

“Decrowned” // Vomitory (All Heads Are Gonna Roll) – Vomitory have been cranking out gym-friendly animalistic death forever, and “Decrowned” is a great example of their knuckle-dragging art. That fat chug at 1:55 will loosen your molars and make you feel things. Vomit: it’s not just for breakfast anymore.

“The Surgeon” // Overkill (Scorched) – A non-death metal song?? Hell yes, because Overkill is all about fists, broken bottles, and rusty shanks. 100% NJ attitude in one 5-minute dose. If that doesn’t get you in a focused place, no amount of preworkout will help your sorry ass.

“Planetary Obliteration” // Re-Buried (Repulsive Nature) – On the ragged edge of OSDM and slam lies this sick twist of a bastard. Feel the muscles in your arms and legs contort and start to fracture your skeletal system as the primal beatdowns blast your feeble mind. It’s obnoxious, brutish, and sounds like deadlifts gone very wrong.

“Me the Nothing” // Metal Church (Congregation of Annihilation) – An atypically heavy, grinding, vicious cut from the elder statesmen in Metal Church. There is simply no way to blast this and not feel the aggression surging in your blood. The insane vocals at chorus time will make you grind your teeth and hunger for weight.

“Who Told Me” // Prong (State of Emergency) – Prong supplied many songs to the Lift Lists ov Steel over the years, and “Who Told Me” is the latest nugget of New York-style hostility to get up in your face and make you want to brawl Jersey Shore idiots. Poke somebody in the chest after a personal best.

#2023 #Afterbirth #AllForMetal #Angerot #Autopsy #ByFireAndSword #CannibalCorpse #CarnalTomb #Carnosus #CattleDecapitation #CruelForce #Crypta #DisguisedMalignance #DrippingDecay #DyingFetus #Enforced #Finality #FrozenSoul #GodDisease #GrandCadaver #Gridlink #HeavyMovesHeavy #Hellripper #HumanitySLastBreath #Massen #MentalCruelty #MetalChurch #MysticProphecy #Nexorum #Nightmarer #Nothingness #OuterHeaven #Overkill #Phlebotomized #Plaguewielder #Prong #ReBuried #Rotpit #SerpentCorpse #SulphurAeon #Svartkonst #TardigradeInferno #ThyArtIsMurder #ToTheGrave #Vomitheist #Vomitory #Warcrab #Wormhole #Xoth

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Members Of CATTLE DECAPITATION, KRISIUN, EVILE & On The Albums They Love That Everyone Else Hates
Their picks range from Van Halen to Brittany Spears... and more!

https://metalinjection.net/video/members-of-cattle-decapitation-krisiun-evile-on-the-albums-they-love-that-everyone-else-hates

#1MustListen #HeavyMetalAlbums #CattleDecapitation #Krisiun #Evile #ControversialMusicTastes #MetalCommunity #MetalFandom