https://www.europesays.com/be-nl/147529/ Electric Callboy – Tanzneid | Zware Metalen #Amusement #BE #België #Belgium #CenturyMedia #duistland #ElectricCallboy #ElevatorOperator #Entertainment #Music #Muziek #ratatata #revery #tanzneid #TheWayYouAre #ZwareMetalen
#centurymedia — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #centurymedia, aggregated by home.social.
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https://www.europesays.com/nl/316076/ Electric Callboy – Tanzneid | Zware Metalen #Amusement #CenturyMedia #duistland #Dutch #ElectricCallboy #ElevatorOperator #Entertainment #Music #Muziek #Nederland #Nederlanden #Nederlands #Netherlands #NL #ratatata #revery #tanzneid #TheWayYouAre #ZwareMetalen
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https://www.europesays.com/at/397822/ Suicide Silence kündigen Album an & veröffentlichen Titel-Track #Ankündigung #AT #Austria #CenturyMedia #Entertainment #Music #Musik #NeueSingle #NeuesAlbum #Österreich #SuicideSilence #Unterhaltung #Veröffentlichung
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https://www.europesays.com/es/764954/ Suicide Silence anuncian nuevo disco: ‘Graceless’ #CenturyMedia #Deathcore #Entertainment #Entretenimiento #ES #España #Music #Música #Noticias #Spain #SuicideSilence #video
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THE HAUNTED – SONGS OF LAST RESORT (2025) | vía #SonidosOcultos
https://www.sonidosocultos.com/discos/the-haunted-songs-of-last-resort-2025/
#atthegate #centurymedia #discos #melodicdeath #nuevodiscodemetal #songsoflastresort #thehaunted #thrashmetal
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Recensie: Dark Funeral – A Beast To Praise
https://writteninmusic.com/albumrecensie/dark-funeral-a-beast-to-praise/ -
Distant Announce New Album Into Despair and Unleash Crushing Single Featuring Suffocation’s Ricky Myers
Dutch/Slovak deathcore powerhouse Distant have announced their new full-length album, Into Despair, set for release on November 6, 2026, via Century Media Records. Alongside the announcement, the band have unveiled the album's first single, "All Will Be (N)One," featuring Ricky Myers of death metal legends Suffocation. -
Dark Funeral have announced their new live album, A Beast To Praise.
The band has also shared the live video for "The Arrival Of Satan's Empire," captured during their 2022 performance at Fållan in Stockholm.
#DarkFuneral #BlackMetal #CenturyMedia #WeAreTheApocalypse #LiveAlbum
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Recensie: Blood Incarnation – All Gates Open ★★★
https://writteninmusic.com/albumrecensie/blood-incarnation-all-gates-open/ -
At The Gates - The Ghost of a Future Dead (24-bit HD audio)
https://centurymedia.bandcamp.com/album/the-ghost-of-a-future-dead-24-bit-hd-audio
#deathMetal #melodicMetal #metal #archEnemy #atTheGates #centuryMedia #gothenburg #gothenburgSound #melodicDeathMetal #dortmund
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https://www.europesays.com/be-nl/41000/ Stabbing – Eon of Obscenity #2026 #Amusement #BE #België #Belgium #BrutalDeathMetal #CenturyMedia #Entertainment #EonOfObscenity #Music #Muziek #recensie #stabbing #ZwareMetalen
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https://www.europesays.com/nl/179009/ Hellripper – Coronach | Zware Metalen #album #Amusement #CenturyMedia/SonyMusic #coronach #Dutch #Entertainment #hellripper #IronMaiden #JamesMcbain #Music #Muziek #Nederland #Nederlanden #Nederlands #Netherlands #NL #recensie #review #schotland #venom #ZwareMetalen
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https://www.europesays.com/be-nl/38591/ Hellripper – Coronach | Zware Metalen #album #Amusement #BE #België #Belgium #CenturyMedia/SonyMusic #coronach #Entertainment #hellripper #IronMaiden #JamesMcbain #Music #Muziek #recensie #review #schotland #venom #ZwareMetalen
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Hellripper - Coronach (24-bit HD audio)
https://hellripper.bandcamp.com/album/coronach-24-bit-hd-audio
#blackMetal #blackThrashMetal #deathMetal #metal #punk #speedMetal #thrashMetal #centuryMedia #unitedKingdom
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Pleased to have my photography featured in the hero banner on #CenturyMedia ’s website for #Hellripper ’s latest single, “Mortercheyn.”
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https://www.europesays.com/nl/156735/ Mayhem – Liturgy of Death #Amusement #atilla #BlackMetal #CenturyMedia #DeMysteriisDomSathanas #Dutch #Entertainment #garm #ghul #hellhammer #LiturgyOfDeath #mayhem #Music #Muziek #necrobutcher #Nederland #Nederlanden #Nederlands #Netherlands #NL #teloch #ulver #ZwareMetalen
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https://www.europesays.com/es/406858/ Arch Enemy vuelven con nueva cantante, nuevo single y fecha en Vitoria #ARCHENEMY #CenturyMedia #Entertainment #Entretenimiento #ES #España #MelodicDeathMetal #Music #Música #Noticias #Spain #video
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https://www.europesays.com/es/343406/ Lamb Of God presentan su nuevo álbum ‘Into Oblivion’ #CenturyMedia #Entertainment #Entretenimiento #ES #España #LAMBOFGOD #metal #Music #Música #Noticias #Spain #video
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Kanonenfieber – Live In Oberhausen #CenturyMedia #compactdisc #kombi
https://www.instagram.com/reel/DSPxvwUDjs2/?igsh=b3Byejlzd3BiZGY= -
Kanonenfieber – Live In Oberhausen #CenturyMedia #compactdisc #kombi
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Arch Enemy – Covered In Blood #cd #HellionRecords #idHEL1279 #DeathMetal #CenturyMedia #Kyrios #cdpost #cdcollection #discoécultura #compactdisc #digitalaudio #GradienteS96 #PanasonicDVDS29 #kombi #noise
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https://www.europesays.com/uk/514691/ Sanguisugabogg – Hideous Aftermath Review #2025 #3.0 #AmericanMetal #CattleDecapitation #CenturyMedia #Converge #DeathMetal #DefeatedSanity #Entertainment #FullOfHell #Godflesh #HideousAftermath #Mastodon #music #Nails #Oct25 #PeelingFlesh #Review #Reviews #Sanguisugabogg #UK #UnitedKingdom #VileRites #VomitForth
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Sanguisugabogg – Hideous Aftermath Review
This review almost didn’t happen. As the recently demoted were scraping the last bit of slime off the…
#NewsBeep #News #Music #2025 #3.0 #AmericanMetal #CA #Canada #CattleDecapitation #CenturyMedia #Converge #DeathMetal #DefeatedSanity #Entertainment #FullofHell #Godflesh #HideousAftermath #Mastodon #nails #Oct25 #PeelingFlesh #review #reviews #Sanguisugabogg #VileRites #VomitForth
https://www.newsbeep.com/ca/226992/ -
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
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Arch Enemy – As The Stages Burn! #cd #ValhallMusic #idVLH036 #DVD #DeathMetal #CenturyMedia #Kyrios #SavageMessiah #AA1000 #cdpost #cdcollection #discoécultura #compactdisc #digitalaudio #GradienteS96 #PanasonicDVDS29 #kombi #noise #há1ano
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Dark Angel – Leave Scars #cd #ShinigamiRecords #id3E034 #Reissue #ThrashMetal #CenturyMedia #ÁgataTecnologia #Twister #AA0001000 #cdpost #cdcollection #discoécultura #compactdisc #digitalaudio #GradienteS96 #PanasonicDVDS29 #kombi #noise
https://www.instagram.com/reel/DO3mpkdDika/?igsh=cHdjYndqOXRpazBn -
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Recensie: The Gathering – Nighttime Birds ★★★★½
https://writteninmusic.com/albumrecensie/the-gathering-nighttime-birds/ -
Concert: Zeer geslaagde reünie The Gathering in Doornroosje
https://writteninmusic.com/concertverslag/zeer-geslaagde-reunie-the-gathering-in-doornroosje/ -
Gaerea sign with Century Media, drop new single “Submerged”
#Gaerea #CenturyMedia #Submerged #NewSong
Link: https://metalinsider.net/news/gaerea-sign-with-century-media-drop-new-single-submerged
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By ClarkKent
Between 2018 and 2021, the Danish quintet, BAEST, dished out three albums of brutal, intense death metal. Ferrous Beuller had high praise for their sophomore release, Venenum, singling out its “superior songwriting” and hailing BAEST as among his “favorites in the death metal flood of 2018.” COVID slowed their momentum, however, leaving a four-year gap between Necro Sapiens and Colossal. This span of time has given BAEST plenty of time to reflect, and, as a result, fans will find them a notably different group. Any changes a band makes to their core sound risks alienating fans, but on the flip side, keeping strictly to the limits of a genre can also hamper creativity. It’s less important that a band sticks to their core sound than it is to write and play enjoyable music. Regardless of whether they have succeeded in this goal, you best prepare to baste your ears in the roar of the beast that BAEST has unleashed.
There’s no doubt when “Stormbringer” starts up that this is a different BAEST. The brutal, muscular guitar riffs have been stripped down to something closer to arena rock–think Accept or 90s-era Metallica. Yet Simon Olsen’s vocals and Sebastian Abildsten’s drumming still bring the thunderous power of the BAEST of old, placing them more in line with deathened rock.1 Brutal or not, it’s hard to complain when the song is as fun as “Stormbringer” or “King of the Sun.” “Stormbringer” probably best meshes the old BAEST with the new. Opening with anthemic rock riffs, it eventually settles into their old might, but with a fresh energy. “King of the Sun” is the catchiest of the bunch, anchored by infectious riffs and mesmerizing cymbal taps that’ll keep themselves securely lodged in your brain. This tune best outlines the musical potential that BAEST taps into by leaving the confines of brutality.2
Unfortunate inconsistencies keep Colossal from being a smooth listening experience, however. According to the promo notes, BAEST did not start off in their new direction–first they wrote “Colossus” and “Imp of the Perverse.” These tracks feel slightly out of place due to their slower pacing and doomier vibe. They’re fine songs, but they’re also not as compelling as the better material described above. About 90 seconds in, “Colossus” boasts an outpouring of high-octane energy that is 30 seconds of death metal bliss. Yet the remainder of the track is just okay, and it becomes grating to hear Olsen repeat the word “Colossus” over and over. “Imp of the Perverse” fares better as an overall song, and fans of Edgar Allan Poe will be happy with its lyrics: Olsen begins by singing “I stand upon the brink of a precipice.” But at 6 minutes, it drags on a tad long and also suffers from the repetition problem of “Colossus,”one that plagues much of Colossal.
I’ve described the good and the decent, and now I get to the ugly. It’s unfortunate that two of the longer songs on Colossal (“In Loathe and Love” and “Depraved World”) do little to stand out with catchy hooks or interesting riffs. That they drag on for so long is baffling. They do little to earn their lengthier stays–nothing progressive, no riffs or choruses that make you want the songs to continue past a few minutes. And some of those riffs are just plain bad. “In Loathe and Love” starts off decently before breaking into chords that awkwardly pull away from the melodicism of the intro. Even “Depraved World” has some good ideas, but they overstay their welcome by repeating themselves “time and again” for 6 minutes.3 I can’t fault the musicians so much as the inconsistency of the songwriting.
BAEST acknowledge that the new direction they take with Colossal risks alienating their fans. But they wanted to write songs that are fun and catchy. While they do succeed on that front to an extent, a chunk of what they play is not very fun or catchy. The lesser material does a disservice to the stuff that is really good. It makes the 42-minute album feel much longer. 4 In the end, they lose the brutal bite of years past, but the trade-off is only a few really catchy songs, some that are decent, and a couple of clunkers. It’s a shame. I really enjoy listening to these guys play, and when they click, like on “King of the Sun,” it’s a blast. Hopefully, next time they’ll have more of that same magic.
Rating: 2.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Century Media
Websites: Bandcamp | Facebook | Official Site
Releases Worldwide: August 15th, 2025#25 #2025 #Accept #Aug25 #Baest #CenturyMedia #Colossal #DanishMetal #DeathMetal #Metallica #Review #Reviews
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Triptykon With The Metropole Orkest – Requiem #cd #EncoreMusic #HeavyMetalRock #CenturyMedia #AA000500 #cdpost #cdcollection #discoécultura #compactdisc #digitalaudio #GradienteS96 #PanasonicDVDS29 #fusca #kombi #noise
https://www.instagram.com/reel/DNLk1chO59n/?igsh=bmYyeHFoYjB1a3Zs -
Triptykon With The Metropole Orkest – Requiem #cd #EncoreMusic #HeavyMetalRock #CenturyMedia #AA000500 #cdpost #cdcollection #discoécultura #compactdisc #digitalaudio #GradienteS96 #PanasonicDVDS29 #fusca #kombi #noise
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Heaven Shall Burn – Of Truth & Sacrifice #cd #ValhallMusic #idMer005 #MedievalRecords #KyriosCD #CenturyMedia #Metalcore #cdpost #cdcollector #cdcollection #discoécultura #compactdisc #digitalaudio #gradienteS96 #PanasonicDVDS29 #kombi #noise #há1ano
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Napalm Death – Resentment Is Always Seismic – A Final Throw Of Throes #cd #VoiceMusic #idVMCD378 #RockBrigadeRecords #idRBR7100 #CenturyMedia #Grindicore #cdpost #cdcollection #discoécultura #compactdisc #digitalaudio #GradienteS96 #PanasonicDVDS29 #kombi #noise
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Napalm Death – The Code Is Red... Long Live The Code #cd #MorbidTalesRecords #CenturyMedia #kyrioscdsolution #idMTR031 #Reissue #Grindcore #cdpost #cdcollection #discoécultura #compactdisc #digitalaudio #GradienteS96 #PanasonicDVDS29 #kombi #noise
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Imperial Triumphant – Goldstar Review
By Al Kikuras
When last I returned to the review writing foray I was perhaps a bit over-zealous in awarding a 4.5 to The Haunted’s Exit Wounds.1Almost seven years to the day since my last review shat the bed here at AMG, the question lingers in my now over half-a-century older brain… will I make the same mistakes again now as an equally-excited antiquarian? There is no better band to test this theory than the very of-the-times Imperial Triumphant, the talented and divisive trio out of New York City that split opinions as drastically as if congestion pricing makes a visit to Wo Hop worthwhile. This triumvirate have taken us on quite a journey in their 20-year tenure, as my brethren Grymm and sistren Madam X have previously covered. I find myself poised to attempt to address if their sixth full-length, Goldstar, lives up to the accolades of the title and tagline “Nine Class ‘A’ Songs.” The answer to both of these questions?
“TBD,” as the kids like to abbreviate everything these days. My kids can’t answer any questions directly, they always want to “LMK.” Why the rush? IDK, but rather than jabber on like a monkey in a tree I’ll try to cut through the treacle. As if to parse things back for those with a short attention span, Goldstar finds our protagonists more palatable than past outings but no less adventurous. The already initiated may bristle at what one might consider more “accessible” material, but that, in and of itself, is what I feel IT has always set out to do – challenge the listeners, even those of the most dedicated who think they know what to expect. Rather than dumb things down, like the cruelest of Cenobites, these maniacs have reinforced their craft with the sharpest of hooks, not pulling the listener in a baker’s dozen directions like Frank Cotton’s flesh, but rather giving us even more meat to chew on.
Moments like the quirky, waltz-like drum intro to “Gomorrah Nouveaux” that turns on a dime into a foul, menacing, nefarious groove, live rent controlled in my head. No, not rent free… RENT CONTROLLED. These guys being from NYC know that free rent is not a thing there, nor in my brain with what little vacancy I have at my advanced age. The lulling interlude title track comes after one of the most frenetic bursts of their career, the 47 seconds of “NEWYORKCITY” showcasing the frantic shrieks of constant special guest Yoshiko Ohara. Rather than feeling like an abrupt turn in the back of a Yellow cab careening down Avenue A at 50 miles an hour, it serves as an oasis amidst an ocean of mayhem with its big band 1920s-era vocals and tobacco giant jingle. As lulling and gorgeous as that melody is, IT also manages to bring moments like that into their most monstrous. Bass, guitar, vocals, and drums drenched in reverb and echo unified as a glorious and horrifying chorus seamlessly transitions from “Lexington Delirium” into “Hotel Sphinx.” Like watching a tornado devastate a small town, there is beauty in the terror that these mages conjure. While there are nods to their progenitors like Gorguts, Voivod, Mr. Bungle, Zappa, and Zorn, there are no lifts, besides the four-minute meditation on the first real metal riff ever recorded from The Beatles’ 1969 “I Want You (She’s So Heavy)” that closes out the album.
Many modern metal bands push the envelope with new levels of technicality and ferocity. As modernists, IT are writing an entirely new novel where the story isn’t how fast a blast beat, how great a guitar riff, how fluid a bass run or how guttural a vocal is. The confluence of all these things is what’s at the heart of Imperial Triumphant’s distinct sound . As the quotes from Marshall McLuhan declare in the opening track “Eye of Mars,” the medium is the message. Are you going to call Zappa’s The Yellow Shark or Zorn’s Angelus Novus “jazz-influenced classical” because they don’t sound how you expect classical music to? At this stage it would be a disservice and disrespectful to call Imperial Triumphant “jazz-influenced metal” of black or death or any kind. They have transcended all those genres to forge a new medium, and over the sleek 38 minutes and 15 seconds that comprise Goldstar, they massage the listener to accept it. As with any new medium, just as many will find it irritating as will embrace it.2
Rating: 4.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Century Media
Websites: imperialtriumphant.bandcamp.com | imperial-triumphant.com | facebook.com/imperialtriumphant
Releases Worldwide: March 21st, 2025#2025 #45 #AmericanMetal #BlackMetal #CenturyMedia #DeathMetal #Goldstar #ImperialTriumphant #Mar25 #Review #Reviews
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Cryptosis – Celestial Death Review
By Iceberg
When it comes to evolving past its lean, mean beginnings, thrash has had a rough go of it. Modern iterations shoot for a return-to-roots approach, which feels doomed to fall short in the shadow of the genre’s titans or augment the style with increasingly odd bedfellows (I’m looking at you Demoniac). Dutch trio Cryptosis fell firmly in the latter camp with their 2021 debut, Bionic Swarm, and they’ve continued to march away from their Teutonic roots with follow-up Celestial Death. Bionic Swarm passed 4.0ldeneye’s questionably positioned bar for admittance to “Great” status, and being the scholar and gentleman that he is, he was gracious enough to allow little ol’ me to sink my teeth into Cryptosis’ sophomore effort. Sporting a spiffy new Kantor cover and promising a more “cinematic path” and “darker atmosphere,” I’m hoping Celestial Death will give me another reason to believe that thrash is still alive and well.
Thrash was a basis for Bionic Swarm, but here it’s used more as a color on Cryptosis’ palette. The boundary-pushing sounds of Vektor are still present here, but they’re joined by Gothenburg melodeath (“Ascending”) and expansive post-metal instrumentals (“The Silent Call,” “Coda-Wander Into The Light”). Even as they widen their stylistic pool, Cryptosis retain a high level of musicianship and execution. Marco Prij’s drumming is still blisteringly fast, and added creativity in the cymbal-work (“Static Horizon,” “Ascending”) and decidedly non-thrash blasting (“The Silent Call,” “Cryptosphere”) makes it a great listen for the rhythmically inclined. Frank te Riet’s synths are much more present this go-around, and paired with his mellotron work, they achieve a void-wrapped atmosphere worthy of the album’s title. Frontman Laurens Houvert reminds us this album is still rooted in furious thrash, though, and his gruff barks paired with maniacally dancing riffs make Celestial Death an entertaining and, at times, challenging record.
Thrash is known for burning hot and dying fast, but that’s not the case with Celestial Death. Although only 42 minutes, a perfectly adequate runtime, there’s lots of heady material packed into these 11 tracks. Bookended and bisected by instrumentals, there’s an erudite symmetry to Celestial Death’s structure. The front half features 4 experimental non-thrash compositions, while the back half’s 4 are more concerned with kicking ass and taking names. Though I applaud Cryptosis for their willingness to color outside the lines, not everything sticks its landing. Sweeping, half-time sections showcase te Riet’s droning synths but lose precious potential energy (“The Silent Call,” “Motionless Balance”). Tracks in this half are well performed, but the songwriting feels less focused, holding onto riffs and instrumental sections a bit too long (“Static Horizon”). With the exception of proper opener “Faceless Matter” which is a successful composite of Cryptosis’ past and future, the album’s front thoughtfully meanders when it should be gripping throats.
A trio of songs in the album’s B-side reminds us of why Cryptosis deserves to be in the conversation for compelling, modern thrash. Out of the transitory warblings of “Motionless Balance” comes an absolute ripper of a track in “Reign Of Infinite.” Houvert’s opening riff sets fire to his fretboard, and the double-kick battering is a welcome backing for the most headbangable moment on the album. The instrumental in the album’s bridge, including a beautiful rising lead melody in the guitars, gives just enough time away from the sturm und drang to clear the air before plunging earthward again. “In Between Realities” pairs the album’s sole sing-along chorus with choppy rhythms and extended tremolos, and closer “Cryptosphere” makes the case for Symphony X-style thrash. My attention snapped back into place in this section of Celestial Death, ending the album on a high note and earning the place of zoom-out closer “Coda-Wander Into The Light.”
Celestial Death doesn’t give up its astral secrets easily and will rebuff the casual listener. What at first feels like a wall of riffs and washy synths eventually finds definition and reveals a burgeoning voice in extreme metal. Even the instrumentals, which are so often shoehorned into “progressive” pieces, earn their keep after repeated listens. While I don’t share the enthusiasm gene of our dear Holden, I think Cryptosis have a solid addition to their discography here and are on the verge of synthesizing their own take on modern thrash. At times viciously thrash, twistingly prog, or tantalizingly atmospheric, Celestial Death has a little something for everybody and has successfully avoided, at least in this writer’s opinion, the modern thrash trap.
Rating: 3.0/5.0
DR: STREAM | Format Reviewed: STREAM
Label: Century Media
Websites: Bandcamp | Facebook
Releases Worldwide: March 7th, 2025#2025 #30 #CelestialDeath #CenturyMedia #Cryptosis #DeathMetal #Demoniac #DutchMetal #Mar25 #ProgressiveMetal #Review #Reviews #SpaceMetal #SymphonyX #ThrashMetal #Vektor
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Recensie: The Gathering – Mandylion ★★★★★
https://writteninmusic.com/albumrecensie/the-gathering-mandylion/ -
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Kanonenfieber – Die Urkatastrophe #cd #MyDarkDesiresRecords #idMDD051 #DeathMetal #noisebringerrecords #CenturyMedia #cdpost #cdcollection #discoécultura #compactdisc #digitalaudio #GradienteS96 #PanasonicDVDS29 #kombi #noise