#decapitated — Public Fediverse posts

Sometimes you need an album that slaps. An album to lower the type of smackdown to make The Rock jealous, an album that brings out the joyful superlatives and meme-tier descriptors. Swedish death is the lynchpin of this idea, the undying zombie of subgenres, the style that spits in the face of innovation and artistic wankery in the name of digging further and further into still untapped and worm-riddled pockets of the grave soil. Somehow this sound was exhausted in scope years after its inception, yet it simply refuses to crawl into its own coffin as every new moon more bands pick up the Dismember’ed remains of the founding fathers to prove that it was this, specifically, Jack Black was referencing when he said: “You can’t kill the metal.” Gravecrawler (who, appropriately, are actually from Sweden) are the next to offer up their skulls for the skull throne with their debut album Nidus, and my friends, if you love to worship at the altar of the hm-2, grab your hymnals, because this right here is a rabid, bloodthirsty beast.

As is well documented through the genre’s history, good Swedeath lives on two elements: its production and its riffs. Nidus has both in spades, with a mix that is fat, burly, and deranged, flinging weepy leads and rotting remnants of entrails in equal measure. There are only so many ways in the English language to say “you know what to expect”, and short of my writing something like “무엇을 예상해야 할지 아실 겁니다.”, it’s hard not to sound plagiaristic of every other review ever. Guitars buzz away with the roaring hm-2 tones, atmosphere oozes through the riffcraft, and the superiority of the CHUG-G-G-G-G reasserts itself in all its resplendent aggression. Though starting out with an emphasis on the violent part, moods and melodies take shape as Nidus unfurls. “Primordial Sludge” has a main refrain lashed forward at a marching pace, pushed by Sebastian Olsson’s ever-shifting drumming, drenched in reverb and power. On the opposite side of the coin, “Manifest Entropy” drips a haunting atmosphere, using the best elements of modern Decapitated to run from stuttery chord progressions to leads that reek of melancholy and disdain.

What sets Gravecrawler apart from the glut of Swedeath is their grasp of the spirit of the formula: meaner, bigger, and better. Key lynchpin Billy Lundevall is one of the major ingredients, with his vocals equally diseased, wet, and powerful. Striking a key balance between the gurgles of Pharmacist and Cattle Decapitation’s Travis Ryan, his voice is no cookie-cutter death growl, elevating the music to new heights of disgust and energy. Look no further than “Primordial Sludge” to hear him oscillate between his two greatest extremes, flinging vocal narrations which shift between screeching crackhead goblin energy and vomit-spewing belches. Compositionally, guitarist and bassist Jesper and Roni pull from multiple influences, flirting with whiffs of Dark Tranquility melody (“Bogs of Torvus”), straightforward Vader curb-stomping thuggery (“Contagion”), and even foul slam experiments in “Carrion Soil.” Nidus is a refreshing album where every track comes with a highlight of riff or air-guitar moment, all the way down to the requisite grand finale of the concluding track “Nothingness Awaits.” In fact, this is the only real complaint I can muster; the final two tracks put so much stock into their well-composed atmospheres that they somewhat undo the memory of all the arterial blood spray that came before, though they’re both quality songs unto themselves.

And the sound? Saints alive, the sound. Gravecrawler got it right on their first try, with the entirety of Nidus being open and spacious, even on my streamed listen. The bass is a constant presence, mixed and produced with the care and affection of Cryptopsy, with enough tonal presence to make William Murderface weep with jealousy. Drums echo and thunk with extreme prejudice, and the guitars don’t put so much emphasis on the traditional tones that they come across as isolated and thin (looking at you, Frozen Soul), instead sounding dummy thiccc and full throughout the album. This mastery of care for the overall package renders Nidus at once an exemplary example of the genre without doing much to try to get outside of its constraints, with fantastic results.

In the year of our Lord 2026, it might seem absurd to insist that “just another Swedeath album” is glorious, but it is, I am, and I’m not apologizing. Gravecrawler has offered up a debut which has captivated and engaged me, while constantly sending me away with broken teeth and covered in beer and bodily fluids. A keen ear for production and songwriting, beguiled by their youth, has announced these Swedes as a force to be reckoned with, and with some fine-tuning, they will be ready to catapult themselves alongside the Gatecreeper’s and LIK’s. Check this out.

Rating: 3.5/5.0
DR: n/a | Format Reviewed: Stream
Label: Independent Release
Website: Album Bandcamp
Releases worldwide: August 7th, 2026

New post: Festival Review: Hellfest 2026 Day 2 – Clisson, France https://moshville.co.uk/reviews/gig-review/2026/07/festival-review-hellfest-2026-day-2-clisson-france/ #Accept #BloodRedThrone #Bloodywood #Decapitated

Rain has started to leak into the ducts as Spring gets wetter and wetter. While I’m away, vacationing in a nice, dry, cloudy place, my minions are drenched and miserable. As it should be! But I’m still keeping tabs on their progress. Just because I’m having a great time somewhere else doesn’t mean these louts don’t have a quota to meet!

And meet their quota they shall, if only barely… BEHOLD!

ClarkKent’s Sci-Fi Soundbites

Epigram // Obsolescent [March 6th, 2026 – Self Released]

Combining the melodic black metal of Thulcandra and Dissection with the symphonics of Fleshgod Apocalypse and SepticFlesh, Epigram dropped a tasty little morsel with their debut, Obsolescent. The trio from Los Angeles puts on a spirited performance that borders on thrash. Tim Cauley’s display on the kit is a dominant force as he furiously blast beats his way from one song to the next. He turns “Wrath of Betrayed” into a piece of blackened thrash and proves tireless across Obsolescent’s 27-minute runtime. The lively vocal performance of Luis Echevarria adds further to Epigram’s charm. His low growls may seem underpowered, but his delivery is energetic and fun. He’s also the source of the symphonic instrumentation, via synths, though this aspect is secondary. Sure, there’s some choral chants (“Myrmidon,” “The Usurper’s Throne”), strings (“Hour of Gods”), and other vaguely symphonic sounds, but Epigram is most focused on the blackened melodic stuff. Shadi Absi throws together some great riffs, particularly on “Empires,” a work of pure black ‘n roll. The showstopper is “Hour of Gods,” with some sweet riffs and terrific energy. This song alone makes Obsolescent a worthy spin. Rounding out the musicians is Sanjay Kumar (Inferi, Wormhole), who plays solos on “Wrath of Betrayed” and “No Sin.” This is a promising debut for an eager new band.

Kal-El // Astral Voyager Vol. 2 [March 20th, 2026 – Blues Funeral Recordings]

Sporting the greatest band name of all time, Kal-El have been blasting listeners with stoner doom since 2012. Astral Voyager Vol. 2 is the follow-up to last year’s Vol. 1, and these pyschedelians’s seventh album overall. It’s been seven years since Witches of Mars was unfairly pummeled by a Kryptonian frog, and now I’d like to do the band justice by rescuing them from our filter. On this astral voyage, you get the pleasure of listening to six songs and 42 minutes of laid-back stoner tunes with plenty of fuzzy riffs—perfect for cruising around the cosmos. Their riff-centric approach puts them in the Black Sabbath camp, and the riffs on the likes of “Juno” and “The Prophecy,” which has a “Children of the Grave” vibe, are tons of fun. Further cementing the Sabbath comp is the vocal performance of Ståle Rodvelt, who carries a resemblance to Ozzy in his delivery. Longer cuts take more exploratory routes, akin to Sleep, yet still feature plenty to get your head bobbin’. “Asteroid” opens up with some sweet riffs that sustain its near eight-minute frame, while “The Nine” will still have you singing along in the final of its ten minutes. 1 So if you are in the mood for something chill that won’t put you to sleep, something that has the riffs without the risk of elevating your blood pressure, you should spend some time with Kal-El.

Thus Spoke’s Tectonic Treat

Bong-Ra // Esoterik [March 20th, 2026 – Debemur Morti Productions]

Not having received promo, it was only upon visiting DM’s Bandcamp page while writing up Aversio Humanitatis that I realised Bong-Ra had released another album. Asked whether Esoterik would be leaning more into enigmatic doom or spiky industrial electronica, the shapeshifting Bong-Ra said “yes”. The music is built on layers of dense, gritty atmosphere undulating with bass, breakbeats, and distorted riffs. Vocals are maintained from Black Noise—half-spoken snarls blurred by noise, shifting between blunt tunefulness (“Serpentine Helix”) and gargling venom (“Machine Halo”)—but at least half of the space is devoted to the purely instrumental psychosis. The saxophone is back, adding bizarre elegance and chilling eeriness in equal measure. Sometimes, Esoterik seems to be pitting its sultry and acerbic natures against one another; that chamber jazz side can take one by surprise (“Pleasures of the Flesh,” “Duality of One”), sandwiched as it is between a more punishing industrialism, but Bong-Ra just about gets away with it. This could be down to Esoterik’s efficiency in establishing (new) grooves—rhythmic and stylistic. Opener “Harmony Cloak” dispels misgivings on its skittering electronic oddity with a chorus that strikes a stylish balance between melody and dissonance; “Machine Halo” later follows in its stride. It’s an album that earns its moniker, right down to the particular spelling, and is worth the dark diversion it requires.

Grin Reaper’s Kooky Curios

Surturian // II – Hessian Spears [March 13th, 2026 – Crawling Chaos]

A German thrash band named after the legendary fire giant and guardian of Muspelheim? And on their debut LP, they launch an unrelenting, venomous assault filled with sticky riffs and bopping bass grooves in under forty-five minutes? Sign me up! Surturian plays thrash that smacks of early Testament and Metallica fused with the epic melodies of latter-day Kreator—hell, vocalist Tim Krogull reeks of Mille’s rancorous vocals, even though his name hews closer to a Voivodian disposition. In addition to thrash influences, Surturian calls upon Maiden’s signature gallops (“Cimmerians Wrath”) and anthemic melodies (“⁠Night Stalker,” “Do What Thou Wilt”), inculcating a lofty grandeur throughout II – Hessian Spears. Further fanning Surturian’s flames, the outfit navigates a varied landscape that imbues each track with its own character while never straying too far from their core sound. Hard-hitting offensives (“Blood Witchery”), slinky licks (“Night Stalker”), and oddball songwriting (“Beneath a Dying Sky”2) unite into an album I’ve regularly returned to since discovering it. If you’re feeling unSurtain, take it from me—it’s always a good time for some Hessian aggression!

Barn // Crucibles [March 24th, 2026 – Self Released]

Thanks to a certain dude/guy in the comments section, Crucibles didn’t slip past me undetected. Despite their dubious band name, Barn dropped a humdinger slab of tech death back in March that oozes with references to Unquestionable Presence (Atheist), Focus (Cynic), and, to a lesser extent, Decrepit Birth.3 There are even moments that echo more subdued moments from recent Sallow Moth releases (“The Serpent’s Perpetual Shed”). Staccato bursts of guitar, pinch harmonics, and buttery, fretless bass glissandos epitomize what Barn offers, and they spread it thick and chunky all over Crucibles’ sixty-five-minute runtime. Rustic name notwithstanding, Barn’s latest sounds like a sci-fi adventure, supported by track names like “Black Hole Lens” and “Cymatics.” The fretless bass especially helps with the futuristic aesthetic, frictionlessly gliding through gusts of abrupt, otherworldly guitars that buffet tracks from all angles. Barn rarely offers reprieve during their unconventional onslaught, but tracks like “Forbidden Fruits,” “Cymatics,” and “The Defeater” achieve such heights that I don’t find myself needing one. In short, these Boise boys warp listeners to a different dimension on Crucibles, and though it runs a tad long, I haven’t been deterred yet from lighting up this Barnburner.

Dionysiaque // La Tourbe des Rêves [March 27th, 2026 – I, Voidhanger Records]

Dionysiaque dispenses a bizarre derivative of doom on La Tourbe des Rêves that’s sure to be equal parts captivating and divisive. Reaching into the bag of tricks defined by Cathedral, Black Sabbath, and Candlemass, Dionysiaque’s sophomore album lumbers and chugs with classic rock-inspired leads and firecracker songcraft that I find utterly enthralling. Songs like “Aaron,” “Hate Fruit,” and “The Two Headed Boy” spotlight Dionysiaque’s plaintive guitar wails, contributed by L.B. and Bruno Penserini, along with their savvy balance of somber atmospheres and rousing melodies. Buoying the guitar tandem, bassist Lethal lays down frolicking, fabulous thunder via absorbing countermelodies while drummer T.H. looses potent fills and rolls throughout. Soaring atop the instrumentation are N.C.’s unorthodox vocals, which will almost certainly be the sole determining factor in listeners’ ability to engage with La Tourbe des Rêves. His delivery recalls that of Mayhem’s Attila Csihar at his most operatically deranged, never lacking conviction yet occasionally overpowering and ostentatious. Still, I appreciate and enjoy the commitment to the unhinged performance, and although dialing it back a little would make Dionysiaque’s latest more accessible, I’ve come to love La Tourbe des Rêves without apology. So don’t be afraid to let a little love into your heart—go get debauched with Dionysiaque’s aphrodisiac.

Creeping Ivy’s Pandemonic Pleasure

Mammon’s Throne // My Body to the Worms [March 13th, 2026 – Hammerheart Records]

In advising his fellow fallen angels—recently expelled from Heaven—to turn Hell into a competing kingdom, Mammon projects that All Demons will ‘work ease out of pain / Through labor and endurance.’4 Satan doesn’t heed this advice, but the third LP from Mammon’s Throne arguably does. On My Body to the Worms, this Australian five-piece inflicts pleasurable pain upon metaldom via five filthy slabs of sludgy death-doom (plus two instrumental reprieves). Mammon’s Throne conjure Hooded Menace, Temple of Void, and (old) Worm in their proclivity for plodding tempos, swampy riffs, and gravely howls (“Elixir”). The album is also a labor of love for classic (death-) doom à la Paradise Lost and My Dying Bride, mixing gothy croons, ascendant melodicism, and haunting piano into the band’s sinister stew (“Every Day More Sickened,” “At the Threshold of Eternity”). Though the listener does need some endurance, as three of the five non-instrumentals hover in the 8–9 minute range, the record flows fluidly across an easy 42 minutes. If you ever wondered what metal in league with Mammon might sound like, give My Body to the Worms a spin.

Blindead’s third album Affliction XXIX II MXMVI is one of the most underrated classics of the 2010s. The Polish band’s sound was bigger than its fanbase, tragically, but that didn’t stop them from releasing an ambitious concept album whose stars aligned in both sound and lyrical themes. Rooted in the enigmatic and mammoth style of post-metal, the grey world it painted with broad sludge brushstrokes portrayed the experiences and perceptions of a child with ASD: “The shape of a city stood in the grayness, like a charcoal drawing sketched across the waste” (“Dark and Gray”). Alongside titles like Amia Venera Landscape’s The Long Procession and Dirge’s Elysian Magnetic Fields, Blindead was included on a long list of post-metal deep cuts that lay below the decade’s surface.

In spite of the laziest band name, Blindead 23 is the reincarnation of the act, this time armed with a star-studded lineup. The core of long-time guitarist Mateusz Śmierzchalski (aka Havoc, former Behemoth guitarist from 2000-03) and vocalist Patryk Zwoliński, Blindead 23 is rounded out by drummer Pawel “Pavulon” Jaroszewicz (known for his time in Vltimas, Vader, and Decapitated) and guitarist Roger Öjersson (known for his time in Katatonia). After the relative fizzle of Blindead’s final post-metal/alt rock albums Absence and Ascension, and the outta left field punk swansong Niewiosna, Blindead 23 returns to its roots with a tried-and-true blend of post-metal hugeness and hardcore intensity, sounding right at home with the likes of Rosetta, Neurosis, and Mouth of the Architect. First LP Deuterium is a love song to post-metal, a welcome return that won’t turn too many heads – but it’s the riffiest and the dirgiest post-metal that is both overlong and extremely promising.

Blessedly, the Blindead 23’s riffs are truly a force of nature, amplified by Öjersson’s soulful trademark melodies. The opening “Immersion” suite offers you a front-and-center attack that showcases the intensity and range – chuggy riffs and ominous melodies collide in formidable intensity. The more intense portions take on a nearly mechanical, death metal-bordering heaviness thanks to choppy staccato chugs and cold atmospheric tricks (“Immersion II,” title track), while solos and cleans inject the necessary humanity to keep them from wallowing in industrial aloofness (“Immersion I” and “II,” “Wither,” title track). Other tracks happen upon a more hardcore-inspired approach, chaotic movements, and shifty rhythms recalling the likes of Black Sheep Wall and Knut (“Worst Laid Plans”), Jaroszewicz’s drums laying a foundation of shifting sands.

The fifty-four-minute runtime is both a blessing and a curse for Blindead 23: while it allows them the breath to explore all their facets, it drags on the slower moments to a snail’s crawl. While the more hypnotic and dirgelike pieces can be bolstered by an eerie atmosphere (“Immersion II”), they have the potential to drag on for way too long and rob the band of the intensity they have effectively established (“Wither”), and even good tracks can feel a few minutes too long (“Worst Laid Plans”). While range is the name of the game, a few tricks feel too out-of-left-field, such as the bluesy and twangy plucking or jazzy melodies (“Toward the Dark”) or a surprising optimism that clashes with the overall darkness of the debut (“You Are the Universe”). However, this is not Blindead – it’s Blindead 23 – and it’s better that a band explore all avenues instead of just playing it safe.

Deuterium is the sound of a band hungry for the return, but not to the way things were. Already, a revolving door of contributors make Deuterium a distinct sound compared to 2024 debut EP Vanishing, and it shows in a solid output that sounds like the veterans they are. While the inconsistency is jarring and the sprawl leads to the excessive runtime, individual star power with an immensity greater than the sum of its parts graces the Polish juggernaut in an exploration of all avenues. An embarrassment of riches awaits them. Deuterium may not be their magnum opus, but it’s the prelude for Blindead 23.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Peaceville Records
Website: facebook.com/blindead23
Releases Worldwide: April 22nd, 2026

Maybe war never changes, but Warside has. Between releasing inaugural EP The Enemy Inside, and recording their debut, three of Warside’s five members left the band. Now a quartet, the Lyon, France collective tromps into the death metal arena, brandishing Cognitive Extinction, their first long play. Down a guitarist, Warside reports Cognitive Extinction as having ‘a rawer, more direct sound.’ Though The Enemy Inside can’t be classified as polished or subtle, Cognitive Extinction embraces an even leaner, meaner aggression through twenty-eight minutes. Additionally, Warside weaves a broad theme into the album—the erosion of intelligence and critical thinking due to the proliferation of screens and dependence on technology. It’s an increasingly relevant theme in these crazy times, but is Warside’s warning enough to keep listeners’ gray matter from atrophying into pudding?

Though simply billed as ‘death metal,’ Warside skews towards the technical end of the spectrum. Dying Fetus, Misery Index, and Vomitory are cited as influences in the promo materials, and while elements of those bands exist on Cognitive Extinction,1 I also hear the frantic immediacy of Benighted and Aborted enmeshed with the tech-heavy grooves of more recent Cryptopsy and Suffocation. Technical without falling into technical death metal territory and bruising without earning a brutal death metal tag, Warside toes the line between extreme metal subgenres without fully committing to any specific one. Rather than wavering or wandering, though, Cognitive Extinction sounds confident, direct, and ready to peel your skull back to get a look at your cognition firsthand.

Despite adding some new members and shuffling guitar duties, Warside launches a savage assault that never relents. Returning from The Enemy Within, guitarist Vincent Morelle resumes six-string duties on Cognitive Extinction while former guitarist Jérôme dons the mantle of bassist. Joining them are duo Mathieu (vocals) and Thô (drums) from deathgrind project Festering Process, and together this foursome unleashes barrage after barrage of merciless death metal thunder. Tracks “Neurocide” and “Invasive Thoughts” meld Morbid Angel’s wicked melodies with Nile’s violent velocity, frequently coaxing involuntary stank-face. “Visceral” punches with Suffocation’s might, windmilling between stutter-stop leads and kick drum cannonades, while “Thirst for Rot” dive bombs into an early solo before hitting a swarthy Cryptopsy-meets-Decapitated groove. Throughout, Mathieu discharges fierce gutturals that remind me of Benighted’s Julien Truchan,2 primal and bloodthirsty without ever going full BREEE. All told, kinetic hooks, furious blast beats, and husky bass grooves carry the momentum of each track, with feverish solos offering brief detours from Warside’s otherwise unyielding onslaught.

Warside evokes death metal titans throughout Cognitive Extinction, yet clinging too tightly to these touchstones prevents them from fully realizing an identity of their own. In fairness, Cognitive Extinction works cohesively, with a consistent aural context that’s as bludgeoning as it is swift. And even though Warside sidesteps critical flaws, hooking an overcrowded niche with deathly wares can be a significant challenge. Genre greats can provide a strong template for writing compelling music, but emulation without innovation risks giving listeners an experience that drives them back to inspirations. Said simply, bands with unique sounds become reference points, while others get buried beneath the sands of time. In this regard, Cognitive Extinction feels like a half measure, where a blend of influences comes together to form a coherent album, yet lacks a wholly original voice.

Standout performances and sharp, economical songwriting distinguish Warside as an act I’ll follow closely, and help achieve a portion of the identity they need. Cognitive Extinction teems with talent and promise, and despite the abysmal dynamic range,3 the mix is well-balanced and allows listeners to appreciate what Warside does within its runtime. I’ve greatly enjoyed my time with Cognitive Extinction, and a couple of its gems have helped add some weight to my Heavy Moves Heavy ’26 playlist, but with so many killer death metal albums out this year, I’m unsure what lasting impact it’ll have. Time will tell, and in the meantime, I hope that Warside continues honing their blades to keep minds and interest sharp.

Rating: Good!
DR: 3 | Format Reviewed: 320 kbps mp3
Label: Gruesome Records
Websites: Bandcamp | Facebook
Releases Worldwide: April 17th, 2026

Something must be in the water over in Poland, because the country churns out quality death metal like few others. The phrase ‘Polish death metal’ always grabs my attention, whether it’s technical like early Decapitated, thrashy à la Vader, or as blackened as Behemoth. Such was the case when I espied Shine’s Wrathcult lying unclaimed in the promo bin. The invention of guitarist Tomasz Dobrzeniecki (ex-Hazael), Shine unleashes a Polished debut of blackened death, eliciting prompt comparisons to compatriots Hate and Behemoth. While both provide apt reference points, there’s an acerbic tunefulness that evokes At the Gates and Old Man’s Child, as well. Given the glamor of these benchmarks, does Wrathcult let a light Shine down on Poland’s latest blackened death metal opus?

If you give me a word to sum up Polish metal, I’ll say ‘conviction,’ which Wrathcult oozes with calculated rabidity. Whether brandishing steady chugs, rapid-fire trems, or slinky, groove-infested crawls, Shine feels focused and frothing with finely-tuned fire. Dobrzeniecki’s description of the music and lyrics pins the overarching inspiration of Wrathcult on pre-Christian beliefs and the arcane powers of primeval mysticism, specifically calling out the intersection of ‘Germanic, Norse, and Slavic mythology.’1 While it’s not a theme I would’ve divined on my own, this context adds helpful color once Shine shows me where to look. In particular, the clean singing (“The Lamb Against the Wolf”) and chanting (“The Horror of the Night”) sprinkled throughout Wrathcult often give proceedings a ritualistic zest, culminating in one of my favorite tracks, “The Necklace with Runes.” The clean drawl at the beginning is underscored by finely crafted, deeper vocal layers, and while I’m generally unmoved by rhythmic spoken word, singer Marek Krajcer’s performance reads as a ceremonial incantation, reinforcing Wrathcult’s primordial basis.2

Wrathcult by Shine

Musically, Shine exhibits a cunning understanding of the crossroads between death metal, black metal, and melody. Besides the cleans, Krajcer projects a deathly growl that’s at once confident, scathing, and commandingly effective throughout Wrathcult. Guitarists Tomasz Dobrzeniecki and Mateusz Waśkiewicz supply equal doses of second-wave fervor and dulcet leads that are as barbed as they are captivating. Mid-album song “Oddajcie co moje” sports not only the hookiest melody of the bunch, but also contains one of the best bass grooves. Though subtle, Wojciech Gąsiorowski’s ambling bass-lines burble and thump with delightful heft, solidifying a resonant dimension on tracks “The Lamb Against the Wolf” and “Wrath of the Hammer.” With the high caliber of musicianship featuring on strings, an anemic drum performance could dull the entire showing. Thankfully, Paweł Duda seizes the opportunity with gusto, lashing his kit with precision strikes. Overall, Shine lays me on the ground with meaty, well-executed performances that belie Wrathcult’s debut status.

While many moments on Wrathcult fly me in the sky, a few aspects creep in and dim the power of Shine’s light. The production bolsters strong performances across the album, allowing proper room for each instrument to gleam—especially the bass. The forty-six-minute runtime keeps Wrathcult digestible, although riff repetition presents an opportunity to trim thirty-to-sixty seconds from several tracks for a tighter experience. And while Shine serves up several great jams on Wrathcult, a few weaker cuts create dips between the peaks of its strongest material. To be clear, there are no bad or inessential songs that I skip,3 but I do find myself waiting out some moments to get to better ones. Still, there’s variety in the songwriting that keeps affairs engaging and blood pumping through Shine’s blackened heart.

Shine’s Wrathcult should garner its fair share of devotees, living up to the high expectations of Polish blackened death. It’s taken many spins to unlock Wrathcult’s otherworldly secrets, and I’m of a mind that there are even more treasures to unearth. Anyone looking for melodious fury and a band with possibilities on the horizon should be paying attention. When I snatched Shine’s debut, I asked myself, ‘What will I find? Will love be there?’ While I can’t guarantee the same results for you, my answer is a resounding, ‘Yeah.’

Rating: Very Good!
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Dark Descent Records
Websites: Bandcamp | Facebook
Releases Worldwide: January 30th, 2026

“AMG’s Unsigned Band Rodeö” is a time-honored tradition to showcase the most underground of the underground—the unsigned and unpromoted. This collective review treatment continues to exist to unite our writers in boot or bolster of the bands who remind us that, for better or worse, the metal underground exists as an important part of the global metal scene. The Rodeö rides on.”

Though it may present a bit hyperbolic to say that Poland’s black and death metal scenes trample those of many other countries, the tension of young fervor and tradition weighs heavy in the hearts of riffslingers with something to say. We don’t wish turmoil on anyone, but with great struggles often comes an urge for loud, clear, and calamitous expression. New to the scene, Tarnobrzeg’s Blindfolded steps forth with their debut full-length What Seeps through Threads, a culmination of deathly tactics learned and refined over the course of their six years as a band. Boasting a range of influences from the swinging low-end drama of Gojira to the tumultuous fretboard fire of Decapitated, Blindfolded has a vision for something new from paths well-loved in the listening community. The Rodeö, however, is unforgiving. But every now and then, something comes out of left field to spark our spurs with fascination. – Dolphin Whisperer

Blindfolded // What Seeps through Threads [July 1st, 2025]

Gardenstale: This year’s Dormant Ordeal is an easy lister in my books, so it should come as no surprise that a Rodeö candidate using a pretty similar sound with a proggy twist elicits a big FUCK YEAH from me. Blindfolded brings an ingenious, potent mixture of Polish death metal with winding, labyrinthine structures, plenty of melodic licks, and burly, Vader-esque vocals. No fear of getting lost in wank, these guys hijack the hippocampus and the frontal cortex alike. “Frenzy of Exultations” alone should provide you with enough neck-snappery to use your vertebrae for confetti. It’s one of those rare albums that manage to unite groove, melody, technical chops (including an excellent drummer!), and sheer blunt brutality. And though it starts strong, it only gets better as it rolls on, with “Gates of Janus” building to an unforgiving steamroller with a hypnotic Gojira-esque riff and what might be the solo of the year. Death metal shouldn’t be too polished, but apparently, it can never be too Polish.1 4.0/5.0

What Seeps Through Threads by Blindfolded

Dolphin Whisperer: One part ambitious song structure and one part ferocious death metal groove, the young Polish Blindfolded strikes a hook-loaded balance of Oldpethian grandeur and riff-aggressive PolDeath whiplash. And, as a culmination of this fusion, a churning atmosphere embodies the acoustic intros and amplified tear-aways that propel What Seeps through Threads across a generous and genre-honing fifty-some-odd minutes. While retaining a modern compression in guitar attack and drum composition that helps throttle knotty fretwork into headbanging ears (“Great Day of His Wrath,” “Uneasy Absence of Fair Judgement”), the nimble troupe finds expressive string jangle in the longform lurches, like expositional title track or closing hop of “Gates of Janus.” No matter how long any track extends here, with the stankface-loaded “Frenzy of Exultations” even pushing the ten-plus minute mark, Blindfolded retains a sense of smart riff development, coordinated phlegmy mic assault, and punchy rhythmic adornments that keeps What Seeps stepping ever closer to greatness. Blindfolded hardly sounds like an act whose deathscapades totaled a mere ten minutes before this full-length sweep. And with as weighty a sound as they’ve assembled, it’s only a matter of a little refinement in transition and spaciousness in sound capture that sees the young Poles going toe-to-toe with their celebrated countrymen and hyped deathmongers alike. 3.5/5.0

Alekhines Gun – What a debut! Forming in 2019, Blindfolded seek to make a serious impression in their first outing. What Seeps through Threads is a well-crafted release which manages to meld theatrical songwriting with a Blood Mantra-era Decapitated sense of frantic assault. Weaving Opeth song structures throughout, Blindfolded manage to shift from chug-riddled pain-bringing (“Aeonian Lie”) to the moody solos which lend pathos and dynamics in song structure. A spacious mix lets everything ring out, from bass warbles to Bartłomiej Fucia’s gruff vocals, which maintain an understandable intonation instead of leaning in on sheer brutality. Despite all of the songs being rather lengthy, (the shortest coming in at just shy of six minutes), a healthy ebb-and-flow throughout keeps riffs from repeating often or devolving into monotony. What Seeps through Threads nails the “album as a journey” aesthetic, rendering its near-hour-long runtime far shorter than it sounds. A keen sense of drama in the composition imbues each song with its own identity, while still serving the greater album narrative. I don’t know if this was a concept album or not, but if it isn’t, Blindfolded should certainly pursue such ideas as they have the talent and skill for a high-class of aural storytelling. In the meantime, come and enjoy a remarkably mature release from Poland’s newest offspring. 3.5/5.0

Thyme: When it comes to death metal, I’m like Lynyrd Skynryd, which is to say a “Simple Man.” Give me a heaping plate of meat ‘n’ taters death and I’m good to go, but that’s not to say I can’t enjoy a platter requiring a more refined palate. With debut album What Seeps through Threads, Blindfolded, and not that bunch guided sightlessly into the forest, offer a plate full of progressive death metal requiring me to dress nice, sit up straight, and know which is the fucking salad fork. Hailing from Poland, these five relative unknowns are poised to crash my impending end-of-year party with their Opeth-meets-Archspire brand of techened death. Kacper Wąsik and Marcel Kucharski present a shredding tour de force, showcasing myriad guitar skills comprised of massive, vicious riffs and a maelstrom of solo work that flows from the technically precise to the emotionally melancholy (“The Great Day of His Wrath,” “In The Eye of Maelstrom”) and, for some added spice, silky smooth jazz-guitar interludes (“Uneasy Absence of Fair Judgment”) that you won’t see coming but won’t kick out of bed. Bartloniej Fucia’s voice—a perfect blend of Mikael Åkerfeldt and Oliver Rae Aleron—complements the instrumentation, rounded out by Zygmunt Haliniarz’s bass and Kacper Rajfur’s stellar drumming. From the opening piano strains of “What Seeps through Threads” to the impeccable closer “Gates of Janus,” Blindfolded presents an album full of dramatic tension and incredible performances. Beautifully brutal, What Seeps through Threads was not on my 2025 bingo card, but it’s likely you’ll see Blindfolded’s name pop up again, at least for me, come list season. 4.0/5.0

decapitated billionaire costume

#idea #costume #decapitated #billionaire

جسد بلا رأس، طفلة بُتر رأسها بسبب #القصف_الإسرائيلي على منزلها في مخيم #البريج وسط #غزة الليلة، مأساة تضاف لسجل #المدنيين_الضحايا.

A headless body, a child #decapitated by #Israeli_strikes on her home in #BureijCamp, #Gaza tonight, a tragic addition to the toll of #civilian_victims.

Another top #Russian #executive dies under suspicious circumstances, #decapitated body found under bridge

Alexey #Sinitsyn, CEO of #K-Potash Service found #dead near Kaliningrad, becoming 19th #RussianExecutives to die under mysterious circumstances since start of #Russia's war against Ukraine

Since 2022, at least 19 top executives & businessmen have died under #suspicious #circumstances in Russia and abroad.

https://kyivindependent.com/19th-russian-top-executive-dies-under-suspicious-circumstances-since-2022-invasion-media-reports/

#RussianAggression #assassinations #murder #violence

New post: Gig Review: Decapitated / Cryptopsy / Warbringer / Carnation – Slay, Glasgow (7th May 2025) https://www.moshville.co.uk/reviews/gig-review/2025/05/gig-review-decapitated-cryptopsy-warbringer-carnation-slay-glasgow-7th-may-2025/ #Carnation #Cryptopsy #Decapitated #Warbringer

New post: Killswitch Engage hit UK / IRE later this year with incredible supprt lineup https://www.moshville.co.uk/news/tours/2025/05/killswitch-engage-hit-uk-ire-later-this-year-with-incredible-supprt-lineup/ #Decapitated #FitForAnAutopsy #Hatebreed #KillswitchEngage

Decapitated bring their beastly tour to the UK next month!

Renowned death metal titans Decapitated are thrilled to be kicking off their "Infernal Bloodshed Over Europe Tour" next month. Featuring a potent lineup with heavyweights Cryptopsy, Warbringer, and Carnation, this high-octane tour promises to deliver an unmi

https://www.moshville.co.uk/news/tours/2025/04/decapitated-bring-their-beastly-tour-to-the-uk-next-month/

#ToursLiveDates #Carnation #Cryptopsy #Decapitated #Warbringer

Colosso – Hateworlds
#DeathMetal #Decapitated #Experimental #FearFactory #Metal #Progressive #Sepultura #ambient #dirkverbeuren #Porto
CC BY-NC-SA (#CreativeCommons Attribution Non Commercial Share Alike) #ccmusic
https://colosso.bandcamp.com/album/hateworlds

I’m in Baltimore for a death metal show tonight. Chilling in my hotel room applying the arthritis cream to my knees and ankles, as one does before these types of affairs.

#darkesthour #decapitated

Replying to @ smetjeguy Thanks! Here are some pictures I took of @decapitatedband 📍 #dynamometalfest

📷 #sethpicturesmusic #sethabrikoos
#metalband #metalmusic #metalguitar #metalguitarist #metaldrummer #metalbands #metalfestival #decapitated

🤘✌️

The city council did some tree trimming our street today to clear the power lines. I wasn't expecting them to be pollarded. It's going to take a while to get used to it! #NudeTree #Decapitated

#AndyTench #presumed #dead but still #listed as #missing.

#Suspect #arrested with #machete says he hopes Tench “isn’t #decapitated”

#Women #Transgender #LGBTQ #LGBTQIA #NorthCarolina #Hate #Bigotry #Violence #Homophobia #SayHisName

https://qnotescarolinas.com`/andy-tench-presumed-dead-but-still-listed-as-missing/