#dawn-of-demise — Public Fediverse posts

Dawn of Demise and I go way back. The Danish battering ram are very much in veteran status and remain an underappreciated force in the death metal underground. Plying their workmanlike trade since forming in 2003 and releasing their thumping debut Hate Takes Its Form in 2007. Never less than solid, the Dawn of Demise crew always manages to entertain through a hard-slugging, no-frills formula. While fucking with their long-established formula has not been on the cards, Dawn of Demise find crafty ways to deliver the goods without reinventing the wheel or treading water. There remains a certain expectation and reliable predictability, but as long as they keep bringing the tunes, I’m not complaining. Following a much longer than usual break between albums, Dawn of Demise finally dust off the gloves and set about slugging their way through another tough, efficient collection of thuggish death tunes on their first album since 2019, entitled Feed My Absurdity. Can Dawn of Demise continue their steadfast consistency and retain their chunky edge after a lengthy break, or are they destined to succumb to the dreaded Law of Diminishing Returns?

Beefcake, anvil-slinging riffs, and thick, groove-laced death featuring an uppercutting brutal edge is the order of the day, and Dawn of Demise largely pick up from where they last left off. The line-up remains steady, aside from the 2024 return of guitarist Jakob Nyholm (ex-HateSphere), and the shared chemistry, experience, and lockstep tightness is reflected through their trademark thrashy, groovy brutal death, bolstered by polished yet appropriately beefy modern production values. Dawn of Demise’s modus operandi remains steadfast in its bruising mission statement and adherence to their tried-and-true formula. Busting heads and bulldozing riffs is Dawn of Demise’s bread and butter, with ample fun served up on their energetic resumption.

“Feed My Absurdity” bursts out the gate in rampaging form, taking all of twenty seconds to launch into a trademark slamming groove section, carrying the authoritative thwomp listeners have been accustomed to throughout their career. Deftly balancing their brutal death throes with addictive, instantly headbangable riffage and the signature guttural bellows of the vastly underrated Scott Jensen, Dawn of Demise slam, thud and thrash their way through a rather taut, energetic batch of heavyweight tunes. Whereas the meat-and-potatoes songwriting approach is heavily reliant on fat, carb-heavy mid-paced surges and levelling grooves, Dawn of Demise inject a little more speed into the mix, bringing a welcome sprightliness and urgency. Certain songs simply crush, kill, destroy with pure heaviness and neck-wrecking riffs (“The Essence of Extirpation,” “Reviving Demise,” “Dissociation), bolstered by a chunky, New York-style brutal death swagger.

The aforementioned thrashier pacing and precision drumming lend an extra dynamic edge to killer tunes like “Ominous,” “Onset of Iniquities,” and the Dying Fetus-esque body slams of “The Immoral.” Songwriting can become a tad interchangeable and overly familiar; however, it’s always solid and pleasing to hear these underground sluggers return with gusto after an extended break and line-up changes to boot, as traditional death values meet their signature brutal death chugs and thrashy punctuations. Returning to the fold, Nyholm, alongside right-hand man Martin Sørensen, unload straightforwardly juicy, battering riffs in thick, pummeling supply, continuing the Dawn of Demise trend of crafting bulky, brutal songs with an oddly accessible, hooky streak. Injecting tasteful shreds of melody into the fray also yields strong results; check the album-closing shred on “Break the World ” for a shining example.

There is no need to enquire as to ‘where’s the beef?’ here. Dawn of Demise resume in solid form following their extended studio break, sounding both warmly familiar and freshly revitalized. Like an old pair of your favorite socks, Feed My Absurdity brings comfort and no-frills entertainment. And though it may not sit atop the Dawn of Demise catalog, Feed My Absurdity delivers the entertaining goods on another dependable slab of slam and thrash-infused brutal death, equal parts crushing, catchy, and immense.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 256 kbps
Label: Unique Leader Records
Websites: Bandcamp | Facebook
Releases Worldwide: October 9th, 2026

DAWN OF DEMISE (Dinamarca) presenta nou àlbum: "Feed My Absurdity" #DawnOfDemise #DeathMetal #Octubre2026 #Dinamarca #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

Crypts of Golgotha – Disembodied in the Arms of Perdition Review

Nestled in the underground crevices and rocky terrain of Denver, Colorado, emerging upstarts Crypts of Golgotha ris…
#NewsBeep #News #Music #2026 #3.5 #AmericanMetal #Bloodgutter #BrutalDeathMetal #CryptsofGolgotha #DawnofDemise #DeathMetal #DisembodiedintheArmsofPerdition #DSFPRecords #DyingFetus #Entertainment #MorbidAngel #review #Reviews #Suffocation #UK #UnhallowedDeliverance #UnitedKingdom
https://www.newsbeep.com/uk/670750/

Nestled in the underground crevices and rocky terrain of Denver, Colorado, emerging upstarts Crypts of Golgotha rise with the debut full-length, Disembodied in the Arms of Perdition, hellbent on bruising and battering the weak. Formed in 2022, the four-piece have cranked out a busy collection of demos, EPs and split releases before arriving at their debut LP. The term is perhaps used a little loosely in this case, as Crypts of Golgotha strip shit down to the bare essentials, crushing the listener into submission over the course of an all too brief twenty-four-minute beatdown. Boasting an uber chunky style of brutal, groove-infected death, let us dig in to see whether Crypts of Golgotha possess the chops and songwriting smarts to elevate themselves from the overcrowded pack.

As quickly determined, subtlety is not in the Crypts of Golgotha playbook. Nor are they preoccupied with techy flatulence, shitty interludes or throwaway instrumentals. These dudes cut to the chase, using the almighty power of the riff to drive each rugged, in-your-face composition, packing each meaty slab with enough tempo shifts, cohesion and structural variety to maintain interest. Tight, direct and refreshingly clutter- and gimmick-free, Crypts of Golgotha draws inspiration from classic sources, including the mighty Suffocation, Dying Fetus and Morbid Angel. Outside of the classic fare, Crypts of Golgotha strike a nifty balance of contemporary meets old school influences, recalling the immense weight, riff-based chugs, and uppercutting grooves of modern heavyweights Bloodgutter, Unhallowed Deliverance, and reliable Danish vets, Dawn of Demise.

Crypts of Golgotha slather their old school ideals with a modern approach, complete with lashings of slammy groove, pit-ready breakdowns, and guttural brutal death, wrapped in a dense, beefy production and darkly gritty underground atmosphere. Sprightly and impactful, Crypts of Golgotha crafted a heavyweight platform of bricks and mortar to expand upon. Roots of budding potential are well established, as Crypts of Golgotha thrive on pummeling the listener into dust, slowing down to bowel-rumbling levels for maximum heaviness, while frequently shifting tempos and rhythmic patterns to ensure the material doesn’t devolve into monotony. Instrumentally heavy opener “Cross on Calvary” spends most of its runtime battering auditory senses through beefy riffs, slick tempo changes, and a devastatingly heavy climax. Featuring impressive quality and consistency, Disembodied in the Arms of Perdition features a rampaging collection of killer tunes, with nary a moment wasted. Brutally rugged riffs, sick dual vox, and gargantuan grooves regularly detonate with crushing, infectious impact (“Disembodied in the Arms of Perdition,” ‘Pummeled into Nonexistence,” “I am Decay”).

“Wolf and the Knife” draws power from its thick, sinewy basslines, slobber-knocking riffs, and techy, urgent throes, while “Elegy of the Forgotten God” channels the stout power and attitude of classic New York death. The rapid affair concludes with the compellingly riff-stacked and body-slamming grooves of “Order to Comply.” Technically proficient without resorting to flashy showmanship, Crypts of Golgotha sound immensely tight and monstrously heavy. Showcasing a deft handle of songcraft, bolstered by a weighty sack of hammering riffs and gnarly, varied vox to drive momentum, the riffs cycle through brutal and classic death metal influences, cutting a satisfyingly heavy wallop and a brutally infectious streak. Guitars are reinforced by extra beefy tones, mixing sledgehammer heft and sharp clarity. Gabe Sragon (also on vox) and Dominik Dworak wield their axes with confidence and a nasty underground swagger. I would be remiss not to highlight the excellent rhythm section, from Cooper Jones’ ever-present, chunkified bass rumbles to the bulldozing, groove-centric and creative patterns of drummer Joaquin Aragon.

Strengths comfortably outweigh any nitpicks or weaknesses on Disembodied in the Arms of Perdition. To be expected from a young band’s debut LP, there is naturally room for growth and development in the songwriting department to refine their identity, and occasionally the album could benefit from more frequent bursts of speed. While reluctant to draw a negative of refreshing brevity, the album leaves you wanting more, making for enjoyable replay value, but a feeling an extra few minutes of material would have made for a more fully fleshed-out experience. Otherwise, matching songwriting smarts to compliment the preposterously guttural onslaughts and knuckle-dragging bruteness, Crypts of Golgotha unleashed a confident, delightfully crushing debut, with youth on their side to hone their craft into an even more deadly form of thuggish savagery.

Rating: 3.5/5.0
DR: N/A | Format Reviewed: Stream
Label: DSFP Records
Website: Bandcamp
Releases Worldwide: June 26th, 2026

Relics of Humanity – Absolute Dismal Domain Review

By Saunders

Time to hit the reset button, shake off the writing funk, and forge on into a bold and hopefully killer year of metal. As easy as it may be to get caught up on the missed albums of a solid 2024 campaign or fall into the comfort of favorites and old classics, 2025 has already kicked off with a truckload of new releases to explore. Taking a random dip into the promo sump, I picked up the third LP from unheralded brutal death metal act Relics of Humanity. Hailing from Belarus and forming in 2007, these folks are hardly newcomers to the scene, although guitarist/chief composer Sergey Liakh appears to be the sole remaining member from their earliest demo days. Nevertheless, some experienced bandmates are in tow to fulfill his uncompromising vision. Despite various singles, a compilation, and EP release, the last full-length from the Willowtip-affiliated band dropped in 2014, so Absolute Dismal Domain marks a comeback of sorts, at least in LP terms. Coming off a particularly brutal, uncompromising year of deathly platters, can Relics of Humanity leave a bruising impression to warrant your attention?

Bruising is certainly one word that springs to mind when blasting this rugged, no-frills chunk of brutal death. Absolute Dismal Domain punches hard and takes no prisoners, favoring thick, viscous grooves and dirty, down-tuned pummels to bury the listener into the submission with brute force, rather than an abundance of speed or technical finesse. The gritty production and drum tones lend the album an old school underground vibe, as Relics of Humanity channel the nasty sewer-dwelling carnage of Devourment, coupled with the extra chunky riffs and grooves of underrated stalwarts Dawn of Demise. Pared down to a lean and appropriately efficient thirty-two-minute runtime ensures Relics of Humanity maximize impact, with majority of cuts falling in the palatable three-to-four-minute timeframe.

Despite boasting the right ingredients for a brutal slice of knuckle-dragging fun, the first few spins were underwhelming. The songwriting failed to stick beyond a surface level, and songs seemed to bleed unimaginatively into one another. However, under further inspection, there is a deceptively addictive mix of dank, unsettling atmospheres, subtle dynamics, and pure headbangable enjoyment to be pulled from the album’s filthy pores. Chunky, pile-driving heaviness and inventive drum work propels songs that rely heavily on doom-spattered chugs and mid-paced pummels, occasionally roughed up with thumping, in-your-face blasts and slammy, murderous grooves (“Taking the Shape of Infinity,” “Absolute Dismal Domain”). These serve to liven the pace, though the focus is more on crushing intensity rather than lightning-fast blasting. “Smoldering of Seraphim” is a fine showcase of Relics of Humanity’s strength of balancing slower tempos and uber-heavy riffs and grooves, with skull-cracking blast segments.

Favoring an all-out destructive approach, Relics of Humanity also add some sinister atmospheric elements, creating unsettling, otherworldly vibes. This is particularly evident on the bleak, apocalyptic touches illuminating “Paralyzing the Light II,” and sparse, ritualistic-esque experimental sounds emanating from closer “Dominion.” Rock-solid performances abound from the experienced line-up, upholding a tight, beastly framework. Drummer Vladislav Vorozhtsov’s work behind the kit is especially noteworthy. His punchy, thick double bass grooves are a constant focal point driving the album’s pummeling, groove-oriented approach. However, it’s his snappy snare work and inventive fills that add subtle complexities and flare to proceedings. Flo Butcher is the next man in line to take over vocal duties, in what appears an area of instability for the band. Butcher’s incomprehensible growls and nasty bellows cut an imposing figure, though the somewhat one-dimensional display and vocal forward mix are drawbacks. Speaking of the production and mix, while there is much to like about the unvarnished, extra-heavy sound and sick drum tones, the mix is uneven, drums and vocals tending to overshadow guitars that could use a sharper, meatier presence in the mix.

Overall, Relics of Humanity slam down a solid slab of brutal death to kick off the early days of 2025. The album features endearing moments of underground brutal death and blunt force menace to compensate for the less memorable aspects of their songwriting formula and production qualms. While unlikely to remain in heavy rotation, I have enjoyed my time with Absolute Dismal Domain. Though long-term satisfaction may be questionable, listeners craving a heaving dose of unclean, no-frills brutality might find the fix they require.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Willowtip Records
Websites: RelicsofHumanity.bandcamp.com | facebook.com/relicsofhumanity
Releases Worldwide: January 31st, 2025

#2025 #30 #AbsoluteDismalDomain #BelarusianMetal #BrutalDeath #DawnOfDemise #DeathMetal #Devourment #RelicsOfHumanity #Review #Reviews #WillowtipRecords