#death-grind — Public Fediverse posts

I have one for #GrindayFriday this week. This is one man deathgrind project NAILGUT from Kelowna, British Columbia, and their brief 4 song EP 'Distorted Perceptions of Reality' from 2024. It's nasty, grody, grindy, sludgy stuff with chainsaw guitars and bashing drums. I love it.

https://nailgut.bandcamp.com/album/distorted-perceptions-of-reality

#grind #grindcore #deathgrind #metal #Canada #CanadianMetal @vanessawynn @HailsandAles @wendigo @rtw @guffo

Some serious grind for this #GrindayFriday, this is EP 'Insurgent Ecology' from Philadelphia's ARTIFICIAL SCARCITY. Maybe even some deathgrind going on here.

https://artificialscarcity.bandcamp.com/album/insurgent-ecology

#grind #grindcore #Philadelphia #PhillyBands #PennsylvaniaBands #deathgrind #PhillyMetal @vanessawynn @HailsandAles @wendigo @c0m4 @guffo

Für den #MittwochMetalMix werfe ich mal zwei #DeathGrind-Alben in den Ring, die einfach grooven wie Sau ... (beide am vergangenen Freitag rausgekommen)

Zum einen das selbstbetitelte Debut-Album des dänischen Duos **MELTIFICATION**, https://meltification.bandcamp.com/album/st - hier eine etwas ausführlichere Review, https://mystificationzine.com/2026/05/26/meltification-meltification-2026-review/

Und dann Japan's **Pharmacist** mit ihrem neuen Vertebrae After Vertebrae - sind zwar nur 7 Tracks, kommen aber trotzdem auf 37 Minuten: https://pharmacistgore.bandcamp.com/album/vertebrae-after-vertebrae

I fucking love #PigDestroyer

https://pigdestroyer.bandcamp.com/album/terrifyer

#grindcore #deathgrind

Now playing:
BLOOD FREAK - Sleaze Merchants CD. 2003

Cool gory death grind/ from the past

#goregrind #deathgrind #deathmetal #nowplaying #metal

For #GrindayFriday, Finland's BLISTEROUS just announced a new demo promo tape, and this is one of the tracks: https://youtu.be/v1QbF4vcuic

#grind #deathgrind #grindcore #goregrind #metal #Finland #FinnishGrind #FinnishMetal #Blisterous @vanessawynn @wendigo @HailsandAles @guffo

When in skilled hands, death and grind go together like all the finest combinations, whether it’s peanut butter and chocolate, beer and pretzels, or good old mac and cheese. The tasty combo applies to the musical inclinations of Illinois wrecking crew Melting Rot, as they unleash their second LP and follow-up to 2021’s Blood Delusions debut. Admittedly unfamiliar before dredging this one up from the promo sump, the trio feature combined underground experience with various lesser-known acts, forming way back in 2017. Citing the likes of Regurgitate and Excruciating Terror as comparisons, and featuring a guest spot from Exhumed legend Matt Harvey, can these unheralded deathgrind loonies make a sizable impact in the ever-crowded realms of the underground?

Following a short sample, right off the bat, Melting Rot lay their gnarled cards on the table, unleashing a rugged, relentless frenzy of old school grind values and groovy, gnashing brutal death, complete with incomprehensible, uber low vox and occasional deeper variations or grindy highs. It’s a tight, violent, take-no-prisoners approach, done and dusted in a mere eighteen minutes. Melting Rot flip between d-beaten bursts and blasts of crusty grind, to thuggish brutal death depravity with raucous energy and tight musical chops. Revelling in the relative uncomplicated nature of their sound, Melting Rot draw influence from the likes of Exhumed, Carcass, and a more straightforward Benighted.

Sporting a robust, extra beefy production job, Infatuation with Premeditation boasts a killer guitar tone, cutting a nasty swathe of distortion and welcome oomph to the ample supply of meaty riffs and piledriving grooves littering the album. At their most potent, Melting Rot dish out gnarly examples of their bruising deathgrind attack. Barnstorming cuts like the viciously grinding, punkish throes and infectious riffs of “Human Pavement Splatter,” crunching grooves and ripping powerplays of “The Surgeon was Comatose,” and thrashing melodicism cutting through the otherwise blunt force savagery of “Aiming for Construction Workers” highlight Infatuation with Premeditation’s stronger writing. Not to be discounted, “Open Casket Vomit Spew” injects Necroticism-esque flair and crunch, while “Morbid Infatuation” adds buzzsawing Swedeath riffs into its punky grind skirmishes. It’s nasty, unsanitized stuff, refreshingly free from modern polish, ensuring the material retains its dirty, rusty edge.

There are no glaring weak links, just a handful of moments where the writing bleeds together slightly, leading to fleeting moments of faceless brutality. Meanwhile, the vocals are a mixed bag. The multi-pronged attack largely defaults to the predominant gurgling lows, while serviceable, they lack variation and are fairly one-dimensional and monotonous in delivery. When occasionally cut with the shattering highs and other lower growl variations, the vocal impact is more effective. Shifting the balance would have worked wonders. Otherwise, Infatuation with Premeditation ticks all the boxes for a rollicking good time for deathgrind fiends. The brevity leaves you wanting more, and while long-term mileage is debatable, overall, Melting Rot swing hard and largely nail the impact. The subtle dynamic shifts between their higher gears are well executed, while the album is fueled by relentless energy and filthy, bludgeoning riffs, packing a mean, headbanging punch.

Melting Rot delivered a punchy, efficient blast of deathgrind goodness on Infatuation with Premeditation, featuring a short, sharp collection of nuggety brawlers falling in the solid to very good bracket and hinting at potential greatness to come if Melting Rot continue to sharpen and hone their songwriting skills. As it stands, Infatuation with Premeditation is a strong 3.0, an entertaining platter and recommended listen for deathgrind enthusiasts who like their deathgrind extra riffy and their grooves bloody and beaten.



Rating:3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Hells Headbangers Records
Websites: Bandcamp | Facebook
Releases Worldwide: March 27th, 2026

#ThursDeath this week is this absolute BANGER of an EP Whittier, California deathgrind freaks CASKET MUSH just put out, 'Evocation of Paranoia'. This fucker grinds and churns and smashes at your skull in the best ways. HUGE contender for me this year. Gonna be listening to this one a lot.

https://casketmush.bandcamp.com/album/evocation-of-paranoia

#metal #DeathMetal #DeathGrind #California #CaliforniaBands #CaliBands #CasketMush #2026Albums #2026Records #Whittier #CaliforniaMetal #CaliforniaGrind @HailsandAles @wendigo @swampgas @rtw @guffo @c0m4 @AlfeeDee @Kitty @umrk @flockofnazguls @nnenov

#ThursDeath this week is a twofer. I briefly mentioned Finland's CADAVERIC INCUBATOR last November when they had a split with Hemorrhoid, but I've recently revisited their two full length records (so far), and they are fucking RIDICULOUS.

If you like insane, intense, riffy and downright INCREDIBLE (dynamic!) deathgrind, don't miss these two LPs. Few bands do deathgrind better than this. More folks should talk about these dudes.

'Sermons of the Devouring Dead' from 2017:
https://cadaveric-incubator.bandcamp.com/album/sermons-of-the-devouring-dead

and 'Nightmare Necropolis' from 2021:
https://cadaveric-incubator.bandcamp.com/album/nightmare-necropolis

#metal #DeathMetal #Finland #CadavericIncubator #grind #grindcore #DeathGrind #FinnishMetal #FinnishBands @wendigo @HailsandAles @rtw @guffo @nnenov @Kitty @swampgas @umrk @c0m4 @AlfeeDee @flockofnazguls @pephorror

DC deathgrind ensemble No/Más formed almost a decade ago, pumping out a split, two EPs, and a full-length between 2017 and 2022. Four years later, No/Más assails 2026 from the jump, touring with Exhumed and Oxygen Destroyer as well as crackin’ skulls with their sophomore effort, No Peace. Stylistically similar to their debut Consume/Deny/Repent, No Peace offers listeners twenty-two minutes of throat-punching, toe-stomping aural hooliganism that’s as charming as it is confrontational. Does No/Más’ boisterous, acerbic approach leave listeners with a tolerance for their hijinks, or will they leave No Peace thinking, ‘no thanks?’

While No Peace manifests many upgrades from their (admittedly good) debut, the biggest win might be that No/Más firmly institutes their identity. The change isn’t drastic, and No Peace is a natural progression from Consume/Deny/Repent, but the sophisticated onslaught supplied on this sophomore sweep oozes with sneering confidence. Following in the footsteps of Nails, No/Más balances grindcore, death metal, and hardcore/crust tendencies with playful intelligence, weaving together Full of Hell’s caustic bite, Napalm Death’s thuggish simplicity, and Jungle Rot’s warped melodicism into a densely packed third of an hour. And if those touchstones aren’t enough, No/Más unleashes Sepultura-informed grooves and a slow leak of Pro-Pain into their secret sauce. Not to fret, though, because despite all the influences, No Peace presents as a unified vision, and one that will rouse languid listeners into a frothing fancy.

No Peace by NO/MÁS

No/Más’ instrumentation on No Peace sets a high bar with energetic performances, snapping necks with whiplash-inducing riffs and a license to thrill. Joe Vasta’s bass bounces and chugs with in-your-face rumbles throughout No Peace (“Abolition,” “Cycle of Sacrifice”), wielding a thick, surly tone that’ll rabbit punch you into head-banging if you’re standing still. Drummer Henry Everitt wallops the skins hard enough to rattle your ear bones, battering with furious fills (“Abolition”) and dropping to half-time backbeats (“No Peace”) as songs demand. It’s not all about the beatdowns, though, as No/Más injects a welcome helping of melody into No Peace. John Letzkus’ guitar slices through the faff to drench the album in a satisfyingly saturated buzz (“Act of Killing,” “Spineless”), though he also takes the reins and dazzles with efficient, arpeggiated leads (“Leech”) that I wish appeared more. Vocalist Roger Rivadeneira rounds out the quartet, shouting, growling, and screeching in a varied attack that demonstrates a willingness to experiment that was largely absent from Consume/Deny/Repent. In total, No/Más fires on all cylinders throughout No Peace, and never gives you a moment to come up for air.

With only twenty-two minutes on tap, No/Más leaves no room for inessential slop. And besides the half-minute intro flush with wall-of-sound static and indistinct yelling, they wildly succeed. As you’d expect from any decent grindy endeavor, no song pushes past its distilled essence, staying just long enough to rip and bludgeon before getting the fuck out of the way for the next track to exact its toll. No song eclipses the three-minute mark, and each exudes a rabid savagery that seethes with conviction. Additionally, No Peace sounds great—sure, the dynamic range scores low, but it’s exactly how this brand of overstimulating ass-kicking should sound. It’s well-mixed, abrasive, and highlights the rhythm section without sacrificing the sparse six-string fortitude. I wish there were a few more songs like “Leech,” partly because No/Más excels with the tunefulness, but also because I think it would address the biggest opportunity with No Peace—the compact composition allows little room for songs to establish unique flavors, leaving them to sometimes blur together. In the end, though, this is only a minor quibble, and there are many great moments to appreciate.

No/Más hasn’t redefined the DNA of deathgrind with No Peace, but they have contributed a worthy addition to its annals. Corrosive, pummeling bangers streamlined with minimal frills sum up to a blistering platter I’ve quite enjoyed. While I haven’t had the pleasure of seeing No/Más live, this crew boasts the hallmarks of a band that whips a crowd into a frenzy and ends with a broken bone or missing tooth. With twelve tracks running so lean, No Peace is helplessly easy to spin again and again. If they keep pumping out tunes this good, I can’t wait for what comes next. No más? No. Más.

Rating: Very Good!
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Redefining Darkness Records
Websites: Bandcamp | Facebook
Releases Worldwide: March 13th, 2026

Unfortunately, the mighty Relapse stable now floats down the shitty stream for promos. As such, we are slow on the uptake with the latest platter of splatter from legendary underground gorehounds, Exhumed. Always searching for fresh inspiration for their deathly brand of precision butchery, tenth album Red Asphalt channels inner road rage via good old carmageddon mayhem and vehicular violence as its overarching conceptual theme. Otherwise, it’s business as usual for Exhumed, returning with a tight, signature blast of groovy, thrashy, blasting deathgrind, led by seasoned underground warrior Matt Harvey (guitars/vocals). Joined by right-hand man Ross Sewage on uber low vox and bowel rumbling bass, alongside drummer Mike Hamilton (Deeds of Flesh) and guitarist Sebastian Phillips (Castle Freak, Mammoth Grinder, End Reign). Red Asphalt marks their first album since 2022’s solid and well-received To the Dead, a welcome return for these ever-reliably vicious brutes. With a high reliability factor baring well for a good arse kicking, how does Red Asphalt fare against a bulletproof modern run of albums since their second coming on 2011’s All Guts, No Glory?

Kicking off with the blistering “Unsafe at Any Speed,” Exhumed pull no punches in a typically exuberant, brutal yet wickedly infectious style. The riffs rip and burn with reckless abandon, drums set a scorching tempo, while the dueling vox, trade-off solos, and gut-punching grooves land vital blows of awesomeness. It feels familiar yet fresh and the right amount of pungent. Striking a balance between the sharp melodicism and grooving charms of modern classic Necrocracy, mutated with the blunt force savagery of Horror, and a dash of the more primitive goregrind stylings of their early days, Red Asphalt finds Exhumed subtly tweaking their formula to remain vibrantly dangerous deep into their career. Through modern refinement and sharp, technical execution, Exhumed maintain their gritty, no-frills edge and slick but organic sounding production, while the grindy, blast-riddled attack and sick dual vox ensure these old dogs still pack a brutal, unhinged punch.

Careening recklessly from one gnarly, adrenaline-fueled incident to the next, Exhumed mostly jam the gears high and slam the pedal to the floor, weaving twisted cables of melody through mangled wreckages of deathgrind mayhem and gore-soaked grooves. “Red Asphalt” unleashes thrashy uppercuts and Heartwork-inspired melodeath flair to killer effect. More measured cuts (“Shovelhead,” “Death on Four Wheels”) detonate slower, crushing devices, bloodied riffs, and dicing solos to slamming impact. When Exhumed are not grinding and pummeling with deathly intent, their thrashy tendencies take hold, offering a trademark punky, turbo-charged counterpoint on numerous high-octane scorchers (“Shock Trauma,” “The Iron Graveyard,” “Symphorophilia”). “Shock Trauma” deftly incorporates screaming, emergency siren solos into an explosive barrage of searing deathgrind battery, showing Exhumed can still blast and brutalize with the best of them.

Performances are uniformly tight and deranged, Harvey again proving an elite riff meister, sharpening his tools of the trade to whip up a frenzy with Philips, including a generous bounty of killer, infectious riffs and tasty, slashing solos. The shredding is top-grade stuff, adding a wild and reckless melodic edge to the album (check the ripping axe pyrotechnics on “Death on Four Wheels” and “Crawling from the Wreckage”). Vocally, Harvey and Sewage sound as savage as ever, forming one of the best dual vocal combos this side of Dying Fetus, albeit a gentle push forward in the mix would have been welcome. At a taut thirty-seven minutes, Red Asphalt blasts by in an efficient, addictive fashion, by the time “The Fumes” engulf your senses to close out the album. Aside from a couple of stock moments, Exhumed’s songwriting sounds energized and inspired, nearly thirty years since they dropped their debut.

Red Asphalt stands up to scrutiny as another high-quality modern platter to add to Exhumed’s ever-impressive repertoire. Exhumed rarely miss, testament to their dedication and skilled craftsmanship in remaining a bulldozing force in the modern death metal arena, carrying the Carcass-inspired torch, yet transcending the influence of their forebearers. Exhumed’s timelessly fun and feverish brand of old school brutality, filtered through a modern lens, and packed with sharp riffs, sharper hooks, is a thrashing, grooving, blasting good time. Red Asphalt arguably edges the past couple of Exhumed albums, resulting in a bloody crash course in deathgrind lunacy, grisly grooves, and melodic smarts.



Rating: 3.5/5.0
DR: N/A | Format Reviewed: Stinking stream
Label: Relapse Records
Websites: exhumed.bandcamp.com | facebook.com/exhumedofficial
Releases Worldwide: February 20th, 2026

Free download codes:

Espanquilizer - Nazi Bom é Nazi no Chão

"Antifascists unite!"

https://getmusic.fm/l/CQ7QW8

#grindcore #deathgrind #deathmetal #music

Wanted to make a list of my favorite EPs from 2025- narrowed it down to a top 10, from over 200 I'd liked and documented this year. The list contains multiple genres & I've written a brief blurb about each. Most of these I've talked about here this year. Might be something here for everyone!

Mood Bored - Too Much? (shoegaze/alt rock from the Netherlands with great female vocals - Breeders, Pixies, that dog, Throwing Muses vibes)
https://moodboredband.bandcamp.com/album/too-much

Top Dollar - Objects of Misfortune (well produced, tight hardcore punk from New York- Jerry's Kids meets Floorpunch, or MDC, even - killer drums)
https://11pmrecords.bandcamp.com/album/objects-of-misfortune

Sectarian Defacement - Chaotic Demiurge (tight, catchy brutal deathgrind from Kyiv, Ukraine)
https://sectariandefacement.bandcamp.com/album/chaotic-demiurge

Trompeta - Fastfood (bizarre, synthy, Krautrock-tinged, spacey, surreal, Throbbing Gristle-esque electronica with sparse vocals, from Benicarló, Spain)
https://trompetatrompeta.bandcamp.com/album/fastfood

Spy - Seen Enough (ripping, raw, rough, unforgettable California punk - loud, feedbacky, intense)
https://spyhc.bandcamp.com/album/seen-enough

Bullfinch - Louse (riffy, catchy, groovy unique sludge from Glasgow)
https://bullfinchsludge.bandcamp.com/album/louse

Putrid Requiem - Engulfed in Rot... You Lay (cavernous, crusty, grody debut from Saint Petersburg, Russia band- maybe my #1 favorite metal EP of 2025)
https://putridrequiem.bandcamp.com/album/engulfed-in-rot-you-lay

Dripped - Utopia of Euphoric Envisionment (brutal death from Perth, Australia- Dripped had one of my favorite LPs in 2023, and are one of my favorite metal bands - so consistent) https://dripped.bandcamp.com/album/utopia-of-euphoric-envisionment

Cytophagia - Spewed from Festering Sludge (3 brief songs of great riffy, dynamic goregrind from Slovakia)
https://calvos73records.bandcamp.com/album/spewed-from-festering-sludge

Brain Matter - Divine Opulence (dynamic, ripping, chugging death with some doom from Fort Worth, Texas, via Iron Corpse)
https://ironfortressrecords.bandcamp.com/album/divine-opulence

#punk #metal #electronica #shoegaze #DeathMetal #HardcorePunk #PunkRock #AltRock #sludge #goregrind #BrutalDeath #BrutalDeathMetal #2025Albums #2025Records #deathgrind @brian @HailsandAles @rtw @vanessawynn @swampgas @irafcummings @jeffrey @derthomas @hl @Kitty @umrk @poetaster

Popular this week:

#ambient #electronic #alternative #electronica #industrial #cinematic #shoegaze #dance #dub #dreampop #hiphop #melodic #grindcore #screamo #indierock #boombap #indiepop #deathgrind #drumandbass #crust

https://getmusic.fm/l/MDotbz

For #GrindayFriday this week, how about an older grind classic. CYNESS are from Potsdam, Germany, have been around since 2000, only have 2 LPs, and this is their most recent one, 'Our Funeral Oration for the Human Race' from 2006. Wow, next year is its 20 year anniversary. They've done two splits since, the last in 2016. Will we get a new Cyness album in 2026? Probably not, but we can always hope. 😂💥

https://cyness.bandcamp.com/album/our-funeral-oration-for-the-human-race

#grind #deathgrind #Germany #Potsdam #GermanMetal #GermanGrind #grindcore #metal #ClassicGrind @vanessawynn @HailsandAles @brian @guffo @rtw @c0m4

Bonus #ThursDeath? Sure, why not, I have it #NowPlaying. It's the new single from Joensuu, Finland deathgrinders BLISTEROUS. It's nasty, it's the first track from their upcoming EP 'Grotesque Prosection', I dig it.

https://youtu.be/YQFo1F4R4i8

#metal #deathgrind #DeathMetal #Finland #FinnishMetal #FinnishGrind @HailsandAles @brian @c0m4 @guffo

Free download codes:

Espanquilizer - Nazi Bom é Nazi no Chão

"Antifascists unite!"

https://getmusic.fm/l/4yu5IC

#grindcore #deathgrind #deathmetal #music

For this week's #GrindayFriday, a gross one because I feel gross and it's hitting. New Syphilitic Brain Rot split with Nerve Shredder. 🤮🔥

https://syphiliticbrainrot.bandcamp.com/album/gastrointestinal-removal-of-purulent-digestive-substrate-split-w-nerve-shredder

#grind #deathgrind #grindcore #goregrind @vanessawynn @guffo @brian @HailsandAles

Terror Corpse – Ash Eclipses Flesh Review

By Saunders

Already boasting a killer debut EP to their name in 2025, courtesy of the sick, old school deathgrind mayhem comprising Systems of Apocalypse, Texan wrecking crew Terror Corpse hit the ground running in their short time together. The newly minted outfit come seasoned with underground cred, featuring members that have logged time in the likes of Malignant Altar, Oceans of Slumber, Necrofier and Insect Warfare. Recording the EP as a five-piece, debut full-length Ash Eclipses Flesh finds Terror Corpse stripping back to a trio and shifting tact musically. While remnants of the heavily grind-influenced charge of Systems of Apocalypse remains intact, Terror Corpse mine the fetid soil of vintage death metal, citing the likes of Celtic Frost, Incantation and pre-2000s Morbid Angel as key influences. Throw in shades of Immolation, Terrorizer, early Carcass and Exhumed, and you have a recipe for a good old-fashioned beatdown. However, don’t be fooled into thinking Terror Corpse is a run-of-the-mill act riding the decaying coattails of legacy acts of the past. Ash Eclipses Flesh respects the past, while paving its own twisted path through grisly killing fields and dank caverns of grotesqueries.

Terror Corpse merge old timey underground aesthetics with a vital injection of their own character and modern appeal. Presenting a grimy and wickedly brutal collection of grind-encrusted old-school death, Terror Corpse both encompasses and deviates from the deathgrind formula of the EP, pivoting into deathlier, guttural realms. Any disappointment of the sound shift is swiftly bludgeoned on opening track “Pyre of Ash and Bone.” The song makes a hellish statement, hammering down violent, riffy death marches through menacing atmospheres, as uber low guttural vox, squealing leads, and livewire drumming seal the deal. Dobber Beverly again cements his status as a cult legend in extreme metal drumming. Also handling guitar duties with main vocalist Mat V, the duo reinforces the album’s retro, brutish charms, primitive clubbings, and ominous atmosphere with a vital collection of top-shelf riffs, mangled leads, and headbangable delights.

Ash Eclipses Flesh revels in shifting gears from dense, noisy chaos and relentless blasts to knuckle-dragging grooves, and monstrous, caverncore-esque swarms, Terror Corpse also incorporate infectious bursts of thrashy death and gnarled, punkish grind into the fray. After a solid, respectable beginning, Ash Eclipses Flesh really hits stride on third cut “Womb of the Hollow Earth,” and it’s a ripping, high-potency ride from here on in. Elsewhere, they delve into death-doom slogs, inflicted upon the devastating “Fallout Obliteration,” and punishing mid-section on the lurching, vicious stomp of “Sons of Perdition.” Refusing to neglect their classic grindcore and splattery deathgrind roots, Terror Corpse bring the filth and dual vox, including shrieky highs, to the thrashing intensity of “Nuclear Winter.” Meanwhile, the tremendous “The Hollow That Devours” intersperses cavernous double bass rumbles and thrashy bursts with immense mid-paced chuggery and thick, insidious grooves.

Versatile tinkering of their songwriting formula ensures the songs chart diverse territories, while remaining uncompromisingly brutal and wickedly infectious. Even the closing cover of Celtic Frost’s “Into the Crypts of Rays” doesn’t feel wasteful or tacked on. Terror Corpse inject the song’s anthemic, punky edge with their own beefed-up deathgrind spark. Beverly’s energetic, nuanced drumming proves essential as the album’s beating heart, driving the fluctuating pulse rate and need for speed, slick tempo shifts, and rambunctious, sewage-coated grooves. The power of the riff compels, not through technical wizardry, but courtesy of a firm understanding of the genre’s classic origins and grimy, atmospheric underpinnings. Infectious and rancidly beefy riffs, wildly unhinged leads, and sinister melodic currents define the excellent axework. There are no glaring flaws or major drawbacks preventing a strong recommendation. Perhaps you could argue Terror Corpse aren’t doing anything especially new or innovative, while the dominant, incomprehensible gutturals might be a tough sell for some listeners.

Twenty-twenty-five has delivered diverse treats across the metalverse, including top-notch death metal releases of varied persuasions within the genre. Ash Eclipses Flesh is another not to be missed. What they lack in bells, whistles, techy flair or innovation, Terror Corpse more than compensate through their authentic and fresh spin on a vintage sound. A tightly performed, superbly produced, and invigorating slab of riffy old school death, armed with gnarled deathgrind and grisly brutal death ammunition, Ash Eclipses Flesh is a surefire corker and end-of-year list disruptor.

Rating: 4.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Dark Descent Records
Websites: Facebook | Bandcamp
Releases Worldwide: November 21st, 2025

#2025 #40 #americanMetal #ashEclipsesFlesh #carcass #celticFrost #darkDescentRecords #deathMetal #deathgrind #exhumed #incantation #insectWarfare #malignantAltar #morbidAngel #necrofier #oceansOfSlumber #oldSchoolDeathMetal #review #reviews #terrorCorpse #terrorizer

Been waiting for this one -- 'Blood Fire Deathgrind', the new Cadaveric Incubator/Depression split where they each do a Bathory cover. It's sick. Yet more Iron Corpse goodness 🔥

https://ironcorpse.bandcamp.com/album/blood-fire-deathgrind

#NowPlaying #metal #deathgrind #DeathMetal #Bathory #IronCorpse #grind @brian @HailsandAles @nnenov @guffo @rtw @swampgas @umrk @c0m4 @Kitty

This week's #GrindayFriday is Serbian deathgrinders GNOJ. They just put out EP 'Anujka' and I love it. Five intense songs, about a minute each, listen to the whole thing in around five minutes. But there's some GROOVES on this, too. No idea what they're saying, but DAMN, it rips. Grindy, deathy, a powerviolence shout here or there, hell yeah.

https://gnoj1.bandcamp.com/album/anujka

#grind #grindcore #Serbia #SerbianMetal #SerbianGrind #deathgrind @vanessawynn @HailsandAles @brian @guffo @c0m4 @flockofnazguls

Barren Path – Grieving Review

By Saunders

Forged from the ashes of the mighty Gridlink, Barren Path emerge from the blistered earth, hellbent on blazing a pathway of grinding destruction amid charred bursts of white-hot extremity. Legendary grind axeman Takafumi Matsubara overcame a career-threatening injury to shred once more, leading the way with fellow Gridlinker Bryan Fajardo (drums), along with bassist Mauro Cordoba and guitarist Rory Kobzina, who both featured on Gridlink’s swansong, Coronet Juniper (2023). Adding to Barren Path’s gold-plated grind pedigree is the addition of vocalist Mitchell Luna (Maruta, Shock Withdrawal). In classic grind fashion, Barren Path’s anticipated debut Grieving doesn’t simply blur the lines between what constitutes an EP or LP, but fucking obliterates them across a scant but deadly thirteen minutes of calculated brutality. Like any quality grind, you can bank on the brief runtime carrying over triple the intensity of your average metal album, making repeat listens an adrenaline-charged breeze.

Gridlink always carried an air of grace about them. Yes, grace and grind may seem disparate entities; however, through their gnarly, yet pristinely performed, razor-sharp precision, melodicism and technical edge, Gridlink stood out from the pack. The heavy Gridlink representation thankfully doesn’t come off as a simple continuation of their legacy in a different guise. Sure, the melodic sensibilities, technicality, whiplashing speed, and machine-gun blasts may share similarities with the Gridlink name, including the distinctive guitar work of Matsubara. Yet make no mistake, Grieving is its own unhinged beast and vital new dimension for its architects to expand from.

Barren Path tenderizes the predominant grind attack with a deathly thump, complemented by an altogether beefier production and sonic profile. The guttural vocal eruptions add a brutal, bulldozing death metal edge, offsetting the predominant piercing screams and higher-pitched variations. From the pummeling abuse, deadly drumwork, and full throttle urgency of opener “Whimpering Echo,” through to the climaxing barrage of assaulting, belligerent deathgrind on “In the End… The Gift is Death,” Barren Path leaves nothing in the tank, upholding an incredible level of precision savagery across the album’s brief yet gripping runtime. Operating with ruthless efficiency into its sub-minute framework, “Primordial Black” brims with uncontrollable energy, as rabid dual vox, breakneck thrashy tidbits, and frayed blackened edges shade the song’s brutal deathgrind delivery. Comparably longer cuts (“The Insufferable Weight,” “Relinquish,” “Horizonless”) allow extra time for Barren Path to unleash their action-packed battery of creative songwriting and infectious songcraft.

Occasional melodic motif or techy passage aside (such as the playful mid-section and spoken word incantations of “Isolation Wound”), little room is reserved for palette cleansing moments, or an Nasum-esque circuit breaker groove. This is not suggestive that Grieving is one-dimensional or lacking in structural variety. Barren Path’s clever knack for drop on a dime tempo and riff changes, and deceptively catchy writing keeps the listener firmly dialed in. Matsubara and Kobzina’s deadly axework and visceral array of sharp, dissonant, and often infectious deathgrind riffage powers Barren Path’s blistering attack. Meanwhile, Fajardo delivers a beastly, expert display of primo deathgrind drumming, a controlled collision of lightspeed rhythms, crafty finesse, and full-throttle aggression. Grieving is also blessed with a killer production job and dynamic master, avoiding the pitfalls that can hamper modern grind affairs when saddled with compressed, overly loud profiles. Abrasive and relentless in execution, the sound is a burly, organic delight, keeping ear fatigue at bay and maintaining an air of clarity and sharpness without diluting Barren Path’s brutish traits.

Drawbacks are few and far between. As touched on, the short runtime leaves you hankering for more, and I’m curious to see how Barren Path develop their sound and perhaps expand upon the prominent death influence and hyperspeed thrash elements on future endeavors. Barren Path emerges from Gridlink’s formidable shadow to unleash a teeth-gnashing, refreshing debut, using their death-plated grind as a catalyst for carving through exciting fresh pastures. Though guilty of leaving the listener wanting more, the addictive replay value and quality songcraft largely fill the void of feeling marginally shortchanged. Barren Path’s violent attack, colorful chemistry, and precision, technical musicianship leave displaced jaws on the floor with the sheer intensity and locked-in tightness. Grieving is top-tier grind to batter the senses and soothe the mind.

Rating: 4.0/5.0
DR: 8 | Format Reviewed: 320 kbps MP3
Label: Willowtip Records
Websites: Bandcamp | Facebook
Releases Worldwide: October 21st, 2025

#40 #BarrenPath #Deathgrind #Gridlink #Grieving #Grindcore #JapaneseMetal #Maruta #Nasum #Review #Reviews #ShockWithdrawal #WillowtipRecords

#GrindayFriday this week is deathgrind- more on the death side, probably. Fans of Phoenix, Arizona's THORN will want to get in on this, as Thorn is over, but now SLIGM are in their place, and in my opinion, are better. As a 2 piece now instead of just a solo project, the drums are super dynamic and badass. 'Untethered Dimensions' is a killer EP with lots of great riffs and textures.

https://sligm.bandcamp.com/album/untethered-dimensions

#grind #DeathGrind #grindcore #ArizonaGrind #ArizonaMetal #PhoenixMetal #PhoenixGrind #Sligm @vanessawynn @HailsandAles @brian @swampgas @guffo @rtw