#deicide — Public Fediverse posts

40 years, 34 past and present members, over 230 releases credited in the archives, and one migration from Pennsylvania—this is the rap sheet for Cleveland, Ohio’s Nunslaughter, who have been jousting Jesus since 1987. Some 5 years1 further down the left-hand path from 2021’s Red Is the Color of Ripping Death, which our own El Cuervo described as “an enjoyable experience that’s frayed around the edges,” Nunslaughter return in fine form to bless the black masses and kick Christian asses with sixth long-player, and BLKIIBLK Records debut, Satanic Chaos Legions. Such prolific proselytization on Satan’s behalf requires a certain type of longevity and focus, of which the sole remaining founder and vocalist, Don of the Dead, seems to have in droves, as Nunslaughter returns two-thirds of their Ripping Death lineup (intact since 2016) but for bassist Detonate, who was replaced by Malum in 2022. My only question: is this the Nunslaughter worth bringing your daughter to?

Nunslaughter play attention-deficit death metal—Satanic Chaos Legions’ 14-track, 34-minute runtime replicating the Ripping Death blueprint to a tee. Tormentor’s riffs, of which there are legion, buzz just short of HM2 worship, but crackle with a thrashy electricity that slices through flesh with surgical, tremolodic speed (“Unsacrament”), chugs along with Deicide-ic groove (“Cathedral of Stench”), and pummels doomily like hell’s hammer (“Heavenless”), all evidence of a practitioner in full control of his dark art. Don of the Dead’s vocals are as viscerally vehement as ever—I love this dude’s voice—his death growls and howls amping up the evil with distinct lyrical clarity. And while Nunslaughter’s base devil metal approach hasn’t really changed over the past two score years, Satanic Chaos Legions stands as a high point in the discography, triumphantly marrying their knack for writing uniquely catchy bite-sized brutality with a newfound talent for pacing, producing an album perfectly assembled for maximum damage.

If the boots-marching intro to the opening title track serves as the warning of Nunslaughter’s coming, then it’s track two that has them kicking in your fucking door. A visceral indictment of Catholicism and priestly pedophilia, “Jesus Fucking Dies” is a vicious, 1:20 speed fest that will leave you more breathless than a polar plunge. Moments like these have always worked in Nunslaughter’s favor, their bread and black butter, and with an average track length of 2:30, Legions suffers no dearth of these minute malignancies (“Listen To the Lies,” “Infernal Reign”). And while I enjoy the raw energy and brevity, I find myself more drawn to Nunslaughter’s slower, slightly drawn-out side. Lumbering, sludgy bass lines and some distorted spoken words welcome us to the inverted communion of the apex track, “Peukharist,” which further probes “Casket Lid Creaks” territory. Slow and dripping with heavy, sustained death chords, the track features some of Don Of the Dead’s most vile, hateful spitting, and with the clever sans-cringe song title, grabs my top spot as album highlight. In this, Satanic Chaos Legions eludes the curse of swirling similitude that could have easily cast a pall over the proceedings of a non-stop speed penned by lesser songwriters.

Engineered, mastered, and mixed by Noah “Tormentor” Buchanan at his own Mercinary Studios in Cleveland, Satanic Chaos Legions benefits greatly from this backyard setup. A far cry from the early albums, Legions’ production surpasses that of its predecessor in terms of death metal heaviness, the slick mix highlighting all of Nunslaughter’s talent without sacrificing any of the raw edge the group’s become known for. Malum’s bass lines thrum, Wrath’s drums pulse with profane putridity, and all those god-forsaken riffs land like so many one-two punches to the solar plexus, making Satanic Chaos Legions one of, if not the, best-sounding Nunslaughter records in the discog. In nearly every respect, Satanic Chaos Legions improves upon the Ripping Death template, perhaps taking cues in some part from El Cuervo’s critique, and in so doing leaving me with little to fuss over. Aside perhaps from a couple of song titles that had me chucklingly eye-rolling (“Die Your Own Death,” “In the Flames of Inferno”), I had a blast with Nunslaughter this time out.

For a band that’s been around for as long as Nunslaughter has, I’m often surprised by how little notoriety they receive. Is it the moniker, the subject matter, the gob-stopping depth of the discography? I’m not sure, but I will say if you’re looking for an entry point into Nunslaughter’s canon, look no further than Satanic Chaos Legions, and for those pre-ordained fanatics, buckle up; you’re in for a fun ride.

Rating: 3.5/5.0
DR: NA | Format Reviewed: Fookin’ Stream
Label: BLKIIBLK Records
Websites: Facebook | Instagram

40 years, 34 past and present members, over 230 releases credited in the archives, and one migration from Pennsylvania—this is the rap sheet for Cleveland, Ohio’s Nunslaughter, who have been jousting Jesus since 1987. Some 5 years1 further down the left-hand path from 2021’s Red Is the Color of Ripping Death, which our own El Cuervo described as “an enjoyable experience that’s frayed around the edges,” Nunslaughter return in fine form to bless the black masses and kick Christian asses with sixth long-player, and BLKIIBLK Records debut, Satanic Chaos Legions. Such prolific proselytization on Satan’s behalf requires a certain type of longevity and focus, of which the sole remaining founder and vocalist, Don of the Dead, seems to have in droves, as Nunslaughter returns two-thirds of their Ripping Death lineup (intact since 2016) but for bassist Detonate, who was replaced by Malum in 2022. My only question: is this the Nunslaughter worth bringing your daughter to?

Nunslaughter play attention-deficit death metal—Satanic Chaos Legions’ 14-track, 34-minute runtime replicating the Ripping Death blueprint to a tee. Tormentor’s riffs, of which there are legion, buzz just short of HM2 worship, but crackle with a thrashy electricity that slices through flesh with surgical, tremolodic speed (“Unsacrament”), chugs along with Deicide-ic groove (“Cathedral of Stench”), and pummels doomily like hell’s hammer (“Heavenless”), all evidence of a practitioner in full control of his dark art. Don of the Dead’s vocals are as viscerally vehement as ever—I love this dude’s voice—his death growls and howls amping up the evil with distinct lyrical clarity. And while Nunslaughter’s base devil metal approach hasn’t really changed over the past two score years, Satanic Chaos Legions stands as a high point in the discography, triumphantly marrying their knack for writing uniquely catchy bite-sized brutality with a newfound talent for pacing, producing an album perfectly assembled for maximum damage.

If the boots-marching intro to the opening title track serves as the warning of Nunslaughter’s coming, then it’s track two that has them kicking in your fucking door. A visceral indictment of Catholicism and priestly pedophilia, “Jesus Fucking Dies” is a vicious, 1:20 speed fest that will leave you more breathless than a polar plunge. Moments like these have always worked in Nunslaughter’s favor, their bread and black butter, and with an average track length of 2:30, Legions suffers no dearth of these minute malignancies (“Listen To the Lies,” “Infernal Reign”). And while I enjoy the raw energy and brevity, I find myself more drawn to Nunslaughter’s slower, slightly drawn-out side. Lumbering, sludgy bass lines and some distorted spoken words welcome us to the inverted communion of the apex track, “Peukharist,” which further probes “Casket Lid Creaks” territory. Slow and dripping with heavy, sustained death chords, the track features some of Don Of the Dead’s most vile, hateful spitting, and with the clever sans-cringe song title, grabs my top spot as album highlight. In this, Satanic Chaos Legions eludes the curse of swirling similitude that could have easily cast a pall over the proceedings of a non-stop speed penned by lesser songwriters.

Engineered, mastered, and mixed by Noah “Tormentor” Buchanan at his own Mercinary Studios in Cleveland, Satanic Chaos Legions benefits greatly from this backyard setup. A far cry from the early albums, Legions’ production surpasses that of its predecessor in terms of death metal heaviness, the slick mix highlighting all of Nunslaughter’s talent without sacrificing any of the raw edge the group’s become known for. Malum’s bass lines thrum, Wrath’s drums pulse with profane putridity, and all those god-forsaken riffs land like so many one-two punches to the solar plexus, making Satanic Chaos Legions one of, if not the, best-sounding Nunslaughter records in the discog. In nearly every respect, Satanic Chaos Legions improves upon the Ripping Death template, perhaps taking cues in some part from El Cuervo’s critique, and in so doing leaving me with little to fuss over. Aside perhaps from a couple of song titles that had me chucklingly eye-rolling (“Die Your Own Death,” “In the Flames of Inferno”), I had a blast with Nunslaughter this time out.

For a band that’s been around for as long as Nunslaughter has, I’m often surprised by how little notoriety they receive. Is it the moniker, the subject matter, the gob-stopping depth of the discography? I’m not sure, but I will say if you’re looking for an entry point into Nunslaughter’s canon, look no further than Satanic Chaos Legions, and for those pre-ordained fanatics, buckle up; you’re in for a fun ride.

Rating: 3.5/5.0
DR: NA | Format Reviewed: Fookin’ Stream
Label: BLKIIBLK Records
Websites: Facebook | Instagram

40 years, 34 past and present members, over 230 releases credited in the archives, and one migration from Pennsylvania—this is the rap sheet for Cleveland, Ohio’s Nunslaughter, who have been jousting Jesus since 1987. Some 5 years1 further down the left-hand path from 2021’s Red Is the Color of Ripping Death, which our own El Cuervo described as “an enjoyable experience that’s frayed around the edges,” Nunslaughter return in fine form to bless the black masses and kick Christian asses with sixth long-player, and BLKIIBLK Records debut, Satanic Chaos Legions. Such prolific proselytization on Satan’s behalf requires a certain type of longevity and focus, of which the sole remaining founder and vocalist, Don of the Dead, seems to have in droves, as Nunslaughter returns two-thirds of their Ripping Death lineup (intact since 2016) but for bassist Detonate, who was replaced by Malum in 2022. My only question: is this the Nunslaughter worth bringing your daughter to?

Nunslaughter play attention-deficit death metal—Satanic Chaos Legions’ 14-track, 34-minute runtime replicating the Ripping Death blueprint to a tee. Tormentor’s riffs, of which there are legion, buzz just short of HM2 worship, but crackle with a thrashy electricity that slices through flesh with surgical, tremolodic speed (“Unsacrament”), chugs along with Deicide-ic groove (“Cathedral of Stench”), and pummels doomily like hell’s hammer (“Heavenless”), all evidence of a practitioner in full control of his dark art. Don of the Dead’s vocals are as viscerally vehement as ever—I love this dude’s voice—his death growls and howls amping up the evil with distinct lyrical clarity. And while Nunslaughter’s base devil metal approach hasn’t really changed over the past two score years, Satanic Chaos Legions stands as a high point in the discography, triumphantly marrying their knack for writing uniquely catchy bite-sized brutality with a newfound talent for pacing, producing an album perfectly assembled for maximum damage.

If the boots-marching intro to the opening title track serves as the warning of Nunslaughter’s coming, then it’s track two that has them kicking in your fucking door. A visceral indictment of Catholicism and priestly pedophilia, “Jesus Fucking Dies” is a vicious, 1:20 speed fest that will leave you more breathless than a polar plunge. Moments like these have always worked in Nunslaughter’s favor, their bread and black butter, and with an average track length of 2:30, Legions suffers no dearth of these minute malignancies (“Listen To the Lies,” “Infernal Reign”). And while I enjoy the raw energy and brevity, I find myself more drawn to Nunslaughter’s slower, slightly drawn-out side. Lumbering, sludgy bass lines and some distorted spoken words welcome us to the inverted communion of the apex track, “Peukharist,” which further probes “Casket Lid Creaks” territory. Slow and dripping with heavy, sustained death chords, the track features some of Don Of the Dead’s most vile, hateful spitting, and with the clever sans-cringe song title, grabs my top spot as album highlight. In this, Satanic Chaos Legions eludes the curse of swirling similitude that could have easily cast a pall over the proceedings of a non-stop speed penned by lesser songwriters.

Engineered, mastered, and mixed by Noah “Tormentor” Buchanan at his own Mercinary Studios in Cleveland, Satanic Chaos Legions benefits greatly from this backyard setup. A far cry from the early albums, Legions’ production surpasses that of its predecessor in terms of death metal heaviness, the slick mix highlighting all of Nunslaughter’s talent without sacrificing any of the raw edge the group’s become known for. Malum’s bass lines thrum, Wrath’s drums pulse with profane putridity, and all those god-forsaken riffs land like so many one-two punches to the solar plexus, making Satanic Chaos Legions one of, if not the, best-sounding Nunslaughter records in the discog. In nearly every respect, Satanic Chaos Legions improves upon the Ripping Death template, perhaps taking cues in some part from El Cuervo’s critique, and in so doing leaving me with little to fuss over. Aside perhaps from a couple of song titles that had me chucklingly eye-rolling (“Die Your Own Death,” “In the Flames of Inferno”), I had a blast with Nunslaughter this time out.

For a band that’s been around for as long as Nunslaughter has, I’m often surprised by how little notoriety they receive. Is it the moniker, the subject matter, the gob-stopping depth of the discography? I’m not sure, but I will say if you’re looking for an entry point into Nunslaughter’s canon, look no further than Satanic Chaos Legions, and for those pre-ordained fanatics, buckle up; you’re in for a fun ride.

Rating: 3.5/5.0
DR: NA | Format Reviewed: Fookin’ Stream
Label: BLKIIBLK Records
Websites: Facebook | Instagram

40 years, 34 past and present members, over 230 releases credited in the archives, and one migration from Pennsylvania—this is the rap sheet for Cleveland, Ohio’s Nunslaughter, who have been jousting Jesus since 1987. Some 5 years1 further down the left-hand path from 2021’s Red Is the Color of Ripping Death, which our own El Cuervo described as “an enjoyable experience that’s frayed around the edges,” Nunslaughter return in fine form to bless the black masses and kick Christian asses with sixth long-player, and BLKIIBLK Records debut, Satanic Chaos Legions. Such prolific proselytization on Satan’s behalf requires a certain type of longevity and focus, of which the sole remaining founder and vocalist, Don of the Dead, seems to have in droves, as Nunslaughter returns two-thirds of their Ripping Death lineup (intact since 2016) but for bassist Detonate, who was replaced by Malum in 2022. My only question: is this the Nunslaughter worth bringing your daughter to?

Nunslaughter play attention-deficit death metal—Satanic Chaos Legions’ 14-track, 34-minute runtime replicating the Ripping Death blueprint to a tee. Tormentor’s riffs, of which there are legion, buzz just short of HM2 worship, but crackle with a thrashy electricity that slices through flesh with surgical, tremolodic speed (“Unsacrament”), chugs along with Deicide-ic groove (“Cathedral of Stench”), and pummels doomily like hell’s hammer (“Heavenless”), all evidence of a practitioner in full control of his dark art. Don of the Dead’s vocals are as viscerally vehement as ever—I love this dude’s voice—his death growls and howls amping up the evil with distinct lyrical clarity. And while Nunslaughter’s base devil metal approach hasn’t really changed over the past two score years, Satanic Chaos Legions stands as a high point in the discography, triumphantly marrying their knack for writing uniquely catchy bite-sized brutality with a newfound talent for pacing, producing an album perfectly assembled for maximum damage.

If the boots-marching intro to the opening title track serves as the warning of Nunslaughter’s coming, then it’s track two that has them kicking in your fucking door. A visceral indictment of Catholicism and priestly pedophilia, “Jesus Fucking Dies” is a vicious, 1:20 speed fest that will leave you more breathless than a polar plunge. Moments like these have always worked in Nunslaughter’s favor, their bread and black butter, and with an average track length of 2:30, Legions suffers no dearth of these minute malignancies (“Listen To the Lies,” “Infernal Reign”). And while I enjoy the raw energy and brevity, I find myself more drawn to Nunslaughter’s slower, slightly drawn-out side. Lumbering, sludgy bass lines and some distorted spoken words welcome us to the inverted communion of the apex track, “Peukharist,” which further probes “Casket Lid Creaks” territory. Slow and dripping with heavy, sustained death chords, the track features some of Don Of the Dead’s most vile, hateful spitting, and with the clever sans-cringe song title, grabs my top spot as album highlight. In this, Satanic Chaos Legions eludes the curse of swirling similitude that could have easily cast a pall over the proceedings of a non-stop speed penned by lesser songwriters.

Engineered, mastered, and mixed by Noah “Tormentor” Buchanan at his own Mercinary Studios in Cleveland, Satanic Chaos Legions benefits greatly from this backyard setup. A far cry from the early albums, Legions’ production surpasses that of its predecessor in terms of death metal heaviness, the slick mix highlighting all of Nunslaughter’s talent without sacrificing any of the raw edge the group’s become known for. Malum’s bass lines thrum, Wrath’s drums pulse with profane putridity, and all those god-forsaken riffs land like so many one-two punches to the solar plexus, making Satanic Chaos Legions one of, if not the, best-sounding Nunslaughter records in the discog. In nearly every respect, Satanic Chaos Legions improves upon the Ripping Death template, perhaps taking cues in some part from El Cuervo’s critique, and in so doing leaving me with little to fuss over. Aside perhaps from a couple of song titles that had me chucklingly eye-rolling (“Die Your Own Death,” “In the Flames of Inferno”), I had a blast with Nunslaughter this time out.

For a band that’s been around for as long as Nunslaughter has, I’m often surprised by how little notoriety they receive. Is it the moniker, the subject matter, the gob-stopping depth of the discography? I’m not sure, but I will say if you’re looking for an entry point into Nunslaughter’s canon, look no further than Satanic Chaos Legions, and for those pre-ordained fanatics, buckle up; you’re in for a fun ride.

Rating: 3.5/5.0
DR: NA | Format Reviewed: Fookin’ Stream
Label: BLKIIBLK Records
Websites: Facebook | Instagram

40 years, 34 past and present members, over 230 releases credited in the archives, and one migration from Pennsylvania—this is the rap sheet for Cleveland, Ohio’s Nunslaughter, who have been jousting Jesus since 1987. Some 5 years1 further down the left-hand path from 2021’s Red Is the Color of Ripping Death, which our own El Cuervo described as “an enjoyable experience that’s frayed around the edges,” Nunslaughter return in fine form to bless the black masses and kick Christian asses with sixth long-player, and BLKIIBLK Records debut, Satanic Chaos Legions. Such prolific proselytization on Satan’s behalf requires a certain type of longevity and focus, of which the sole remaining founder and vocalist, Don of the Dead, seems to have in droves, as Nunslaughter returns two-thirds of their Ripping Death lineup (intact since 2016) but for bassist Detonate, who was replaced by Malum in 2022. My only question: is this the Nunslaughter worth bringing your daughter to?

Nunslaughter play attention-deficit death metal—Satanic Chaos Legions’ 14-track, 34-minute runtime replicating the Ripping Death blueprint to a tee. Tormentor’s riffs, of which there are legion, buzz just short of HM2 worship, but crackle with a thrashy electricity that slices through flesh with surgical, tremolodic speed (“Unsacrament”), chugs along with Deicide-ic groove (“Cathedral of Stench”), and pummels doomily like hell’s hammer (“Heavenless”), all evidence of a practitioner in full control of his dark art. Don of the Dead’s vocals are as viscerally vehement as ever—I love this dude’s voice—his death growls and howls amping up the evil with distinct lyrical clarity. And while Nunslaughter’s base devil metal approach hasn’t really changed over the past two score years, Satanic Chaos Legions stands as a high point in the discography, triumphantly marrying their knack for writing uniquely catchy bite-sized brutality with a newfound talent for pacing, producing an album perfectly assembled for maximum damage.

If the boots-marching intro to the opening title track serves as the warning of Nunslaughter’s coming, then it’s track two that has them kicking in your fucking door. A visceral indictment of Catholicism and priestly pedophilia, “Jesus Fucking Dies” is a vicious, 1:20 speed fest that will leave you more breathless than a polar plunge. Moments like these have always worked in Nunslaughter’s favor, their bread and black butter, and with an average track length of 2:30, Legions suffers no dearth of these minute malignancies (“Listen To the Lies,” “Infernal Reign”). And while I enjoy the raw energy and brevity, I find myself more drawn to Nunslaughter’s slower, slightly drawn-out side. Lumbering, sludgy bass lines and some distorted spoken words welcome us to the inverted communion of the apex track, “Peukharist,” which further probes “Casket Lid Creaks” territory. Slow and dripping with heavy, sustained death chords, the track features some of Don Of the Dead’s most vile, hateful spitting, and with the clever sans-cringe song title, grabs my top spot as album highlight. In this, Satanic Chaos Legions eludes the curse of swirling similitude that could have easily cast a pall over the proceedings of a non-stop speed penned by lesser songwriters.

Engineered, mastered, and mixed by Noah “Tormentor” Buchanan at his own Mercinary Studios in Cleveland, Satanic Chaos Legions benefits greatly from this backyard setup. A far cry from the early albums, Legions’ production surpasses that of its predecessor in terms of death metal heaviness, the slick mix highlighting all of Nunslaughter’s talent without sacrificing any of the raw edge the group’s become known for. Malum’s bass lines thrum, Wrath’s drums pulse with profane putridity, and all those god-forsaken riffs land like so many one-two punches to the solar plexus, making Satanic Chaos Legions one of, if not the, best-sounding Nunslaughter records in the discog. In nearly every respect, Satanic Chaos Legions improves upon the Ripping Death template, perhaps taking cues in some part from El Cuervo’s critique, and in so doing leaving me with little to fuss over. Aside perhaps from a couple of song titles that had me chucklingly eye-rolling (“Die Your Own Death,” “In the Flames of Inferno”), I had a blast with Nunslaughter this time out.

For a band that’s been around for as long as Nunslaughter has, I’m often surprised by how little notoriety they receive. Is it the moniker, the subject matter, the gob-stopping depth of the discography? I’m not sure, but I will say if you’re looking for an entry point into Nunslaughter’s canon, look no further than Satanic Chaos Legions, and for those pre-ordained fanatics, buckle up; you’re in for a fun ride.

Rating: 3.5/5.0
DR: NA | Format Reviewed: Fookin’ Stream
Label: BLKIIBLK Records
Websites: Facebook | Instagram

“Scordatura” is an Italian word that means “mistuning.” This is a technique used for stringed instruments to allow for bizarre chords, or to simplify progressions that would require a lot of tendon mutilation to achieve in normal tunings. It’s a dope name, a cool concept, and an example of metal’s infinite ability to make badass monikers out of otherwise clinical, innocent terminology. Hailing from Scotland, rather than the land of leaning towers and opera, Scordatura have arrived with their 4th opus, Led Into Oblivion. Between their choice of title and their selection of album name, what sort of hellish soundscape awaits within?

With a name rooted in deep music theory, you’d expect an assault in the vein of Replicant or modern Pestilence. This is not the case. Scordatura lay their foundations off a respectable set of giant shoulders, featuring a high octane assault flavored primarily with the self-titled era of Cryptopsy. Drums are blasted, guitar strings are shredded, and the tempo maintains a consistently blurry pace. “Retali(H)ate” and “Led Into Oblivion” feature start-stop riffing with vocalist Daryl Boyce sounding like the lost brother of Matt McGachy in his earlier days, with the occasional sustained chord letting drummer Tam Moran show off flair and chops with rapid-fire cymbal fills. Doses of classic Vader stomp pepper “Oppressed Repressed”, and nods to Suffocation run through “Echoes of a Fractured Mind”. The flavor of the olde and trve are deeply embedded throughout the construction of Led Into Oblivion, all filtered through an exuberant attack that rarely pauses for breath.

In keeping with the stylings, Led Into Oblivion also keeps up with the sound. This album is meaty, layered, and not the most dynamic beast, but all instruments are given room to breathe by brutal death standards. A healthy dollop of pinch harmonics flow throughout the riff construction, and bassist Liam McCafferty is constantly heard clanging away in the background with the occasional spotlight given for a fill or scale. The concise runtime (about the length of Reign in Blood, yet another nod to the building blocks of greats) ensures ear fatigue doesn’t set in despite the perpetually speedy approach. A good track order does keep variety from cut to cut, with “A Manic Indoctrination” featuring open chord progressions and our first dose of real mid-tempo sound before the drums resume blasting away under the building menace. While being a well-arranged list of brutal death tropes, Scordatura wisely leave the concrete brick styled production in the past.

The only major blemish on Led Into Oblivion is a common one, but one that cannot be overlooked. Scordatura have spent so much time distilling the essence of the greats into their overall sound without capturing the distinguishing factors that made them great. “Existential Termination” dalliances with downtempo Cannibal Corpse, and the grindier moments of WWtFW era Dying Fetus as well as Deicide raise their head, but these snapshots lack the staying power of those names. Led Into Oblivion is an enjoyable release without any significant flaws, but it’s difficult to recall any standout moments once the album reaches its conclusion. This is disappointing, as Scordatura clearly have the skills to emulate all of these bands, but can’t quite stick the landing on a stank face triggering “rewind it and listen again” moment to distinguish it from their mountain of peers. Closer “Begging to Die” is an easy illustration, goes full New York style with a bouncy main riff which smacks of modern Pyrexia groove before trying to drop an Archspire verse (sans the vocals) and leads the listener to a thunderous but blurred conclusion.

Despite a name implying forays into the more uncomfortable realms of death, Scordatura have offered up a platter of decent-grade tribute to the death of olde. Led Into Oblivion isn’t a bad album, and is definitely worth a casual listen or three. But the band is still on the hunt for the X Factor to push them beyond their influences. They certainly have the playing chops, and I believe the compositional ability to make it come together. For now, let yourself be Led Into Oblivion and hear a good combination of the sounds of yore; just don’t be surprised when you find yourself wishing you were listening to their influences instead.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Everlasting Spew Records
Website: Album Bandcamp
Releases Worldwide: June 19th, 2026

“Scordatura” is an Italian word that means “mistuning.” This is a technique used for stringed instruments to allow for bizarre chords, or to simplify progressions that would require a lot of tendon mutilation to achieve in normal tunings. It’s a dope name, a cool concept, and an example of metal’s infinite ability to make badass monikers out of otherwise clinical, innocent terminology. Hailing from Scotland, rather than the land of leaning towers and opera, Scordatura have arrived with their 4th opus, Led Into Oblivion. Between their choice of title and their selection of album name, what sort of hellish soundscape awaits within?

With a name rooted in deep music theory, you’d expect an assault in the vein of Replicant or modern Pestilence. This is not the case. Scordatura lay their foundations off a respectable set of giant shoulders, featuring a high octane assault flavored primarily with the self-titled era of Cryptopsy. Drums are blasted, guitar strings are shredded, and the tempo maintains a consistently blurry pace. “Retali(H)ate” and “Led Into Oblivion” feature start-stop riffing with vocalist Daryl Boyce sounding like the lost brother of Matt McGachy in his earlier days, with the occasional sustained chord letting drummer Tam Moran show off flair and chops with rapid-fire cymbal fills. Doses of classic Vader stomp pepper “Oppressed Repressed”, and nods to Suffocation run through “Echoes of a Fractured Mind”. The flavor of the olde and trve are deeply embedded throughout the construction of Led Into Oblivion, all filtered through an exuberant attack that rarely pauses for breath.

In keeping with the stylings, Led Into Oblivion also keeps up with the sound. This album is meaty, layered, and not the most dynamic beast, but all instruments are given room to breathe by brutal death standards. A healthy dollop of pinch harmonics flow throughout the riff construction, and bassist Liam McCafferty is constantly heard clanging away in the background with the occasional spotlight given for a fill or scale. The concise runtime (about the length of Reign in Blood, yet another nod to the building blocks of greats) ensures ear fatigue doesn’t set in despite the perpetually speedy approach. A good track order does keep variety from cut to cut, with “A Manic Indoctrination” featuring open chord progressions and our first dose of real mid-tempo sound before the drums resume blasting away under the building menace. While being a well-arranged list of brutal death tropes, Scordatura wisely leave the concrete brick styled production in the past.

The only major blemish on Led Into Oblivion is a common one, but one that cannot be overlooked. Scordatura have spent so much time distilling the essence of the greats into their overall sound without capturing the distinguishing factors that made them great. “Existential Termination” dalliances with downtempo Cannibal Corpse, and the grindier moments of WWtFW era Dying Fetus as well as Deicide raise their head, but these snapshots lack the staying power of those names. Led Into Oblivion is an enjoyable release without any significant flaws, but it’s difficult to recall any standout moments once the album reaches its conclusion. This is disappointing, as Scordatura clearly have the skills to emulate all of these bands, but can’t quite stick the landing on a stank face triggering “rewind it and listen again” moment to distinguish it from their mountain of peers. Closer “Begging to Die” is an easy illustration, goes full New York style with a bouncy main riff which smacks of modern Pyrexia groove before trying to drop an Archspire verse (sans the vocals) and leads the listener to a thunderous but blurred conclusion.

Despite a name implying forays into the more uncomfortable realms of death, Scordatura have offered up a platter of decent-grade tribute to the death of olde. Led Into Oblivion isn’t a bad album, and is definitely worth a casual listen or three. But the band is still on the hunt for the X Factor to push them beyond their influences. They certainly have the playing chops, and I believe the compositional ability to make it come together. For now, let yourself be Led Into Oblivion and hear a good combination of the sounds of yore; just don’t be surprised when you find yourself wishing you were listening to their influences instead.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Everlasting Spew Records
Website: Album Bandcamp
Releases Worldwide: June 19th, 2026

“Scordatura” is an Italian word that means “mistuning.” This is a technique used for stringed instruments to allow for bizarre chords, or to simplify progressions that would require a lot of tendon mutilation to achieve in normal tunings. It’s a dope name, a cool concept, and an example of metal’s infinite ability to make badass monikers out of otherwise clinical, innocent terminology. Hailing from Scotland, rather than the land of leaning towers and opera, Scordatura have arrived with their 4th opus, Led Into Oblivion. Between their choice of title and their selection of album name, what sort of hellish soundscape awaits within?

With a name rooted in deep music theory, you’d expect an assault in the vein of Replicant or modern Pestilence. This is not the case. Scordatura lay their foundations off a respectable set of giant shoulders, featuring a high octane assault flavored primarily with the self-titled era of Cryptopsy. Drums are blasted, guitar strings are shredded, and the tempo maintains a consistently blurry pace. “Retali(H)ate” and “Led Into Oblivion” feature start-stop riffing with vocalist Daryl Boyce sounding like the lost brother of Matt McGachy in his earlier days, with the occasional sustained chord letting drummer Tam Moran show off flair and chops with rapid-fire cymbal fills. Doses of classic Vader stomp pepper “Oppressed Repressed”, and nods to Suffocation run through “Echoes of a Fractured Mind”. The flavor of the olde and trve are deeply embedded throughout the construction of Led Into Oblivion, all filtered through an exuberant attack that rarely pauses for breath.

In keeping with the stylings, Led Into Oblivion also keeps up with the sound. This album is meaty, layered, and not the most dynamic beast, but all instruments are given room to breathe by brutal death standards. A healthy dollop of pinch harmonics flow throughout the riff construction, and bassist Liam McCafferty is constantly heard clanging away in the background with the occasional spotlight given for a fill or scale. The concise runtime (about the length of Reign in Blood, yet another nod to the building blocks of greats) ensures ear fatigue doesn’t set in despite the perpetually speedy approach. A good track order does keep variety from cut to cut, with “A Manic Indoctrination” featuring open chord progressions and our first dose of real mid-tempo sound before the drums resume blasting away under the building menace. While being a well-arranged list of brutal death tropes, Scordatura wisely leave the concrete brick styled production in the past.

The only major blemish on Led Into Oblivion is a common one, but one that cannot be overlooked. Scordatura have spent so much time distilling the essence of the greats into their overall sound without capturing the distinguishing factors that made them great. “Existential Termination” dalliances with downtempo Cannibal Corpse, and the grindier moments of WWtFW era Dying Fetus as well as Deicide raise their head, but these snapshots lack the staying power of those names. Led Into Oblivion is an enjoyable release without any significant flaws, but it’s difficult to recall any standout moments once the album reaches its conclusion. This is disappointing, as Scordatura clearly have the skills to emulate all of these bands, but can’t quite stick the landing on a stank face triggering “rewind it and listen again” moment to distinguish it from their mountain of peers. Closer “Begging to Die” is an easy illustration, goes full New York style with a bouncy main riff which smacks of modern Pyrexia groove before trying to drop an Archspire verse (sans the vocals) and leads the listener to a thunderous but blurred conclusion.

Despite a name implying forays into the more uncomfortable realms of death, Scordatura have offered up a platter of decent-grade tribute to the death of olde. Led Into Oblivion isn’t a bad album, and is definitely worth a casual listen or three. But the band is still on the hunt for the X Factor to push them beyond their influences. They certainly have the playing chops, and I believe the compositional ability to make it come together. For now, let yourself be Led Into Oblivion and hear a good combination of the sounds of yore; just don’t be surprised when you find yourself wishing you were listening to their influences instead.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Everlasting Spew Records
Website: Album Bandcamp
Releases Worldwide: June 19th, 2026

“Scordatura” is an Italian word that means “mistuning.” This is a technique used for stringed instruments to allow for bizarre chords, or to simplify progressions that would require a lot of tendon mutilation to achieve in normal tunings. It’s a dope name, a cool concept, and an example of metal’s infinite ability to make badass monikers out of otherwise clinical, innocent terminology. Hailing from Scotland, rather than the land of leaning towers and opera, Scordatura have arrived with their 4th opus, Led Into Oblivion. Between their choice of title and their selection of album name, what sort of hellish soundscape awaits within?

With a name rooted in deep music theory, you’d expect an assault in the vein of Replicant or modern Pestilence. This is not the case. Scordatura lay their foundations off a respectable set of giant shoulders, featuring a high octane assault flavored primarily with the self-titled era of Cryptopsy. Drums are blasted, guitar strings are shredded, and the tempo maintains a consistently blurry pace. “Retali(H)ate” and “Led Into Oblivion” feature start-stop riffing with vocalist Daryl Boyce sounding like the lost brother of Matt McGachy in his earlier days, with the occasional sustained chord letting drummer Tam Moran show off flair and chops with rapid-fire cymbal fills. Doses of classic Vader stomp pepper “Oppressed Repressed”, and nods to Suffocation run through “Echoes of a Fractured Mind”. The flavor of the olde and trve are deeply embedded throughout the construction of Led Into Oblivion, all filtered through an exuberant attack that rarely pauses for breath.

In keeping with the stylings, Led Into Oblivion also keeps up with the sound. This album is meaty, layered, and not the most dynamic beast, but all instruments are given room to breathe by brutal death standards. A healthy dollop of pinch harmonics flow throughout the riff construction, and bassist Liam McCafferty is constantly heard clanging away in the background with the occasional spotlight given for a fill or scale. The concise runtime (about the length of Reign in Blood, yet another nod to the building blocks of greats) ensures ear fatigue doesn’t set in despite the perpetually speedy approach. A good track order does keep variety from cut to cut, with “A Manic Indoctrination” featuring open chord progressions and our first dose of real mid-tempo sound before the drums resume blasting away under the building menace. While being a well-arranged list of brutal death tropes, Scordatura wisely leave the concrete brick styled production in the past.

The only major blemish on Led Into Oblivion is a common one, but one that cannot be overlooked. Scordatura have spent so much time distilling the essence of the greats into their overall sound without capturing the distinguishing factors that made them great. “Existential Termination” dalliances with downtempo Cannibal Corpse, and the grindier moments of WWtFW era Dying Fetus as well as Deicide raise their head, but these snapshots lack the staying power of those names. Led Into Oblivion is an enjoyable release without any significant flaws, but it’s difficult to recall any standout moments once the album reaches its conclusion. This is disappointing, as Scordatura clearly have the skills to emulate all of these bands, but can’t quite stick the landing on a stank face triggering “rewind it and listen again” moment to distinguish it from their mountain of peers. Closer “Begging to Die” is an easy illustration, goes full New York style with a bouncy main riff which smacks of modern Pyrexia groove before trying to drop an Archspire verse (sans the vocals) and leads the listener to a thunderous but blurred conclusion.

Despite a name implying forays into the more uncomfortable realms of death, Scordatura have offered up a platter of decent-grade tribute to the death of olde. Led Into Oblivion isn’t a bad album, and is definitely worth a casual listen or three. But the band is still on the hunt for the X Factor to push them beyond their influences. They certainly have the playing chops, and I believe the compositional ability to make it come together. For now, let yourself be Led Into Oblivion and hear a good combination of the sounds of yore; just don’t be surprised when you find yourself wishing you were listening to their influences instead.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Everlasting Spew Records
Website: Album Bandcamp
Releases Worldwide: June 19th, 2026

“Scordatura” is an Italian word that means “mistuning.” This is a technique used for stringed instruments to allow for bizarre chords, or to simplify progressions that would require a lot of tendon mutilation to achieve in normal tunings. It’s a dope name, a cool concept, and an example of metal’s infinite ability to make badass monikers out of otherwise clinical, innocent terminology. Hailing from Scotland, rather than the land of leaning towers and opera, Scordatura have arrived with their 4th opus, Led Into Oblivion. Between their choice of title and their selection of album name, what sort of hellish soundscape awaits within?

With a name rooted in deep music theory, you’d expect an assault in the vein of Replicant or modern Pestilence. This is not the case. Scordatura lay their foundations off a respectable set of giant shoulders, featuring a high octane assault flavored primarily with the self-titled era of Cryptopsy. Drums are blasted, guitar strings are shredded, and the tempo maintains a consistently blurry pace. “Retali(H)ate” and “Led Into Oblivion” feature start-stop riffing with vocalist Daryl Boyce sounding like the lost brother of Matt McGachy in his earlier days, with the occasional sustained chord letting drummer Tam Moran show off flair and chops with rapid-fire cymbal fills. Doses of classic Vader stomp pepper “Oppressed Repressed”, and nods to Suffocation run through “Echoes of a Fractured Mind”. The flavor of the olde and trve are deeply embedded throughout the construction of Led Into Oblivion, all filtered through an exuberant attack that rarely pauses for breath.

In keeping with the stylings, Led Into Oblivion also keeps up with the sound. This album is meaty, layered, and not the most dynamic beast, but all instruments are given room to breathe by brutal death standards. A healthy dollop of pinch harmonics flow throughout the riff construction, and bassist Liam McCafferty is constantly heard clanging away in the background with the occasional spotlight given for a fill or scale. The concise runtime (about the length of Reign in Blood, yet another nod to the building blocks of greats) ensures ear fatigue doesn’t set in despite the perpetually speedy approach. A good track order does keep variety from cut to cut, with “A Manic Indoctrination” featuring open chord progressions and our first dose of real mid-tempo sound before the drums resume blasting away under the building menace. While being a well-arranged list of brutal death tropes, Scordatura wisely leave the concrete brick styled production in the past.

The only major blemish on Led Into Oblivion is a common one, but one that cannot be overlooked. Scordatura have spent so much time distilling the essence of the greats into their overall sound without capturing the distinguishing factors that made them great. “Existential Termination” dalliances with downtempo Cannibal Corpse, and the grindier moments of WWtFW era Dying Fetus as well as Deicide raise their head, but these snapshots lack the staying power of those names. Led Into Oblivion is an enjoyable release without any significant flaws, but it’s difficult to recall any standout moments once the album reaches its conclusion. This is disappointing, as Scordatura clearly have the skills to emulate all of these bands, but can’t quite stick the landing on a stank face triggering “rewind it and listen again” moment to distinguish it from their mountain of peers. Closer “Begging to Die” is an easy illustration, goes full New York style with a bouncy main riff which smacks of modern Pyrexia groove before trying to drop an Archspire verse (sans the vocals) and leads the listener to a thunderous but blurred conclusion.

Despite a name implying forays into the more uncomfortable realms of death, Scordatura have offered up a platter of decent-grade tribute to the death of olde. Led Into Oblivion isn’t a bad album, and is definitely worth a casual listen or three. But the band is still on the hunt for the X Factor to push them beyond their influences. They certainly have the playing chops, and I believe the compositional ability to make it come together. For now, let yourself be Led Into Oblivion and hear a good combination of the sounds of yore; just don’t be surprised when you find yourself wishing you were listening to their influences instead.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Everlasting Spew Records
Website: Album Bandcamp
Releases Worldwide: June 19th, 2026

Pro-Shot 2026 ‘Hellfest Open Air’ Sets From Anthrax, Papa Roach, Carcass, Behemoth, Sepultura & Many More Available

Various live performances from this past weekend’s annual ‘Hellfest Open Air‘ fes…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #Accept #AgnosticFront #Anthrax #Behemoth! #BlackVeilBrides #CarachAngren #CultofLuna #Deicide #Entertainment #Malevolence #PapaRoach #Sabaton #Sepultura #shelter #ThePlotinYou #ThePrettyReckless
https://www.newsbeep.com/us/720390/

Pro-Shot 2026 ‘Hellfest Open Air’ Sets From Anthrax, Papa Roach, Carcass, Behemoth, Sepultura & Many More Available

Various live performances from this past weekend’s annual ‘Hellfest Open Air‘ fes…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #Accept #AgnosticFront #Anthrax #Behemoth! #BlackVeilBrides #CarachAngren #CultofLuna #Deicide #Entertainment #Malevolence #PapaRoach #Sabaton #Sepultura #shelter #ThePlotinYou #ThePrettyReckless
https://www.newsbeep.com/us/720390/

#DEICIDE #HELLFEST2026 🇫🇷 Fondé en 1987 à Tampa, le groupe mené par Glen Benton s’est rapidement imposé comme l’une des formations les plus radicales de la scène extrême américaine. Porté par un discours frontal et une imagerie antireligieuse, Deicide construit depuis plus de trente ans une discographie sans concession, forte de douze albums studio. Sur scène, chaque riff de…

› https://feedbot.net/watch/hNBZrIXiyBI via @feedbot

#DEICIDE #HELLFEST2026 🇫🇷 Fondé en 1987 à Tampa, le groupe mené par Glen Benton s’est rapidement imposé comme l’une des formations les plus radicales de la scène extrême américaine. Porté par un discours frontal et une imagerie antireligieuse, Deicide construit depuis plus de trente ans une discographie sans concession, forte de douze albums studio. Sur scène, chaque riff de…

› https://feedbot.net/watch/hNBZrIXiyBI via @feedbot

#DEICIDE #HELLFEST2026 🇫🇷 Fondé en 1987 à Tampa, le groupe mené par Glen Benton s’est rapidement imposé comme l’une des formations les plus radicales de la scène extrême américaine. Porté par un discours frontal et une imagerie antireligieuse, Deicide construit depuis plus de trente ans une discographie sans concession, forte de douze albums studio. Sur scène, chaque riff de…

› https://feedbot.net/watch/hNBZrIXiyBI via @feedbot

#DEICIDE #HELLFEST2026 🇫🇷 Fondé en 1987 à Tampa, le groupe mené par Glen Benton s’est rapidement imposé comme l’une des formations les plus radicales de la scène extrême américaine. Porté par un discours frontal et une imagerie antireligieuse, Deicide construit depuis plus de trente ans une discographie sans concession, forte de douze albums studio. Sur scène, chaque riff de…

› https://feedbot.net/watch/hNBZrIXiyBI via @feedbot

#DEICIDE #HELLFEST2026 🇫🇷 Fondé en 1987 à Tampa, le groupe mené par Glen Benton s’est rapidement imposé comme l’une des formations les plus radicales de la scène extrême américaine. Porté par un discours frontal et une imagerie antireligieuse, Deicide construit depuis plus de trente ans une discographie sans concession, forte de douze albums studio. Sur scène, chaque riff de…

› https://feedbot.net/watch/hNBZrIXiyBI via @feedbot

Meet your idols.

I had my first date with my wife-to-be on the same day I got the new Deicide album "Amon: Feasting the Beast". Being the oblivious nerd that i am, we listened to my favorite song "Sacrificial Suicide" a dozen or more times during that date. Despite that (or perhaps because of it?) she gave me a chance and 33+ years later we're still together.

During the Behemoth tour that kicked off last month I mentioned this story to Nergal, Behemoth's vocalist. (Deicide is opening for Behemoth on this tour, and Behemoth's band members are decades-long Deicide fans as well.) Fast forward to the show earlier this month in Worcester where my wife came with me, and Nergal invited me to join the band on stage to sing with them. A sacrificial serenade, as it were.

Meet your idols. Sometimes they turn out to be awesome, genuine, empathic people.

https://www.youtube.com/watch?v=CBPQtJvYDgY

#Metal #Music #Behemoth #Deicide

Meet your idols.

I had my first date with my wife-to-be on the same day I got the new Deicide album "Amon: Feasting the Beast". Being the oblivious nerd that i am, we listened to my favorite song "Sacrificial Suicide" a dozen or more times during that date. Despite that (or perhaps because of it?) she gave me a chance and 33+ years later we're still together.

During the Behemoth tour that kicked off last month I mentioned this story to Nergal, Behemoth's vocalist. (Deicide is opening for Behemoth on this tour, and Behemoth's band members are decades-long Deicide fans as well.) Fast forward to the show earlier this month in Worcester where my wife came with me, and Nergal invited me to join the band on stage to sing with them. A sacrificial serenade, as it were.

Meet your idols. Sometimes they turn out to be awesome, genuine, empathic people.

https://www.youtube.com/watch?v=CBPQtJvYDgY

#Metal #Music #Behemoth #Deicide

Meet your idols.

I had my first date with my wife-to-be on the same day I got the new Deicide album "Amon: Feasting the Beast". Being the oblivious nerd that i am, we listened to my favorite song "Sacrificial Suicide" a dozen or more times during that date. Despite that (or perhaps because of it?) she gave me a chance and 33+ years later we're still together.

During the Behemoth tour that kicked off last month I mentioned this story to Nergal, Behemoth's vocalist. (Deicide is opening for Behemoth on this tour, and Behemoth's band members are decades-long Deicide fans as well.) Fast forward to the show earlier this month in Worcester where my wife came with me, and Nergal invited me to join the band on stage to sing with them. A sacrificial serenade, as it were.

Meet your idols. Sometimes they turn out to be awesome, genuine, empathic people.

https://www.youtube.com/watch?v=CBPQtJvYDgY

#Metal #Music #Behemoth #Deicide

Meet your idols.

I had my first date with my wife-to-be on the same day I got the new Deicide album "Amon: Feasting the Beast". Being the oblivious nerd that i am, we listened to my favorite song "Sacrificial Suicide" a dozen or more times during that date. Despite that (or perhaps because of it?) she gave me a chance and 33+ years later we're still together.

During the Behemoth tour that kicked off last month I mentioned this story to Nergal, Behemoth's vocalist. (Deicide is opening for Behemoth on this tour, and Behemoth's band members are decades-long Deicide fans as well.) Fast forward to the show earlier this month in Worcester where my wife came with me, and Nergal invited me to join the band on stage to sing with them. A sacrificial serenade, as it were.

Meet your idols. Sometimes they turn out to be awesome, genuine, empathic people.

https://www.youtube.com/watch?v=CBPQtJvYDgY

#Metal #Music #Behemoth #Deicide

Meet your idols.

I had my first date with my wife-to-be on the same day I got the new Deicide album "Amon: Feasting the Beast". Being the oblivious nerd that i am, we listened to my favorite song "Sacrificial Suicide" a dozen or more times during that date. Despite that (or perhaps because of it?) she gave me a chance and 33+ years later we're still together.

During the Behemoth tour that kicked off last month I mentioned this story to Nergal, Behemoth's vocalist. (Deicide is opening for Behemoth on this tour, and Behemoth's band members are decades-long Deicide fans as well.) Fast forward to the show earlier this month in Worcester where my wife came with me, and Nergal invited me to join the band on stage to sing with them. A sacrificial serenade, as it were.

Meet your idols. Sometimes they turn out to be awesome, genuine, empathic people.

https://www.youtube.com/watch?v=CBPQtJvYDgY

#Metal #Music #Behemoth #Deicide

The Godless IV Tour tore through New York with Behemoth, Rotting Christ, Deicide, and Immolation, marking one of the strongest tour packages of the spring, packed with extreme metal veterans.
Details: https://metalinsider.net/photos/photos-review-behemoth-bring-the-godless-iv-tour-to-ny-with-deicide-rotting-christ-immolation-5-2-2026

#Behemoth #Deicide #RottingChrist #Immolation #DeathMetal #BlackMetal #LiveReview

The Godless IV Tour tore through New York with Behemoth, Rotting Christ, Deicide, and Immolation, marking one of the strongest tour packages of the spring, packed with extreme metal veterans.
Details: https://metalinsider.net/photos/photos-review-behemoth-bring-the-godless-iv-tour-to-ny-with-deicide-rotting-christ-immolation-5-2-2026

#Behemoth #Deicide #RottingChrist #Immolation #DeathMetal #BlackMetal #LiveReview

Crotaline – The Embrace of Cloacal Desire Review

When it comes to snakes and music, I’m a simple man. I think of Testament’s Brotherhood of the…
#NewsBeep #News #Music #1.5 #2026 #AmericanMetal #Apr26 #AU #Australia #Bathory #BlackMetal #CelticFrost #Crotaline #Darkthrone #Deicide #Emperor #Entertainment #Hellhammer #HighonFire #Immortal #LiminalDreadProductions #mayhem #review #reviews #SirMix-A-Lot #Testament #TheEmbraceofCloacalDesire #Triptykon #Venom
https://www.newsbeep.com/au/591284/

Crotaline – The Embrace of Cloacal Desire Review

When it comes to snakes and music, I’m a simple man. I think of Testament’s Brotherhood of the…
#NewsBeep #News #Music #1.5 #2026 #AmericanMetal #Apr26 #AU #Australia #Bathory #BlackMetal #CelticFrost #Crotaline #Darkthrone #Deicide #Emperor #Entertainment #Hellhammer #HighonFire #Immortal #LiminalDreadProductions #mayhem #review #reviews #SirMix-A-Lot #Testament #TheEmbraceofCloacalDesire #Triptykon #Venom
https://www.newsbeep.com/au/591284/

When it comes to snakes and music, I’m a simple man. I think of Testament’s Brotherhood of the Snake, High on Fire’s Snakes for the Divine, Deicide’s Serpents of the Light, and Sir Mix-a-Lot. And now Philadelphia’s Crotaline1 slithers in flaunting first-wave-of-black-metal ballads rife with references to snake genitalia. Black metal’s second wave garners most of the attention, having shaped what most consider to be the genre’s trve north, but Mayhem, Darkthrone, Immortal, and Emperor never would have become what they are without Bathory’s lo-fi virulence, Venom’s proto-thrashed, punk-informed edgelording, and Celtic Frost’s sinister atmospheres and doomy trudges. First-wave black metal fairly characterizes what Crotaline provides on debut The Embrace of Cloacal Desire, as it’s ridden with direct, unadorned riffing, torturous plods, and a classically DIY aesthetic. Crotaline’s debut sounds like a blast, and I hope it is—my anaconda don’t want none unless it’s got fun, hun.

In many senses, The Embrace of Cloacal Desire is a primitive album. Crotaline relates carnal tales of ophidian lust in straightforward spurts of stripped-down metal, preferring uncomplicated riffs and instrumentation to deliver their herpetological gospel. In this way, Crotaline reminds me more of Hellhammer than Bathory or Celtic Frost. Tom G. Warrior’s (Triptykon) first project,2 Hellhammer distinguished itself more for its chaos and enthusiasm than its execution. Similarly, The Embrace of Cloacal Desire attacks with zealous verve, flitting through nine tracks of intermittently thrashy and doom-laden black metal. Despite the bold mashup of genres, though, Crotaline never quite brings their fangs within striking distance.

The Embrace of Cloacal Desire by Crotaline

Two primary issues plague The Embrace of Cloacal Desire, and each boils down to the same root cause—simplicity. While the drums supply a commendable rhythmic thunder, mostly Crotaline’s performance either plays too safe or lacks the technical firepower to achieve big moments. After a protracted minute-and-a-half intro, opener “Breeding the End” gets properly started. Unleashing a classic thrash riff recalling Bonded by Blood-era Exodus, a peppy bass groove joins in to underpin the melody. The pace slows at the chorus, cutting to a second riff before wending back to the main one. “Widow’s Web” kicks in next, treating listeners to a Venom-meets-Bathory hook that, just like the preceding song, tamps the brakes for vocals and a bridge. The pattern wears thin quickly, and The Embrace of Cloacal Desire suffers from this constricted songwriting—particularly in the back half. Too many half-formed ideas reach for big moments, only to topple into funereal crawls. For an album dedicated to dangerous snakes and sex organs, too often I’m left unthrilled and unfulfilled.

Ultimately, the lack of memorable passages and songs leaves The Embrace of Cloacal Desire as drab and listless as a shed snakeskin. Solid building blocks reside in Crotaline’s DNA, but the shapes of their assembled structures never coalesce into more than their constituent components. Where varying tempos can effectively lead to dynamic pacing and musical climaxes, Crotaline’s overuse of the fast-to-slow momentum shifts undercuts their songwriting. “As the Serpents Feast” exits the chorus and launches into a punky bridge begging for a wailing solo, but instead delivers an understated, unconvincing lead lacking excitement and dexterity. “Red Moon of Despair” starts promisingly enough, yet drops to a two-minute slog of glacial pacing. The same framework repeats on “Beneath the Reeds,” and yet again on “Hemipenes; The Embrace of Cloacal Desire.” Rather than mirroring a narrative or cleverly subverting expectations, these pivots can seem haphazard or lazy, leading to either frustration or boredom.

In spite of a great album concept and comparisons to bands I enjoy, Crotaline’s debut fails to charm my snake. Predictable songwriting and uninspired performances make The Embrace of Cloacal Desire’s thirty-five minutes feel longer than they are, and no song manages to entirely sidestep these issues. Even so, it takes guts to write this wild shit, and even more so to memorialize these ideas in song. Venom lurks within Crotaline, but the band needs to retool their bite. Hopefully they can figure it out and give us a rousing sophomore resurgence. Until then, I’m left to wonder if maybe I’m bored with it, or maybe it’s Crotaline.

Rating: Bad
DR: N/A | Format Reviewed: WAV
Label: Liminal Dread Productions
Websites: Bandcamp | Facebook
Releases Worldwide: April 3rd, 2026

When it comes to snakes and music, I’m a simple man. I think of Testament’s Brotherhood of the Snake, High on Fire’s Snakes for the Divine, Deicide’s Serpents of the Light, and Sir Mix-a-Lot. And now Philadelphia’s Crotaline1 slithers in flaunting first-wave-of-black-metal ballads rife with references to snake genitalia. Black metal’s second wave garners most of the attention, having shaped what most consider to be the genre’s trve north, but Mayhem, Darkthrone, Immortal, and Emperor never would have become what they are without Bathory’s lo-fi virulence, Venom’s proto-thrashed, punk-informed edgelording, and Celtic Frost’s sinister atmospheres and doomy trudges. First-wave black metal fairly characterizes what Crotaline provides on debut The Embrace of Cloacal Desire, as it’s ridden with direct, unadorned riffing, torturous plods, and a classically DIY aesthetic. Crotaline’s debut sounds like a blast, and I hope it is—my anaconda don’t want none unless it’s got fun, hun.

In many senses, The Embrace of Cloacal Desire is a primitive album. Crotaline relates carnal tales of ophidian lust in straightforward spurts of stripped-down metal, preferring uncomplicated riffs and instrumentation to deliver their herpetological gospel. In this way, Crotaline reminds me more of Hellhammer than Bathory or Celtic Frost. Tom G. Warrior’s (Triptykon) first project,2 Hellhammer distinguished itself more for its chaos and enthusiasm than its execution. Similarly, The Embrace of Cloacal Desire attacks with zealous verve, flitting through nine tracks of intermittently thrashy and doom-laden black metal. Despite the bold mashup of genres, though, Crotaline never quite brings their fangs within striking distance.

The Embrace of Cloacal Desire by Crotaline

Two primary issues plague The Embrace of Cloacal Desire, and each boils down to the same root cause—simplicity. While the drums supply a commendable rhythmic thunder, mostly Crotaline’s performance either plays too safe or lacks the technical firepower to achieve big moments. After a protracted minute-and-a-half intro, opener “Breeding the End” gets properly started. Unleashing a classic thrash riff recalling Bonded by Blood-era Exodus, a peppy bass groove joins in to underpin the melody. The pace slows at the chorus, cutting to a second riff before wending back to the main one. “Widow’s Web” kicks in next, treating listeners to a Venom-meets-Bathory hook that, just like the preceding song, tamps the brakes for vocals and a bridge. The pattern wears thin quickly, and The Embrace of Cloacal Desire suffers from this constricted songwriting—particularly in the back half. Too many half-formed ideas reach for big moments, only to topple into funereal crawls. For an album dedicated to dangerous snakes and sex organs, too often I’m left unthrilled and unfulfilled.

Ultimately, the lack of memorable passages and songs leaves The Embrace of Cloacal Desire as drab and listless as a shed snakeskin. Solid building blocks reside in Crotaline’s DNA, but the shapes of their assembled structures never coalesce into more than their constituent components. Where varying tempos can effectively lead to dynamic pacing and musical climaxes, Crotaline’s overuse of the fast-to-slow momentum shifts undercuts their songwriting. “As the Serpents Feast” exits the chorus and launches into a punky bridge begging for a wailing solo, but instead delivers an understated, unconvincing lead lacking excitement and dexterity. “Red Moon of Despair” starts promisingly enough, yet drops to a two-minute slog of glacial pacing. The same framework repeats on “Beneath the Reeds,” and yet again on “Hemipenes; The Embrace of Cloacal Desire.” Rather than mirroring a narrative or cleverly subverting expectations, these pivots can seem haphazard or lazy, leading to either frustration or boredom.

In spite of a great album concept and comparisons to bands I enjoy, Crotaline’s debut fails to charm my snake. Predictable songwriting and uninspired performances make The Embrace of Cloacal Desire’s thirty-five minutes feel longer than they are, and no song manages to entirely sidestep these issues. Even so, it takes guts to write this wild shit, and even more so to memorialize these ideas in song. Venom lurks within Crotaline, but the band needs to retool their bite. Hopefully they can figure it out and give us a rousing sophomore resurgence. Until then, I’m left to wonder if maybe I’m bored with it, or maybe it’s Crotaline.

Rating: Bad
DR: N/A | Format Reviewed: WAV
Label: Liminal Dread Productions
Websites: Bandcamp | Facebook
Releases Worldwide: April 3rd, 2026

When it comes to snakes and music, I’m a simple man. I think of Testament’s Brotherhood of the Snake, High on Fire’s Snakes for the Divine, Deicide’s Serpents of the Light, and Sir Mix-a-Lot. And now Philadelphia’s Crotaline1 slithers in flaunting first-wave-of-black-metal ballads rife with references to snake genitalia. Black metal’s second wave garners most of the attention, having shaped what most consider to be the genre’s trve north, but Mayhem, Darkthrone, Immortal, and Emperor never would have become what they are without Bathory’s lo-fi virulence, Venom’s proto-thrashed, punk-informed edgelording, and Celtic Frost’s sinister atmospheres and doomy trudges. First-wave black metal fairly characterizes what Crotaline provides on debut The Embrace of Cloacal Desire, as it’s ridden with direct, unadorned riffing, torturous plods, and a classically DIY aesthetic. Crotaline’s debut sounds like a blast, and I hope it is—my anaconda don’t want none unless it’s got fun, hun.

In many senses, The Embrace of Cloacal Desire is a primitive album. Crotaline relates carnal tales of ophidian lust in straightforward spurts of stripped-down metal, preferring uncomplicated riffs and instrumentation to deliver their herpetological gospel. In this way, Crotaline reminds me more of Hellhammer than Bathory or Celtic Frost. Tom G. Warrior’s (Triptykon) first project,2 Hellhammer distinguished itself more for its chaos and enthusiasm than its execution. Similarly, The Embrace of Cloacal Desire attacks with zealous verve, flitting through nine tracks of intermittently thrashy and doom-laden black metal. Despite the bold mashup of genres, though, Crotaline never quite brings their fangs within striking distance.

The Embrace of Cloacal Desire by Crotaline

Two primary issues plague The Embrace of Cloacal Desire, and each boils down to the same root cause—simplicity. While the drums supply a commendable rhythmic thunder, mostly Crotaline’s performance either plays too safe or lacks the technical firepower to achieve big moments. After a protracted minute-and-a-half intro, opener “Breeding the End” gets properly started. Unleashing a classic thrash riff recalling Bonded by Blood-era Exodus, a peppy bass groove joins in to underpin the melody. The pace slows at the chorus, cutting to a second riff before wending back to the main one. “Widow’s Web” kicks in next, treating listeners to a Venom-meets-Bathory hook that, just like the preceding song, tamps the brakes for vocals and a bridge. The pattern wears thin quickly, and The Embrace of Cloacal Desire suffers from this constricted songwriting—particularly in the back half. Too many half-formed ideas reach for big moments, only to topple into funereal crawls. For an album dedicated to dangerous snakes and sex organs, too often I’m left unthrilled and unfulfilled.

Ultimately, the lack of memorable passages and songs leaves The Embrace of Cloacal Desire as drab and listless as a shed snakeskin. Solid building blocks reside in Crotaline’s DNA, but the shapes of their assembled structures never coalesce into more than their constituent components. Where varying tempos can effectively lead to dynamic pacing and musical climaxes, Crotaline’s overuse of the fast-to-slow momentum shifts undercuts their songwriting. “As the Serpents Feast” exits the chorus and launches into a punky bridge begging for a wailing solo, but instead delivers an understated, unconvincing lead lacking excitement and dexterity. “Red Moon of Despair” starts promisingly enough, yet drops to a two-minute slog of glacial pacing. The same framework repeats on “Beneath the Reeds,” and yet again on “Hemipenes; The Embrace of Cloacal Desire.” Rather than mirroring a narrative or cleverly subverting expectations, these pivots can seem haphazard or lazy, leading to either frustration or boredom.

In spite of a great album concept and comparisons to bands I enjoy, Crotaline’s debut fails to charm my snake. Predictable songwriting and uninspired performances make The Embrace of Cloacal Desire’s thirty-five minutes feel longer than they are, and no song manages to entirely sidestep these issues. Even so, it takes guts to write this wild shit, and even more so to memorialize these ideas in song. Venom lurks within Crotaline, but the band needs to retool their bite. Hopefully they can figure it out and give us a rousing sophomore resurgence. Until then, I’m left to wonder if maybe I’m bored with it, or maybe it’s Crotaline.

Rating: Bad
DR: N/A | Format Reviewed: WAV
Label: Liminal Dread Productions
Websites: Bandcamp | Facebook
Releases Worldwide: April 3rd, 2026

When it comes to snakes and music, I’m a simple man. I think of Testament’s Brotherhood of the Snake, High on Fire’s Snakes for the Divine, Deicide’s Serpents of the Light, and Sir Mix-a-Lot. And now Philadelphia’s Crotaline1 slithers in flaunting first-wave-of-black-metal ballads rife with references to snake genitalia. Black metal’s second wave garners most of the attention, having shaped what most consider to be the genre’s trve north, but Mayhem, Darkthrone, Immortal, and Emperor never would have become what they are without Bathory’s lo-fi virulence, Venom’s proto-thrashed, punk-informed edgelording, and Celtic Frost’s sinister atmospheres and doomy trudges. First-wave black metal fairly characterizes what Crotaline provides on debut The Embrace of Cloacal Desire, as it’s ridden with direct, unadorned riffing, torturous plods, and a classically DIY aesthetic. Crotaline’s debut sounds like a blast, and I hope it is—my anaconda don’t want none unless it’s got fun, hun.

In many senses, The Embrace of Cloacal Desire is a primitive album. Crotaline relates carnal tales of ophidian lust in straightforward spurts of stripped-down metal, preferring uncomplicated riffs and instrumentation to deliver their herpetological gospel. In this way, Crotaline reminds me more of Hellhammer than Bathory or Celtic Frost. Tom G. Warrior’s (Triptykon) first project,2 Hellhammer distinguished itself more for its chaos and enthusiasm than its execution. Similarly, The Embrace of Cloacal Desire attacks with zealous verve, flitting through nine tracks of intermittently thrashy and doom-laden black metal. Despite the bold mashup of genres, though, Crotaline never quite brings their fangs within striking distance.

The Embrace of Cloacal Desire by Crotaline

Two primary issues plague The Embrace of Cloacal Desire, and each boils down to the same root cause—simplicity. While the drums supply a commendable rhythmic thunder, mostly Crotaline’s performance either plays too safe or lacks the technical firepower to achieve big moments. After a protracted minute-and-a-half intro, opener “Breeding the End” gets properly started. Unleashing a classic thrash riff recalling Bonded by Blood-era Exodus, a peppy bass groove joins in to underpin the melody. The pace slows at the chorus, cutting to a second riff before wending back to the main one. “Widow’s Web” kicks in next, treating listeners to a Venom-meets-Bathory hook that, just like the preceding song, tamps the brakes for vocals and a bridge. The pattern wears thin quickly, and The Embrace of Cloacal Desire suffers from this constricted songwriting—particularly in the back half. Too many half-formed ideas reach for big moments, only to topple into funereal crawls. For an album dedicated to dangerous snakes and sex organs, too often I’m left unthrilled and unfulfilled.

Ultimately, the lack of memorable passages and songs leaves The Embrace of Cloacal Desire as drab and listless as a shed snakeskin. Solid building blocks reside in Crotaline’s DNA, but the shapes of their assembled structures never coalesce into more than their constituent components. Where varying tempos can effectively lead to dynamic pacing and musical climaxes, Crotaline’s overuse of the fast-to-slow momentum shifts undercuts their songwriting. “As the Serpents Feast” exits the chorus and launches into a punky bridge begging for a wailing solo, but instead delivers an understated, unconvincing lead lacking excitement and dexterity. “Red Moon of Despair” starts promisingly enough, yet drops to a two-minute slog of glacial pacing. The same framework repeats on “Beneath the Reeds,” and yet again on “Hemipenes; The Embrace of Cloacal Desire.” Rather than mirroring a narrative or cleverly subverting expectations, these pivots can seem haphazard or lazy, leading to either frustration or boredom.

In spite of a great album concept and comparisons to bands I enjoy, Crotaline’s debut fails to charm my snake. Predictable songwriting and uninspired performances make The Embrace of Cloacal Desire’s thirty-five minutes feel longer than they are, and no song manages to entirely sidestep these issues. Even so, it takes guts to write this wild shit, and even more so to memorialize these ideas in song. Venom lurks within Crotaline, but the band needs to retool their bite. Hopefully they can figure it out and give us a rousing sophomore resurgence. Until then, I’m left to wonder if maybe I’m bored with it, or maybe it’s Crotaline.

Rating: Bad
DR: N/A | Format Reviewed: WAV
Label: Liminal Dread Productions
Websites: Bandcamp | Facebook
Releases Worldwide: April 3rd, 2026

When it comes to snakes and music, I’m a simple man. I think of Testament’s Brotherhood of the Snake, High on Fire’s Snakes for the Divine, Deicide’s Serpents of the Light, and Sir Mix-a-Lot. And now Philadelphia’s Crotaline1 slithers in flaunting first-wave-of-black-metal ballads rife with references to snake genitalia. Black metal’s second wave garners most of the attention, having shaped what most consider to be the genre’s trve north, but Mayhem, Darkthrone, Immortal, and Emperor never would have become what they are without Bathory’s lo-fi virulence, Venom’s proto-thrashed, punk-informed edgelording, and Celtic Frost’s sinister atmospheres and doomy trudges. First-wave black metal fairly characterizes what Crotaline provides on debut The Embrace of Cloacal Desire, as it’s ridden with direct, unadorned riffing, torturous plods, and a classically DIY aesthetic. Crotaline’s debut sounds like a blast, and I hope it is—my anaconda don’t want none unless it’s got fun, hun.

In many senses, The Embrace of Cloacal Desire is a primitive album. Crotaline relates carnal tales of ophidian lust in straightforward spurts of stripped-down metal, preferring uncomplicated riffs and instrumentation to deliver their herpetological gospel. In this way, Crotaline reminds me more of Hellhammer than Bathory or Celtic Frost. Tom G. Warrior’s (Triptykon) first project,2 Hellhammer distinguished itself more for its chaos and enthusiasm than its execution. Similarly, The Embrace of Cloacal Desire attacks with zealous verve, flitting through nine tracks of intermittently thrashy and doom-laden black metal. Despite the bold mashup of genres, though, Crotaline never quite brings their fangs within striking distance.

The Embrace of Cloacal Desire by Crotaline

Two primary issues plague The Embrace of Cloacal Desire, and each boils down to the same root cause—simplicity. While the drums supply a commendable rhythmic thunder, mostly Crotaline’s performance either plays too safe or lacks the technical firepower to achieve big moments. After a protracted minute-and-a-half intro, opener “Breeding the End” gets properly started. Unleashing a classic thrash riff recalling Bonded by Blood-era Exodus, a peppy bass groove joins in to underpin the melody. The pace slows at the chorus, cutting to a second riff before wending back to the main one. “Widow’s Web” kicks in next, treating listeners to a Venom-meets-Bathory hook that, just like the preceding song, tamps the brakes for vocals and a bridge. The pattern wears thin quickly, and The Embrace of Cloacal Desire suffers from this constricted songwriting—particularly in the back half. Too many half-formed ideas reach for big moments, only to topple into funereal crawls. For an album dedicated to dangerous snakes and sex organs, too often I’m left unthrilled and unfulfilled.

Ultimately, the lack of memorable passages and songs leaves The Embrace of Cloacal Desire as drab and listless as a shed snakeskin. Solid building blocks reside in Crotaline’s DNA, but the shapes of their assembled structures never coalesce into more than their constituent components. Where varying tempos can effectively lead to dynamic pacing and musical climaxes, Crotaline’s overuse of the fast-to-slow momentum shifts undercuts their songwriting. “As the Serpents Feast” exits the chorus and launches into a punky bridge begging for a wailing solo, but instead delivers an understated, unconvincing lead lacking excitement and dexterity. “Red Moon of Despair” starts promisingly enough, yet drops to a two-minute slog of glacial pacing. The same framework repeats on “Beneath the Reeds,” and yet again on “Hemipenes; The Embrace of Cloacal Desire.” Rather than mirroring a narrative or cleverly subverting expectations, these pivots can seem haphazard or lazy, leading to either frustration or boredom.

In spite of a great album concept and comparisons to bands I enjoy, Crotaline’s debut fails to charm my snake. Predictable songwriting and uninspired performances make The Embrace of Cloacal Desire’s thirty-five minutes feel longer than they are, and no song manages to entirely sidestep these issues. Even so, it takes guts to write this wild shit, and even more so to memorialize these ideas in song. Venom lurks within Crotaline, but the band needs to retool their bite. Hopefully they can figure it out and give us a rousing sophomore resurgence. Until then, I’m left to wonder if maybe I’m bored with it, or maybe it’s Crotaline.

Rating: Bad
DR: N/A | Format Reviewed: WAV
Label: Liminal Dread Productions
Websites: Bandcamp | Facebook
Releases Worldwide: April 3rd, 2026

https://www.europesays.com/ie/311134/ JACK OWEN Reflects On Difficult Relationship With DEICIDE’s GLEN BENTON: “It Just Was Not Gonna Work” #deicide #Éire #Entertainment #Featured #IE #Ireland #Music

Behemoth announce Spring 2026 tour with Deicide, Rotting Christ & Immolation:

#Behemoth #Deicide #RottingChrist #Immolation #TourAlert

Link: https://metalinsider.net/touring/behemoth-announce-spring-2026-tour-with-deicide-rotting-christ-immolation

Behemoth announce Spring 2026 tour with Deicide, Rotting Christ & Immolation:

#Behemoth #Deicide #RottingChrist #Immolation #TourAlert

Link: https://metalinsider.net/touring/behemoth-announce-spring-2026-tour-with-deicide-rotting-christ-immolation

🇺🇦 #NowPlaying on #KEXP's #VarietyMix

Deicide:
🎵 Sacrificial Suicide

#Deicide

https://deicide.bandcamp.com/track/sacrificial-suicide-2

https://open.spotify.com/track/2kW45RgvG6cGkyAfq9ZlsZ

🎶 show playlist 👇
https://open.spotify.com/playlist/6G4PaS9BNkIuGqMo44rbfZ

🎶 KEXP playlist 👇
https://open.spotify.com/playlist/6VNALrOa3gWbk794YuIrwg

🇺🇦 #NowPlaying on #KEXP's #VarietyMix

Deicide:
🎵 Sacrificial Suicide

#Deicide

https://deicide.bandcamp.com/track/sacrificial-suicide-2

https://open.spotify.com/track/2kW45RgvG6cGkyAfq9ZlsZ

🎶 show playlist 👇
https://open.spotify.com/playlist/6G4PaS9BNkIuGqMo44rbfZ

🎶 KEXP playlist 👇
https://open.spotify.com/playlist/6VNALrOa3gWbk794YuIrwg

🇺🇦 #NowPlaying on #KEXP's #VarietyMix

Deicide:
🎵 Sacrificial Suicide

#Deicide

https://deicide.bandcamp.com/track/sacrificial-suicide-2

https://open.spotify.com/track/2kW45RgvG6cGkyAfq9ZlsZ

🎶 show playlist 👇
https://open.spotify.com/playlist/6G4PaS9BNkIuGqMo44rbfZ

🎶 KEXP playlist 👇
https://open.spotify.com/playlist/6VNALrOa3gWbk794YuIrwg

🇺🇦 #NowPlaying on #KEXP's #VarietyMix

Deicide:
🎵 Sacrificial Suicide

#Deicide

https://deicide.bandcamp.com/track/sacrificial-suicide-2

https://open.spotify.com/track/2kW45RgvG6cGkyAfq9ZlsZ

🎶 show playlist 👇
https://open.spotify.com/playlist/6G4PaS9BNkIuGqMo44rbfZ

🎶 KEXP playlist 👇
https://open.spotify.com/playlist/6VNALrOa3gWbk794YuIrwg

🇺🇦 #NowPlaying on #KEXP's #VarietyMix

Deicide:
🎵 Sacrificial Suicide

#Deicide

https://deicide.bandcamp.com/track/sacrificial-suicide-2

https://open.spotify.com/track/2kW45RgvG6cGkyAfq9ZlsZ

🎶 show playlist 👇
https://open.spotify.com/playlist/6G4PaS9BNkIuGqMo44rbfZ

🎶 KEXP playlist 👇
https://open.spotify.com/playlist/6VNALrOa3gWbk794YuIrwg

Glorious Depravity – Death Never Sleeps Review

By Steel Druhm

Death metal from New York City is usually plenty ugly enough, but in the strange case of Glorious Depravity, things get even more grotesque due to the band members’ connection to acts like Pyrrhon and Woe. Their 2020 debut Ageless Violence was a solid if non-essential homage to the Godz of Floridan Death with plenty of Morbid Angel and Deicide DNA in its unnatural makeup. Five years later, they serve up Death Never Sleeps with a sound profile still wearing Orlando-friendly cargo shorts, and hidden in those oversized pockets are elements of grindcore. This is ugly, slimy death for fugly, unwashed folks who throw empty beer cans at meth heads for cheap thrills. The only thing remotely classy about it is the badass cover art from Dan Seagrave, and that’s just fine by me. I’m not here to attend Finishing School or my court-mandated Anger Management workshop. I’m here to blast death metal and scare the normies, and so is Glorious Depravity. Twinsies!

The Depravity Boys come out hard on opener “Slaughter the Gerontocrats” with feverish riffs ripping skin and pasting bones as Pyrrhon’s Doug Moore vomits a world full of hate and venom on the listener. Some of the leads reek of vintage Mordid Angel, but this is more unhinged and closer to grind and even slam at times. Moore uncorks some truly rancid garbage disposal voKILLS and piercing shrieks, making this like an insane asylum in a hobo wine bottle. Things go a bit wonky on follow-up “Stripmined Flesh Extractor” with an awkward shuffling tempo that doesn’t fully work, thus squandering some of the crucial momentum created by the opener. From there, it’s a back and forth between well-executed death that hammer smashes your face and lesser cuts that have good moments but don’t disembowel you as they should. “Sulfurous Winds (Howling Through Christendom)” is a wild ride through the tombs where Morbid Angel buried their unused (and well-used) riffs, and Moore’s repeated roars about “SCIENCE” are fun in an old school Thomas Dolby way.1 “Scourged by the Wings of the Fell Destroyer” is also fine and dandy, hitting in that 1990 Floridan death way but with overtones of Kataklysm due to the screeching vocals.

My favorite moment arrives with “Necrobiotic Enslavement,” where the Morbid influence is especially notable in the heaving, lurching riffs that reek of overflowing ash Treys. While the good parts of Death Never Sleeps are respectable and entertaining, nothing here will completely blow your mind, and the lesser bits are Debbie Downers. “Freshkills Poltergeist” shoehorns in pinch harmonics that are more annoying than interesting, and “Carnage at the Margins” gets very screamy and ends up grating the nerves instead of power drilling the Medusa Oblongata. You end up with an album of mostly solid death with generic and underwhelming additions tacked on, which is disappointing for a band with the pedigree Glorious Depravity bring to the Geneology Council.

I’ll give Doug Moore props for his batshit crazy vocal performance. The guy is all over the lot with screams, shrieks, sub-basement gurgles, and standard death barks. He can do it all and proves it on every track, whether it’s needed or not. Sometimes he’s a dead ringer for Kataklysm’s Maurizio Iacono, and occasionally he sounds like young Mille of Kreator infamy. George Paul (Gravesend) and Matt Mewton (Woe) resurrect many riffs from the place where the slime live, and though it’s easy to spot their inspirations, I can’t fault much of what they throw down on the slab. There are a goodly number of face-melting leads and some completely insane solo pieces, too. Chris Grigg (Woe) brings a technical yet brutal force to the kit, pounding away like his life depends on it. The band is talented, but the writing sometimes lacks staying power and leans generic. At a tight 34 minutes, a lot of that can be forgiven as the good replaces the okay in short and savage order, but the lesser additions do drag the overall enjoyment factor down a few pegs.

Glorious Depravity gives a bunch of New York low-life bastards a chance to do things outside the lines of what their main gigs allow, and you can tell they’re having fun throwing shit against the subway wall. There’s nothing essential or “must hear” present, but it’s solid ratmeat and scumtaters for the diseased, and that may be enough for those fiends.

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Transcending Obscurity
Websites: facebook.com/gloriousdepravity | instagram.com/gloriousdepravity
Releases Worldwide: November 7th, 2025

#2025 #30 #AgelessViolence #AmericanMetal #DeathMetal #DeathNeverSleeps #Deicide #GloriousDepravity #Gravesend #MorbidAngel #Nov25 #Pyrrhon #Review #Reviews #TranscendingObscurityRecords #Woe

Glorious Depravity – Death Never Sleeps Review

By Steel Druhm

Death metal from New York City is usually plenty ugly enough, but in the strange case of Glorious Depravity, things get even more grotesque due to the band members’ connection to acts like Pyrrhon and Woe. Their 2020 debut Ageless Violence was a solid if non-essential homage to the Godz of Floridan Death with plenty of Morbid Angel and Deicide DNA in its unnatural makeup. Five years later, they serve up Death Never Sleeps with a sound profile still wearing Orlando-friendly cargo shorts, and hidden in those oversized pockets are elements of grindcore. This is ugly, slimy death for fugly, unwashed folks who throw empty beer cans at meth heads for cheap thrills. The only thing remotely classy about it is the badass cover art from Dan Seagrave, and that’s just fine by me. I’m not here to attend Finishing School or my court-mandated Anger Management workshop. I’m here to blast death metal and scare the normies, and so is Glorious Depravity. Twinsies!

The Depravity Boys come out hard on opener “Slaughter the Gerontocrats” with feverish riffs ripping skin and pasting bones as Pyrrhon’s Doug Moore vomits a world full of hate and venom on the listener. Some of the leads reek of vintage Mordid Angel, but this is more unhinged and closer to grind and even slam at times. Moore uncorks some truly rancid garbage disposal voKILLS and piercing shrieks, making this like an insane asylum in a hobo wine bottle. Things go a bit wonky on follow-up “Stripmined Flesh Extractor” with an awkward shuffling tempo that doesn’t fully work, thus squandering some of the crucial momentum created by the opener. From there, it’s a back and forth between well-executed death that hammer smashes your face and lesser cuts that have good moments but don’t disembowel you as they should. “Sulfurous Winds (Howling Through Christendom)” is a wild ride through the tombs where Morbid Angel buried their unused (and well-used) riffs, and Moore’s repeated roars about “SCIENCE” are fun in an old school Thomas Dolby way.1 “Scourged by the Wings of the Fell Destroyer” is also fine and dandy, hitting in that 1990 Floridan death way but with overtones of Kataklysm due to the screeching vocals.

My favorite moment arrives with “Necrobiotic Enslavement,” where the Morbid influence is especially notable in the heaving, lurching riffs that reek of overflowing ash Treys. While the good parts of Death Never Sleeps are respectable and entertaining, nothing here will completely blow your mind, and the lesser bits are Debbie Downers. “Freshkills Poltergeist” shoehorns in pinch harmonics that are more annoying than interesting, and “Carnage at the Margins” gets very screamy and ends up grating the nerves instead of power drilling the Medusa Oblongata. You end up with an album of mostly solid death with generic and underwhelming additions tacked on, which is disappointing for a band with the pedigree Glorious Depravity bring to the Geneology Council.

I’ll give Doug Moore props for his batshit crazy vocal performance. The guy is all over the lot with screams, shrieks, sub-basement gurgles, and standard death barks. He can do it all and proves it on every track, whether it’s needed or not. Sometimes he’s a dead ringer for Kataklysm’s Maurizio Iacono, and occasionally he sounds like young Mille of Kreator infamy. George Paul (Gravesend) and Matt Mewton (Woe) resurrect many riffs from the place where the slime live, and though it’s easy to spot their inspirations, I can’t fault much of what they throw down on the slab. There are a goodly number of face-melting leads and some completely insane solo pieces, too. Chris Grigg (Woe) brings a technical yet brutal force to the kit, pounding away like his life depends on it. The band is talented, but the writing sometimes lacks staying power and leans generic. At a tight 34 minutes, a lot of that can be forgiven as the good replaces the okay in short and savage order, but the lesser additions do drag the overall enjoyment factor down a few pegs.

Glorious Depravity gives a bunch of New York low-life bastards a chance to do things outside the lines of what their main gigs allow, and you can tell they’re having fun throwing shit against the subway wall. There’s nothing essential or “must hear” present, but it’s solid ratmeat and scumtaters for the diseased, and that may be enough for those fiends.

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Transcending Obscurity
Websites: facebook.com/gloriousdepravity | instagram.com/gloriousdepravity
Releases Worldwide: November 7th, 2025

#2025 #30 #AgelessViolence #AmericanMetal #DeathMetal #DeathNeverSleeps #Deicide #GloriousDepravity #Gravesend #MorbidAngel #Nov25 #Pyrrhon #Review #Reviews #TranscendingObscurityRecords #Woe

Glorious Depravity – Death Never Sleeps Review

By Steel Druhm

Death metal from New York City is usually plenty ugly enough, but in the strange case of Glorious Depravity, things get even more grotesque due to the band members’ connection to acts like Pyrrhon and Woe. Their 2020 debut Ageless Violence was a solid if non-essential homage to the Godz of Floridan Death with plenty of Morbid Angel and Deicide DNA in its unnatural makeup. Five years later, they serve up Death Never Sleeps with a sound profile still wearing Orlando-friendly cargo shorts, and hidden in those oversized pockets are elements of grindcore. This is ugly, slimy death for fugly, unwashed folks who throw empty beer cans at meth heads for cheap thrills. The only thing remotely classy about it is the badass cover art from Dan Seagrave, and that’s just fine by me. I’m not here to attend Finishing School or my court-mandated Anger Management workshop. I’m here to blast death metal and scare the normies, and so is Glorious Depravity. Twinsies!

The Depravity Boys come out hard on opener “Slaughter the Gerontocrats” with feverish riffs ripping skin and pasting bones as Pyrrhon’s Doug Moore vomits a world full of hate and venom on the listener. Some of the leads reek of vintage Mordid Angel, but this is more unhinged and closer to grind and even slam at times. Moore uncorks some truly rancid garbage disposal voKILLS and piercing shrieks, making this like an insane asylum in a hobo wine bottle. Things go a bit wonky on follow-up “Stripmined Flesh Extractor” with an awkward shuffling tempo that doesn’t fully work, thus squandering some of the crucial momentum created by the opener. From there, it’s a back and forth between well-executed death that hammer smashes your face and lesser cuts that have good moments but don’t disembowel you as they should. “Sulfurous Winds (Howling Through Christendom)” is a wild ride through the tombs where Morbid Angel buried their unused (and well-used) riffs, and Moore’s repeated roars about “SCIENCE” are fun in an old school Thomas Dolby way.1 “Scourged by the Wings of the Fell Destroyer” is also fine and dandy, hitting in that 1990 Floridan death way but with overtones of Kataklysm due to the screeching vocals.

My favorite moment arrives with “Necrobiotic Enslavement,” where the Morbid influence is especially notable in the heaving, lurching riffs that reek of overflowing ash Treys. While the good parts of Death Never Sleeps are respectable and entertaining, nothing here will completely blow your mind, and the lesser bits are Debbie Downers. “Freshkills Poltergeist” shoehorns in pinch harmonics that are more annoying than interesting, and “Carnage at the Margins” gets very screamy and ends up grating the nerves instead of power drilling the Medusa Oblongata. You end up with an album of mostly solid death with generic and underwhelming additions tacked on, which is disappointing for a band with the pedigree Glorious Depravity bring to the Geneology Council.

I’ll give Doug Moore props for his batshit crazy vocal performance. The guy is all over the lot with screams, shrieks, sub-basement gurgles, and standard death barks. He can do it all and proves it on every track, whether it’s needed or not. Sometimes he’s a dead ringer for Kataklysm’s Maurizio Iacono, and occasionally he sounds like young Mille of Kreator infamy. George Paul (Gravesend) and Matt Mewton (Woe) resurrect many riffs from the place where the slime live, and though it’s easy to spot their inspirations, I can’t fault much of what they throw down on the slab. There are a goodly number of face-melting leads and some completely insane solo pieces, too. Chris Grigg (Woe) brings a technical yet brutal force to the kit, pounding away like his life depends on it. The band is talented, but the writing sometimes lacks staying power and leans generic. At a tight 34 minutes, a lot of that can be forgiven as the good replaces the okay in short and savage order, but the lesser additions do drag the overall enjoyment factor down a few pegs.

Glorious Depravity gives a bunch of New York low-life bastards a chance to do things outside the lines of what their main gigs allow, and you can tell they’re having fun throwing shit against the subway wall. There’s nothing essential or “must hear” present, but it’s solid ratmeat and scumtaters for the diseased, and that may be enough for those fiends.

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Transcending Obscurity
Websites: facebook.com/gloriousdepravity | instagram.com/gloriousdepravity
Releases Worldwide: November 7th, 2025

#2025 #30 #AgelessViolence #AmericanMetal #DeathMetal #DeathNeverSleeps #Deicide #GloriousDepravity #Gravesend #MorbidAngel #Nov25 #Pyrrhon #Review #Reviews #TranscendingObscurityRecords #Woe

Glorious Depravity – Death Never Sleeps Review

By Steel Druhm

Death metal from New York City is usually plenty ugly enough, but in the strange case of Glorious Depravity, things get even more grotesque due to the band members’ connection to acts like Pyrrhon and Woe. Their 2020 debut Ageless Violence was a solid if non-essential homage to the Godz of Floridan Death with plenty of Morbid Angel and Deicide DNA in its unnatural makeup. Five years later, they serve up Death Never Sleeps with a sound profile still wearing Orlando-friendly cargo shorts, and hidden in those oversized pockets are elements of grindcore. This is ugly, slimy death for fugly, unwashed folks who throw empty beer cans at meth heads for cheap thrills. The only thing remotely classy about it is the badass cover art from Dan Seagrave, and that’s just fine by me. I’m not here to attend Finishing School or my court-mandated Anger Management workshop. I’m here to blast death metal and scare the normies, and so is Glorious Depravity. Twinsies!

The Depravity Boys come out hard on opener “Slaughter the Gerontocrats” with feverish riffs ripping skin and pasting bones as Pyrrhon’s Doug Moore vomits a world full of hate and venom on the listener. Some of the leads reek of vintage Mordid Angel, but this is more unhinged and closer to grind and even slam at times. Moore uncorks some truly rancid garbage disposal voKILLS and piercing shrieks, making this like an insane asylum in a hobo wine bottle. Things go a bit wonky on follow-up “Stripmined Flesh Extractor” with an awkward shuffling tempo that doesn’t fully work, thus squandering some of the crucial momentum created by the opener. From there, it’s a back and forth between well-executed death that hammer smashes your face and lesser cuts that have good moments but don’t disembowel you as they should. “Sulfurous Winds (Howling Through Christendom)” is a wild ride through the tombs where Morbid Angel buried their unused (and well-used) riffs, and Moore’s repeated roars about “SCIENCE” are fun in an old school Thomas Dolby way.1 “Scourged by the Wings of the Fell Destroyer” is also fine and dandy, hitting in that 1990 Floridan death way but with overtones of Kataklysm due to the screeching vocals.

My favorite moment arrives with “Necrobiotic Enslavement,” where the Morbid influence is especially notable in the heaving, lurching riffs that reek of overflowing ash Treys. While the good parts of Death Never Sleeps are respectable and entertaining, nothing here will completely blow your mind, and the lesser bits are Debbie Downers. “Freshkills Poltergeist” shoehorns in pinch harmonics that are more annoying than interesting, and “Carnage at the Margins” gets very screamy and ends up grating the nerves instead of power drilling the Medusa Oblongata. You end up with an album of mostly solid death with generic and underwhelming additions tacked on, which is disappointing for a band with the pedigree Glorious Depravity bring to the Geneology Council.

I’ll give Doug Moore props for his batshit crazy vocal performance. The guy is all over the lot with screams, shrieks, sub-basement gurgles, and standard death barks. He can do it all and proves it on every track, whether it’s needed or not. Sometimes he’s a dead ringer for Kataklysm’s Maurizio Iacono, and occasionally he sounds like young Mille of Kreator infamy. George Paul (Gravesend) and Matt Mewton (Woe) resurrect many riffs from the place where the slime live, and though it’s easy to spot their inspirations, I can’t fault much of what they throw down on the slab. There are a goodly number of face-melting leads and some completely insane solo pieces, too. Chris Grigg (Woe) brings a technical yet brutal force to the kit, pounding away like his life depends on it. The band is talented, but the writing sometimes lacks staying power and leans generic. At a tight 34 minutes, a lot of that can be forgiven as the good replaces the okay in short and savage order, but the lesser additions do drag the overall enjoyment factor down a few pegs.

Glorious Depravity gives a bunch of New York low-life bastards a chance to do things outside the lines of what their main gigs allow, and you can tell they’re having fun throwing shit against the subway wall. There’s nothing essential or “must hear” present, but it’s solid ratmeat and scumtaters for the diseased, and that may be enough for those fiends.

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Transcending Obscurity
Websites: facebook.com/gloriousdepravity | instagram.com/gloriousdepravity
Releases Worldwide: November 7th, 2025

#2025 #30 #AgelessViolence #AmericanMetal #DeathMetal #DeathNeverSleeps #Deicide #GloriousDepravity #Gravesend #MorbidAngel #Nov25 #Pyrrhon #Review #Reviews #TranscendingObscurityRecords #Woe

Stuck in the Filter: July 2025’s Angry Misses

By Kenstrosity

If you thought June was hot, you aren’t ready for what July has in store. The thin metallic walls of these flimsy ducts warp and soften as the sweltering environs continue to challenge the definition of “habitable.” But I must force my minions to continue their work, as this duty is sacred. Our ravenous appetites cannot be slaked without the supplementary sustenance the Filter brings!

Thankfully, we rescued just enough scraps to put together a meager spread. Enjoy in moderation!

Kenstrosity’s Blackened Buds

Echoes of Gloom // The Mind’s Eternal Storm [July 12th, 2025 – Self-Release]

Queensland isn’t my first thought when considering locales for atmospheric black metal. A genre so often built upon frigid tones and icy melodies feels incongruous to the heat and beastliness of the Australian landscape. Yet, one-man atmoblack act Echoes of Gloom persists. Masterminded by one Dan Elkin, Echoes of Gloom evokes a warm, muggy, and morose spirit with debut record The Mind’s Eternal Storm. But unlike many of the atmospheric persuasion, Echoes of Gloom also injects a classic heavy metal attack and a vaguely punky/folky twist into their formula to keep interest high (“Immortality Manifest,” “Throes of Bereavement I”). Furthermore, Echoes of Gloom weaponizes their energetic take on depressing atmoblack such that even as my head bounces to the riffy groove of surprisingly propulsive numbers like “The Wandering Moon” and “Great Malignant Towers of Delirium,” a palpable pall looms ever present, sapping all color from life as I witness this work. This in turn translates well to the long form, as demonstrated by the epic two-part “Throes of Bereavement” suite and ripping ten-minute closer “Wanderer of the Mind’s Eternal Storm,” boasting dynamics uncommon in the atmospheric field. In sum, if you’re the kind of metal fan that struggles with the airier side of the spectrum, The Mind’s Eternal Storm might be a good place to start.

Witchyre // Witchy Forest Dance Contest [July 14th, 2025 – Self-Release]

Germany’s Witchyre answer a question nobody asked but everyone should: what would happen if black metal and dance music joined forces? With debut LP Witchy Forest Dance Contest, we get to experience this mad alchemy firsthand, and it is an absolute joy! The staunchly anti-fascist Witchyre take the raw sound everyone knows and pumps it full of groove, bounce, and uninhibited fun for a raucous 46 minutes. Evoking equal parts Darude and Darkthrone, bangers like “Let There be Light…,” “Witchy Forest Dance Party,” and “Lost in a Dream” burst with infectious energy that feels demonic and exuberant at the same time. The raw production of the metallic elements shouldn’t work with the glossy sheen of electronic doots, but Witchyre’s often pop-punky song structure that develops as these divergent aesthetics collide adeptly bridges the gap (“Spirits Twirling,” “The Vampire Witch,” “Dragon’s Breath”). My main gripe is that even at a reasonable 46 minutes, each song feels a bit bloated, and some dance elements feel recycled in multiple places (“The Spirits Robbed My Mind”). But don’t let that scare you away. Witchyre is a delightful little deviation from convention fit for fans of Curta’n Wall and Old Nick, and everyone should give it a whirl just for fun!

Owlswald’s Hidden Hoots

Sheev // Ate’s Alchemist [July 11th, 2025 – Ripple Music]

While stoner can be hit-or-miss, Ripple Music often delivers the goods. And with Berlin’s Sheev, they can add another notch to their sativa-flavored belt. Since 2017, the four-piece has been brewing their unique, progressive-infused stoner rock sound. On their second full-length, Ate’s Alchemist, Sheev doubles down on their sonic elixir, with a throwback prog-rock vibe that evokes the likes of Yes and Jethro Tull, but with heavy doses of grunge, jam and modern rock. Vocalist Nitzan Sheps’ provides a stripped-down and authentic performance, sounding like a cross between Muse’s Matt Bellamy and Alice in Chains’ Layne Staley. The rhythm section is particularly great here. Drummer Philipp Vogt’s kit work is exceptionally musical, with intricate cymbal patterns on tracks like “Elephant Trunk,” “Cul De Sac,” and “King Mustard II” that fuel deep-pocket grooves. He also provides Tool-like syncopated rhythms on tracks like “Tüdelüt” and “Henry” that lock with bassist Joshan Chaudhary. Chaudhary’s bass playing is rare in its prominence and clarity in the mix. He maintains a tight pocket while also venturing out regularly with nimbler, adventurous flurries that highlight his technical skill. Yeah, a couple of the longer songs get a little lost, but the album is packed with killer musicianship and vocal hooks that stick with you, so it barely matters. Overall, Sheev has delivered a solid record that I’ll be spinning a lot—and you should too.

Dephosphorus // Planetoktonos [July 18th, 2025 – Selfmadegod Records/7 Degrees Records/Nerve Altar]

Space…the final grind-tier. On their fifth album, Planetoktonos (“Planetkiller”), Greek astro-grind quartet Dephosphorus rejects normal grind classifications and instead annihilates worlds with a brutal, interstellar collision of grind, blackened death, and hardcore. Taking inspiration from the harsh sci-fi of James S.A. Corey’s The Expanse, Planetoktonos is a relentless twenty-eight-minute assault—a sonic asteroid belt of thick, menacing distortion and time-warped drumming that channels Dephosphorus’ raw, furious energy. “The Triumph of Science and Reason” and “After the Holocaust” attack with the ruthless speed of Nasum while others, such as “The Kinetics of a Superintelligence Explosion,” “Hunting for Dyson Spheres,” and “Calculating Infinity,” punctuate sludgy aggression with razor-sharp, shredding passages reminiscent of early Mastodon that offer contrasting technical and rhythmic hostility. Vocalist Panos Agoros’ despairing howls are a particular highlight, full of a gravelly, blackened urgency that sounds the alarm for an interplanetary attack. Gang vocals on tracks like “Living in a Metastable Universe” and “The Kinetics of a Superintelligence Explosion” add extra weight to his frantic performance, proving Dephosphorus can incinerate worlds and still have a blast doing it. Raw, intense, and violent, Planetokonos is a must-listen for fans seeking Remission-era energy.

Tyme’s Tattered Treats

Mortual // Altars of Brutality [July 4th, 2025 – Nuclear Winter Records]

From the fetid rainforests of Costa Rica, San Jose’s Mortual dropped their sneaky good death metal debut, Altar of Brutality, on Independence Day this year. Free of frills and fuckery, Justin Corpse and Master Killer—both have guitar, bass, and vocal credits here—go for the jugular, providing swarms of riffs entrenched in filthy, Floridian swamp waters and powdered with Jersey grit. Solo work comes fast, squealy, and furious as if graduated from the Azagthothian school of shred (“Dominion of Eternal Blasphemy,” “Skeletal Vortex”), as hints of early Deicide lurk within the chugging chunks of “Altar of Brutality” and whiffs of early Monstrosity float amongst the speedier nooks and crannies of “Divine Monstrosity.”1 Incantationally cavernous, the vocals fit the OSDM mold to a tee, sitting spaciously fat and happy within Dan Lowndes’ great mix and master, which consequently draws out a bestial bass sound that permeates the entirety of Altar of Brutality with low-end menace. Chalo’s (Chemicide) drum performance warrants particular note, as, from the opening tom roll of “Mortuary Rites,” he proceeds to bash skulls throughout Altar of Brutality’s swift thirty-five-minute runtime with a brutal blitz of double-kicking and blast-beating kit abuse. Embodying a DIY work ethic that imbues these tracks with youthful energy and a wealth of death metal character, Mortual aren’t looking to reinvent the wheel as much as they’d like to crush you under its meaty treads, over and over again.

Stomach // Low Demon [July 18th, 2025 – Self-Release]

Droney, doomy, sweaty, and sludgy as fuck, Stomach’s blast furnace second album, Low Demon, is the antithesis of summer-fun metal. Hailing from Geneva, Illinois, Stomach is drummer/vocalist John Hoffman (Weekend Nachos) and guitarist Adam Tomlinson (Sick/Tired, Sea of Shit), who capably carry out their cacophonous work in such a way as to defy the fact that they’re only a duo.2 At volume, and believe me, you’ll want to crank this fucker to eleven, Low Demon will have you retching up all that light beer you drank by the pool and crying for yer mom, as “Dredged” oozes, rib-rattling from the speakers, a continuous, four-and-a-half-minute chord-layered exercise in exponentially applied tonal pressure. With five tracks spanning just over forty-three minutes, there’s not a lot on Low Demon that’s in a hurry, and aside from sections of up-tempo doom riffs (“Get Through Winter”) and some downright grindery (“Oscillate”) offering respite from the otherwise crushing wall of sound, listening to Stomach is akin to being waterboarded with molasses. Heavy influences from Earth, Sunn O))), Crossed Out, and Grief—whose Come to Grief stands as a sludge staple—form the basis for much of Stomach’s sound, and while Primitive Man and Hell draw apt comparisons as well, I’m guessing you know what you’re getting into by now. Maniacally cinematic and far from light-hearted, Stomach’s Low Demon was everything I didn’t think I needed during this hot and humid-as-an-armpit-in-hell summer.

Killjoy’s Flutes of Fancy

Braia // Vertentes de lá e cá [July 10th, 2025 – Self-Release]

Bruno Maia is one of the most inventive and hardworking musicians that I know of. Best known for the whimsical Celtic folk metal of Tuatha de Danann, he also has his own folk rock side project, Braia. Vertentes de lá e cá explores the rich history and culture of the Minas Gerais state in his native country, Brazil.3 Bursting with more sweetness than a ripe mango, Vertentes de lá e cá sports a huge diversity of musical styles and instruments. A combination of flute, viola, and acoustic guitar forms the backbone of most of the songs, like the Irish jigs in “Vertentes” or the flitting melodies of “Princesa do Sul.” My ears also detect accordion (“O Cururu do Ingaí”), saxophone (“Serra das Letras”), harmonica (“Hipólita”), banjo (“Carrancas”), and spacey synth effects (“Pagode Mouro”). That last one might sound out of place, but it makes more sense after learning of the local tales of extraterrestrial encounters. Maia sings in only two of the twelve tracks (“Emboabas” and “Rei do Campo Grande”), but all 41 minutes should be engaging enough for listeners who are typically unmoved by instrumental music. Though thematically focused on one specific location, Vertentes de lá e cá deserves to be heard by the entire world.

Storchi // By Far Away [July 25th, 2025 – Self-Release]

I would guess that the “experimental” tag causes some degree of trepidation within most listeners. However, occasionally an artist executes a fresh new vision so confidently that I can’t help but wonder if it’s secretly been around for a long time. Storchi, an instrumental prog group from Kabri, Israel, utilizes a flute in creative ways. Its bright, jazzy demeanor almost functions as a substitute for a vocalist in terms of expressiveness and personality. The Middle Eastern flair combined with modest electronic elements reminds me of Hugo Kant’s flute-heavy multicultural trip-hop. The chunky palm-muted guitar and bass borrow the best aspects of djent alongside eccentrically dynamic drum tempos. There is premeditation amidst the chaos, though. The triplet tracks “Far,” “Further,” and “Furthest” scattered throughout By Far Away each offer a unique rendition of the same core flute tune. “Lagoona” and “Smoky” make good use of melodic reprisals at the very end to neatly close the loop on what might have otherwise felt like more disjointed songs. Despite frequent and abrupt stylistic shifts, Storchi manages to make the 31-minute runtime of By Far Away feel more enjoyable than jolting. Flute fanatics should take note.

ClarkKent’s Addictive Addition

Daron Malakian and Scars on Broadway // Addicted to the Violence [July 19th, 2025 – Scarred for Life]

Since System of a Down disbanded, guitarist Daron Malakian has gone on to release 3 full-length albums under the moniker Scars on Broadway between 2008 and 2025. This spinoff project has proven Malakian to be the oddball of the group, and this goofiness hasn’t mellowed since SOAD’s debut released 27 years ago. The energetic set of tunes on Addicted to the Violence mixes nu-metal, groove rock, and pop with plenty of synths to create some fun and catchy beats. Sure, you have to delve through some baffling lyrics,4 such as when Malakian sings that there’s “a tiger that’s riding on your back / And it’s singing out ‘Rawr! Rawr!'” (“Killing Spree”). Malakian also turns to the familiar theme of drug addiction that he and Serj have explored from “Sugar” to “Heroine” to “Chemicals.”5 This time around, it’s “Satan Hussein,” where he mixes Quaaludes and Vicodin with Jesus Christ. To offset the repetition within songs, Malakian has the sense to mix things up. There’s the nu-metal cuts of “Satan Hussein” and “Destroy the Power,” featuring energetic vocalizations and grooves, but there’s also a lot of pop (“You Destroy You”). The riffs may not be as wild or creative as times past, but Addicted to the Violence makes use of a variety of instruments that keep things fresh, from an organ (“Done Me Wrong”) to a mandolin (“You Destroy You”) to some sweet synth solos. There’s even a brief saxophone appearance to conclude the album. Yes, I know exactly what you’re thinking: “This sounds awesome!”

#2025 #7DegreesRecords #AddictedToTheViolence #AliceInChains #AltarsOfBrutality #AmericanMetal #AteSAlchemist #AtmosphericBlackMetal #AustralianMetal #BlackMetal #BlackenedDeathMetal #Braia #BrazilianMetal #ByFarAway #Chemicide #CostaRicanMetal #CrossedOut #CurtaNWall #Dance #Darkthrone #DaronMalakianAndScarsOnBroadway #Darude #DeathMetal #Deathgrind #Deicide #Dephosphorus #Doom #DoomMetal #Drone #Earth #EchoesOfGloom #EDM #ExperimentalMetal #FolkMetal #FolkRock #GermanMetal #Gindcore #GreekMetal #Grief #GrooveMetal #Hardcore #Hell #HugoKant #InstrumentalMetal #IsraeliMetal #JethroTull #Jul25 #LowDemon #Mastodon #MelodicBlackMetal #Monstrosity #Mortual #Muse #Nasum #NerveAltar #NuMetal #NuclearWinterRecords #OldNick #Planetoktonos #PopMetal #PrimitiveMan #ProgressiveMetal #RawBlackMetal #Review #Reviews #RippleMusic #ScarredForLife #SeaOfShit #SelfRelease #SelfmadegodRecords #Sheev #SickTired #Sludge #SludgeMetal #Stomach #StonerDoom #StonerMetal #Storchi #StuckInTheFilter #StuckInTheFilter2025 #SunnO_ #SystemOfADown #TheMindSEternalStorm #Tool #TuathaDeDanann #VertentesDeLáECá #WeekendNachos #WitchyForestDanceContest #Witchyre #Yes

Stuck in the Filter: July 2025’s Angry Misses

By Kenstrosity

If you thought June was hot, you aren’t ready for what July has in store. The thin metallic walls of these flimsy ducts warp and soften as the sweltering environs continue to challenge the definition of “habitable.” But I must force my minions to continue their work, as this duty is sacred. Our ravenous appetites cannot be slaked without the supplementary sustenance the Filter brings!

Thankfully, we rescued just enough scraps to put together a meager spread. Enjoy in moderation!

Kenstrosity’s Blackened Buds

Echoes of Gloom // The Mind’s Eternal Storm [July 12th, 2025 – Self-Release]

Queensland isn’t my first thought when considering locales for atmospheric black metal. A genre so often built upon frigid tones and icy melodies feels incongruous to the heat and beastliness of the Australian landscape. Yet, one-man atmoblack act Echoes of Gloom persists. Masterminded by one Dan Elkin, Echoes of Gloom evokes a warm, muggy, and morose spirit with debut record The Mind’s Eternal Storm. But unlike many of the atmospheric persuasion, Echoes of Gloom also injects a classic heavy metal attack and a vaguely punky/folky twist into their formula to keep interest high (“Immortality Manifest,” “Throes of Bereavement I”). Furthermore, Echoes of Gloom weaponizes their energetic take on depressing atmoblack such that even as my head bounces to the riffy groove of surprisingly propulsive numbers like “The Wandering Moon” and “Great Malignant Towers of Delirium,” a palpable pall looms ever present, sapping all color from life as I witness this work. This in turn translates well to the long form, as demonstrated by the epic two-part “Throes of Bereavement” suite and ripping ten-minute closer “Wanderer of the Mind’s Eternal Storm,” boasting dynamics uncommon in the atmospheric field. In sum, if you’re the kind of metal fan that struggles with the airier side of the spectrum, The Mind’s Eternal Storm might be a good place to start.

Witchyre // Witchy Forest Dance Contest [July 14th, 2025 – Self-Release]

Germany’s Witchyre answer a question nobody asked but everyone should: what would happen if black metal and dance music joined forces? With debut LP Witchy Forest Dance Contest, we get to experience this mad alchemy firsthand, and it is an absolute joy! The staunchly anti-fascist Witchyre take the raw sound everyone knows and pumps it full of groove, bounce, and uninhibited fun for a raucous 46 minutes. Evoking equal parts Darude and Darkthrone, bangers like “Let There be Light…,” “Witchy Forest Dance Party,” and “Lost in a Dream” burst with infectious energy that feels demonic and exuberant at the same time. The raw production of the metallic elements shouldn’t work with the glossy sheen of electronic doots, but Witchyre’s often pop-punky song structure that develops as these divergent aesthetics collide adeptly bridges the gap (“Spirits Twirling,” “The Vampire Witch,” “Dragon’s Breath”). My main gripe is that even at a reasonable 46 minutes, each song feels a bit bloated, and some dance elements feel recycled in multiple places (“The Spirits Robbed My Mind”). But don’t let that scare you away. Witchyre is a delightful little deviation from convention fit for fans of Curta’n Wall and Old Nick, and everyone should give it a whirl just for fun!

Owlswald’s Hidden Hoots

Sheev // Ate’s Alchemist [July 11th, 2025 – Ripple Music]

While stoner can be hit-or-miss, Ripple Music often delivers the goods. And with Berlin’s Sheev, they can add another notch to their sativa-flavored belt. Since 2017, the four-piece has been brewing their unique, progressive-infused stoner rock sound. On their second full-length, Ate’s Alchemist, Sheev doubles down on their sonic elixir, with a throwback prog-rock vibe that evokes the likes of Yes and Jethro Tull, but with heavy doses of grunge, jam and modern rock. Vocalist Nitzan Sheps’ provides a stripped-down and authentic performance, sounding like a cross between Muse’s Matt Bellamy and Alice in Chains’ Layne Staley. The rhythm section is particularly great here. Drummer Philipp Vogt’s kit work is exceptionally musical, with intricate cymbal patterns on tracks like “Elephant Trunk,” “Cul De Sac,” and “King Mustard II” that fuel deep-pocket grooves. He also provides Tool-like syncopated rhythms on tracks like “Tüdelüt” and “Henry” that lock with bassist Joshan Chaudhary. Chaudhary’s bass playing is rare in its prominence and clarity in the mix. He maintains a tight pocket while also venturing out regularly with nimbler, adventurous flurries that highlight his technical skill. Yeah, a couple of the longer songs get a little lost, but the album is packed with killer musicianship and vocal hooks that stick with you, so it barely matters. Overall, Sheev has delivered a solid record that I’ll be spinning a lot—and you should too.

Dephosphorus // Planetoktonos [July 18th, 2025 – Selfmadegod Records/7 Degrees Records/Nerve Altar]

Space…the final grind-tier. On their fifth album, Planetoktonos (“Planetkiller”), Greek astro-grind quartet Dephosphorus rejects normal grind classifications and instead annihilates worlds with a brutal, interstellar collision of grind, blackened death, and hardcore. Taking inspiration from the harsh sci-fi of James S.A. Corey’s The Expanse, Planetoktonos is a relentless twenty-eight-minute assault—a sonic asteroid belt of thick, menacing distortion and time-warped drumming that channels Dephosphorus’ raw, furious energy. “The Triumph of Science and Reason” and “After the Holocaust” attack with the ruthless speed of Nasum while others, such as “The Kinetics of a Superintelligence Explosion,” “Hunting for Dyson Spheres,” and “Calculating Infinity,” punctuate sludgy aggression with razor-sharp, shredding passages reminiscent of early Mastodon that offer contrasting technical and rhythmic hostility. Vocalist Panos Agoros’ despairing howls are a particular highlight, full of a gravelly, blackened urgency that sounds the alarm for an interplanetary attack. Gang vocals on tracks like “Living in a Metastable Universe” and “The Kinetics of a Superintelligence Explosion” add extra weight to his frantic performance, proving Dephosphorus can incinerate worlds and still have a blast doing it. Raw, intense, and violent, Planetokonos is a must-listen for fans seeking Remission-era energy.

Tyme’s Tattered Treats

Mortual // Altars of Brutality [July 4th, 2025 – Nuclear Winter Records]

From the fetid rainforests of Costa Rica, San Jose’s Mortual dropped their sneaky good death metal debut, Altar of Brutality, on Independence Day this year. Free of frills and fuckery, Justin Corpse and Master Killer—both have guitar, bass, and vocal credits here—go for the jugular, providing swarms of riffs entrenched in filthy, Floridian swamp waters and powdered with Jersey grit. Solo work comes fast, squealy, and furious as if graduated from the Azagthothian school of shred (“Dominion of Eternal Blasphemy,” “Skeletal Vortex”), as hints of early Deicide lurk within the chugging chunks of “Altar of Brutality” and whiffs of early Monstrosity float amongst the speedier nooks and crannies of “Divine Monstrosity.”1 Incantationally cavernous, the vocals fit the OSDM mold to a tee, sitting spaciously fat and happy within Dan Lowndes’ great mix and master, which consequently draws out a bestial bass sound that permeates the entirety of Altar of Brutality with low-end menace. Chalo’s (Chemicide) drum performance warrants particular note, as, from the opening tom roll of “Mortuary Rites,” he proceeds to bash skulls throughout Altar of Brutality’s swift thirty-five-minute runtime with a brutal blitz of double-kicking and blast-beating kit abuse. Embodying a DIY work ethic that imbues these tracks with youthful energy and a wealth of death metal character, Mortual aren’t looking to reinvent the wheel as much as they’d like to crush you under its meaty treads, over and over again.

Stomach // Low Demon [July 18th, 2025 – Self-Release]

Droney, doomy, sweaty, and sludgy as fuck, Stomach’s blast furnace second album, Low Demon, is the antithesis of summer-fun metal. Hailing from Geneva, Illinois, Stomach is drummer/vocalist John Hoffman (Weekend Nachos) and guitarist Adam Tomlinson (Sick/Tired, Sea of Shit), who capably carry out their cacophonous work in such a way as to defy the fact that they’re only a duo.2 At volume, and believe me, you’ll want to crank this fucker to eleven, Low Demon will have you retching up all that light beer you drank by the pool and crying for yer mom, as “Dredged” oozes, rib-rattling from the speakers, a continuous, four-and-a-half-minute chord-layered exercise in exponentially applied tonal pressure. With five tracks spanning just over forty-three minutes, there’s not a lot on Low Demon that’s in a hurry, and aside from sections of up-tempo doom riffs (“Get Through Winter”) and some downright grindery (“Oscillate”) offering respite from the otherwise crushing wall of sound, listening to Stomach is akin to being waterboarded with molasses. Heavy influences from Earth, Sunn O))), Crossed Out, and Grief—whose Come to Grief stands as a sludge staple—form the basis for much of Stomach’s sound, and while Primitive Man and Hell draw apt comparisons as well, I’m guessing you know what you’re getting into by now. Maniacally cinematic and far from light-hearted, Stomach’s Low Demon was everything I didn’t think I needed during this hot and humid-as-an-armpit-in-hell summer.

Killjoy’s Flutes of Fancy

Braia // Vertentes de lá e cá [July 10th, 2025 – Self-Release]

Bruno Maia is one of the most inventive and hardworking musicians that I know of. Best known for the whimsical Celtic folk metal of Tuatha de Danann, he also has his own folk rock side project, Braia. Vertentes de lá e cá explores the rich history and culture of the Minas Gerais state in his native country, Brazil.3 Bursting with more sweetness than a ripe mango, Vertentes de lá e cá sports a huge diversity of musical styles and instruments. A combination of flute, viola, and acoustic guitar forms the backbone of most of the songs, like the Irish jigs in “Vertentes” or the flitting melodies of “Princesa do Sul.” My ears also detect accordion (“O Cururu do Ingaí”), saxophone (“Serra das Letras”), harmonica (“Hipólita”), banjo (“Carrancas”), and spacey synth effects (“Pagode Mouro”). That last one might sound out of place, but it makes more sense after learning of the local tales of extraterrestrial encounters. Maia sings in only two of the twelve tracks (“Emboabas” and “Rei do Campo Grande”), but all 41 minutes should be engaging enough for listeners who are typically unmoved by instrumental music. Though thematically focused on one specific location, Vertentes de lá e cá deserves to be heard by the entire world.

Storchi // By Far Away [July 25th, 2025 – Self-Release]

I would guess that the “experimental” tag causes some degree of trepidation within most listeners. However, occasionally an artist executes a fresh new vision so confidently that I can’t help but wonder if it’s secretly been around for a long time. Storchi, an instrumental prog group from Kabri, Israel, utilizes a flute in creative ways. Its bright, jazzy demeanor almost functions as a substitute for a vocalist in terms of expressiveness and personality. The Middle Eastern flair combined with modest electronic elements reminds me of Hugo Kant’s flute-heavy multicultural trip-hop. The chunky palm-muted guitar and bass borrow the best aspects of djent alongside eccentrically dynamic drum tempos. There is premeditation amidst the chaos, though. The triplet tracks “Far,” “Further,” and “Furthest” scattered throughout By Far Away each offer a unique rendition of the same core flute tune. “Lagoona” and “Smoky” make good use of melodic reprisals at the very end to neatly close the loop on what might have otherwise felt like more disjointed songs. Despite frequent and abrupt stylistic shifts, Storchi manages to make the 31-minute runtime of By Far Away feel more enjoyable than jolting. Flute fanatics should take note.

ClarkKent’s Addictive Addition

Daron Malakian and Scars on Broadway // Addicted to the Violence [July 19th, 2025 – Scarred for Life]

Since System of a Down disbanded, guitarist Daron Malakian has gone on to release 3 full-length albums under the moniker Scars on Broadway between 2008 and 2025. This spinoff project has proven Malakian to be the oddball of the group, and this goofiness hasn’t mellowed since SOAD’s debut released 27 years ago. The energetic set of tunes on Addicted to the Violence mixes nu-metal, groove rock, and pop with plenty of synths to create some fun and catchy beats. Sure, you have to delve through some baffling lyrics,4 such as when Malakian sings that there’s “a tiger that’s riding on your back / And it’s singing out ‘Rawr! Rawr!'” (“Killing Spree”). Malakian also turns to the familiar theme of drug addiction that he and Serj have explored from “Sugar” to “Heroine” to “Chemicals.”5 This time around, it’s “Satan Hussein,” where he mixes Quaaludes and Vicodin with Jesus Christ. To offset the repetition within songs, Malakian has the sense to mix things up. There’s the nu-metal cuts of “Satan Hussein” and “Destroy the Power,” featuring energetic vocalizations and grooves, but there’s also a lot of pop (“You Destroy You”). The riffs may not be as wild or creative as times past, but Addicted to the Violence makes use of a variety of instruments that keep things fresh, from an organ (“Done Me Wrong”) to a mandolin (“You Destroy You”) to some sweet synth solos. There’s even a brief saxophone appearance to conclude the album. Yes, I know exactly what you’re thinking: “This sounds awesome!”

#2025 #7DegreesRecords #AddictedToTheViolence #AliceInChains #AltarsOfBrutality #AmericanMetal #AteSAlchemist #AtmosphericBlackMetal #AustralianMetal #BlackMetal #BlackenedDeathMetal #Braia #BrazilianMetal #ByFarAway #Chemicide #CostaRicanMetal #CrossedOut #CurtaNWall #Dance #Darkthrone #DaronMalakianAndScarsOnBroadway #Darude #DeathMetal #Deathgrind #Deicide #Dephosphorus #Doom #DoomMetal #Drone #Earth #EchoesOfGloom #EDM #ExperimentalMetal #FolkMetal #FolkRock #GermanMetal #Gindcore #GreekMetal #Grief #GrooveMetal #Hardcore #Hell #HugoKant #InstrumentalMetal #IsraeliMetal #JethroTull #Jul25 #LowDemon #Mastodon #MelodicBlackMetal #Monstrosity #Mortual #Muse #Nasum #NerveAltar #NuMetal #NuclearWinterRecords #OldNick #Planetoktonos #PopMetal #PrimitiveMan #ProgressiveMetal #RawBlackMetal #Review #Reviews #RippleMusic #ScarredForLife #SeaOfShit #SelfRelease #SelfmadegodRecords #Sheev #SickTired #Sludge #SludgeMetal #Stomach #StonerDoom #StonerMetal #Storchi #StuckInTheFilter #StuckInTheFilter2025 #SunnO_ #SystemOfADown #TheMindSEternalStorm #Tool #TuathaDeDanann #VertentesDeLáECá #WeekendNachos #WitchyForestDanceContest #Witchyre #Yes

Stuck in the Filter: July 2025’s Angry Misses

By Kenstrosity

If you thought June was hot, you aren’t ready for what July has in store. The thin metallic walls of these flimsy ducts warp and soften as the sweltering environs continue to challenge the definition of “habitable.” But I must force my minions to continue their work, as this duty is sacred. Our ravenous appetites cannot be slaked without the supplementary sustenance the Filter brings!

Thankfully, we rescued just enough scraps to put together a meager spread. Enjoy in moderation!

Kenstrosity’s Blackened Buds

Echoes of Gloom // The Mind’s Eternal Storm [July 12th, 2025 – Self-Release]

Queensland isn’t my first thought when considering locales for atmospheric black metal. A genre so often built upon frigid tones and icy melodies feels incongruous to the heat and beastliness of the Australian landscape. Yet, one-man atmoblack act Echoes of Gloom persists. Masterminded by one Dan Elkin, Echoes of Gloom evokes a warm, muggy, and morose spirit with debut record The Mind’s Eternal Storm. But unlike many of the atmospheric persuasion, Echoes of Gloom also injects a classic heavy metal attack and a vaguely punky/folky twist into their formula to keep interest high (“Immortality Manifest,” “Throes of Bereavement I”). Furthermore, Echoes of Gloom weaponizes their energetic take on depressing atmoblack such that even as my head bounces to the riffy groove of surprisingly propulsive numbers like “The Wandering Moon” and “Great Malignant Towers of Delirium,” a palpable pall looms ever present, sapping all color from life as I witness this work. This in turn translates well to the long form, as demonstrated by the epic two-part “Throes of Bereavement” suite and ripping ten-minute closer “Wanderer of the Mind’s Eternal Storm,” boasting dynamics uncommon in the atmospheric field. In sum, if you’re the kind of metal fan that struggles with the airier side of the spectrum, The Mind’s Eternal Storm might be a good place to start.

Witchyre // Witchy Forest Dance Contest [July 14th, 2025 – Self-Release]

Germany’s Witchyre answer a question nobody asked but everyone should: what would happen if black metal and dance music joined forces? With debut LP Witchy Forest Dance Contest, we get to experience this mad alchemy firsthand, and it is an absolute joy! The staunchly anti-fascist Witchyre take the raw sound everyone knows and pumps it full of groove, bounce, and uninhibited fun for a raucous 46 minutes. Evoking equal parts Darude and Darkthrone, bangers like “Let There be Light…,” “Witchy Forest Dance Party,” and “Lost in a Dream” burst with infectious energy that feels demonic and exuberant at the same time. The raw production of the metallic elements shouldn’t work with the glossy sheen of electronic doots, but Witchyre’s often pop-punky song structure that develops as these divergent aesthetics collide adeptly bridges the gap (“Spirits Twirling,” “The Vampire Witch,” “Dragon’s Breath”). My main gripe is that even at a reasonable 46 minutes, each song feels a bit bloated, and some dance elements feel recycled in multiple places (“The Spirits Robbed My Mind”). But don’t let that scare you away. Witchyre is a delightful little deviation from convention fit for fans of Curta’n Wall and Old Nick, and everyone should give it a whirl just for fun!

Owlswald’s Hidden Hoots

Sheev // Ate’s Alchemist [July 11th, 2025 – Ripple Music]

While stoner can be hit-or-miss, Ripple Music often delivers the goods. And with Berlin’s Sheev, they can add another notch to their sativa-flavored belt. Since 2017, the four-piece has been brewing their unique, progressive-infused stoner rock sound. On their second full-length, Ate’s Alchemist, Sheev doubles down on their sonic elixir, with a throwback prog-rock vibe that evokes the likes of Yes and Jethro Tull, but with heavy doses of grunge, jam and modern rock. Vocalist Nitzan Sheps’ provides a stripped-down and authentic performance, sounding like a cross between Muse’s Matt Bellamy and Alice in Chains’ Layne Staley. The rhythm section is particularly great here. Drummer Philipp Vogt’s kit work is exceptionally musical, with intricate cymbal patterns on tracks like “Elephant Trunk,” “Cul De Sac,” and “King Mustard II” that fuel deep-pocket grooves. He also provides Tool-like syncopated rhythms on tracks like “Tüdelüt” and “Henry” that lock with bassist Joshan Chaudhary. Chaudhary’s bass playing is rare in its prominence and clarity in the mix. He maintains a tight pocket while also venturing out regularly with nimbler, adventurous flurries that highlight his technical skill. Yeah, a couple of the longer songs get a little lost, but the album is packed with killer musicianship and vocal hooks that stick with you, so it barely matters. Overall, Sheev has delivered a solid record that I’ll be spinning a lot—and you should too.

Dephosphorus // Planetoktonos [July 18th, 2025 – Selfmadegod Records/7 Degrees Records/Nerve Altar]

Space…the final grind-tier. On their fifth album, Planetoktonos (“Planetkiller”), Greek astro-grind quartet Dephosphorus rejects normal grind classifications and instead annihilates worlds with a brutal, interstellar collision of grind, blackened death, and hardcore. Taking inspiration from the harsh sci-fi of James S.A. Corey’s The Expanse, Planetoktonos is a relentless twenty-eight-minute assault—a sonic asteroid belt of thick, menacing distortion and time-warped drumming that channels Dephosphorus’ raw, furious energy. “The Triumph of Science and Reason” and “After the Holocaust” attack with the ruthless speed of Nasum while others, such as “The Kinetics of a Superintelligence Explosion,” “Hunting for Dyson Spheres,” and “Calculating Infinity,” punctuate sludgy aggression with razor-sharp, shredding passages reminiscent of early Mastodon that offer contrasting technical and rhythmic hostility. Vocalist Panos Agoros’ despairing howls are a particular highlight, full of a gravelly, blackened urgency that sounds the alarm for an interplanetary attack. Gang vocals on tracks like “Living in a Metastable Universe” and “The Kinetics of a Superintelligence Explosion” add extra weight to his frantic performance, proving Dephosphorus can incinerate worlds and still have a blast doing it. Raw, intense, and violent, Planetokonos is a must-listen for fans seeking Remission-era energy.

Tyme’s Tattered Treats

Mortual // Altars of Brutality [July 4th, 2025 – Nuclear Winter Records]

From the fetid rainforests of Costa Rica, San Jose’s Mortual dropped their sneaky good death metal debut, Altar of Brutality, on Independence Day this year. Free of frills and fuckery, Justin Corpse and Master Killer—both have guitar, bass, and vocal credits here—go for the jugular, providing swarms of riffs entrenched in filthy, Floridian swamp waters and powdered with Jersey grit. Solo work comes fast, squealy, and furious as if graduated from the Azagthothian school of shred (“Dominion of Eternal Blasphemy,” “Skeletal Vortex”), as hints of early Deicide lurk within the chugging chunks of “Altar of Brutality” and whiffs of early Monstrosity float amongst the speedier nooks and crannies of “Divine Monstrosity.”1 Incantationally cavernous, the vocals fit the OSDM mold to a tee, sitting spaciously fat and happy within Dan Lowndes’ great mix and master, which consequently draws out a bestial bass sound that permeates the entirety of Altar of Brutality with low-end menace. Chalo’s (Chemicide) drum performance warrants particular note, as, from the opening tom roll of “Mortuary Rites,” he proceeds to bash skulls throughout Altar of Brutality’s swift thirty-five-minute runtime with a brutal blitz of double-kicking and blast-beating kit abuse. Embodying a DIY work ethic that imbues these tracks with youthful energy and a wealth of death metal character, Mortual aren’t looking to reinvent the wheel as much as they’d like to crush you under its meaty treads, over and over again.

Stomach // Low Demon [July 18th, 2025 – Self-Release]

Droney, doomy, sweaty, and sludgy as fuck, Stomach’s blast furnace second album, Low Demon, is the antithesis of summer-fun metal. Hailing from Geneva, Illinois, Stomach is drummer/vocalist John Hoffman (Weekend Nachos) and guitarist Adam Tomlinson (Sick/Tired, Sea of Shit), who capably carry out their cacophonous work in such a way as to defy the fact that they’re only a duo.2 At volume, and believe me, you’ll want to crank this fucker to eleven, Low Demon will have you retching up all that light beer you drank by the pool and crying for yer mom, as “Dredged” oozes, rib-rattling from the speakers, a continuous, four-and-a-half-minute chord-layered exercise in exponentially applied tonal pressure. With five tracks spanning just over forty-three minutes, there’s not a lot on Low Demon that’s in a hurry, and aside from sections of up-tempo doom riffs (“Get Through Winter”) and some downright grindery (“Oscillate”) offering respite from the otherwise crushing wall of sound, listening to Stomach is akin to being waterboarded with molasses. Heavy influences from Earth, Sunn O))), Crossed Out, and Grief—whose Come to Grief stands as a sludge staple—form the basis for much of Stomach’s sound, and while Primitive Man and Hell draw apt comparisons as well, I’m guessing you know what you’re getting into by now. Maniacally cinematic and far from light-hearted, Stomach’s Low Demon was everything I didn’t think I needed during this hot and humid-as-an-armpit-in-hell summer.

Killjoy’s Flutes of Fancy

Braia // Vertentes de lá e cá [July 10th, 2025 – Self-Release]

Bruno Maia is one of the most inventive and hardworking musicians that I know of. Best known for the whimsical Celtic folk metal of Tuatha de Danann, he also has his own folk rock side project, Braia. Vertentes de lá e cá explores the rich history and culture of the Minas Gerais state in his native country, Brazil.3 Bursting with more sweetness than a ripe mango, Vertentes de lá e cá sports a huge diversity of musical styles and instruments. A combination of flute, viola, and acoustic guitar forms the backbone of most of the songs, like the Irish jigs in “Vertentes” or the flitting melodies of “Princesa do Sul.” My ears also detect accordion (“O Cururu do Ingaí”), saxophone (“Serra das Letras”), harmonica (“Hipólita”), banjo (“Carrancas”), and spacey synth effects (“Pagode Mouro”). That last one might sound out of place, but it makes more sense after learning of the local tales of extraterrestrial encounters. Maia sings in only two of the twelve tracks (“Emboabas” and “Rei do Campo Grande”), but all 41 minutes should be engaging enough for listeners who are typically unmoved by instrumental music. Though thematically focused on one specific location, Vertentes de lá e cá deserves to be heard by the entire world.

Storchi // By Far Away [July 25th, 2025 – Self-Release]

I would guess that the “experimental” tag causes some degree of trepidation within most listeners. However, occasionally an artist executes a fresh new vision so confidently that I can’t help but wonder if it’s secretly been around for a long time. Storchi, an instrumental prog group from Kabri, Israel, utilizes a flute in creative ways. Its bright, jazzy demeanor almost functions as a substitute for a vocalist in terms of expressiveness and personality. The Middle Eastern flair combined with modest electronic elements reminds me of Hugo Kant’s flute-heavy multicultural trip-hop. The chunky palm-muted guitar and bass borrow the best aspects of djent alongside eccentrically dynamic drum tempos. There is premeditation amidst the chaos, though. The triplet tracks “Far,” “Further,” and “Furthest” scattered throughout By Far Away each offer a unique rendition of the same core flute tune. “Lagoona” and “Smoky” make good use of melodic reprisals at the very end to neatly close the loop on what might have otherwise felt like more disjointed songs. Despite frequent and abrupt stylistic shifts, Storchi manages to make the 31-minute runtime of By Far Away feel more enjoyable than jolting. Flute fanatics should take note.

ClarkKent’s Addictive Addition

Daron Malakian and Scars on Broadway // Addicted to the Violence [July 19th, 2025 – Scarred for Life]

Since System of a Down disbanded, guitarist Daron Malakian has gone on to release 3 full-length albums under the moniker Scars on Broadway between 2008 and 2025. This spinoff project has proven Malakian to be the oddball of the group, and this goofiness hasn’t mellowed since SOAD’s debut released 27 years ago. The energetic set of tunes on Addicted to the Violence mixes nu-metal, groove rock, and pop with plenty of synths to create some fun and catchy beats. Sure, you have to delve through some baffling lyrics,4 such as when Malakian sings that there’s “a tiger that’s riding on your back / And it’s singing out ‘Rawr! Rawr!'” (“Killing Spree”). Malakian also turns to the familiar theme of drug addiction that he and Serj have explored from “Sugar” to “Heroine” to “Chemicals.”5 This time around, it’s “Satan Hussein,” where he mixes Quaaludes and Vicodin with Jesus Christ. To offset the repetition within songs, Malakian has the sense to mix things up. There’s the nu-metal cuts of “Satan Hussein” and “Destroy the Power,” featuring energetic vocalizations and grooves, but there’s also a lot of pop (“You Destroy You”). The riffs may not be as wild or creative as times past, but Addicted to the Violence makes use of a variety of instruments that keep things fresh, from an organ (“Done Me Wrong”) to a mandolin (“You Destroy You”) to some sweet synth solos. There’s even a brief saxophone appearance to conclude the album. Yes, I know exactly what you’re thinking: “This sounds awesome!”

#2025 #7DegreesRecords #AddictedToTheViolence #AliceInChains #AltarsOfBrutality #AmericanMetal #AteSAlchemist #AtmosphericBlackMetal #AustralianMetal #BlackMetal #BlackenedDeathMetal #Braia #BrazilianMetal #ByFarAway #Chemicide #CostaRicanMetal #CrossedOut #CurtaNWall #Dance #Darkthrone #DaronMalakianAndScarsOnBroadway #Darude #DeathMetal #Deathgrind #Deicide #Dephosphorus #Doom #DoomMetal #Drone #Earth #EchoesOfGloom #EDM #ExperimentalMetal #FolkMetal #FolkRock #GermanMetal #Gindcore #GreekMetal #Grief #GrooveMetal #Hardcore #Hell #HugoKant #InstrumentalMetal #IsraeliMetal #JethroTull #Jul25 #LowDemon #Mastodon #MelodicBlackMetal #Monstrosity #Mortual #Muse #Nasum #NerveAltar #NuMetal #NuclearWinterRecords #OldNick #Planetoktonos #PopMetal #PrimitiveMan #ProgressiveMetal #RawBlackMetal #Review #Reviews #RippleMusic #ScarredForLife #SeaOfShit #SelfRelease #SelfmadegodRecords #Sheev #SickTired #Sludge #SludgeMetal #Stomach #StonerDoom #StonerMetal #Storchi #StuckInTheFilter #StuckInTheFilter2025 #SunnO_ #SystemOfADown #TheMindSEternalStorm #Tool #TuathaDeDanann #VertentesDeLáECá #WeekendNachos #WitchyForestDanceContest #Witchyre #Yes

Stuck in the Filter: July 2025’s Angry Misses

By Kenstrosity

If you thought June was hot, you aren’t ready for what July has in store. The thin metallic walls of these flimsy ducts warp and soften as the sweltering environs continue to challenge the definition of “habitable.” But I must force my minions to continue their work, as this duty is sacred. Our ravenous appetites cannot be slaked without the supplementary sustenance the Filter brings!

Thankfully, we rescued just enough scraps to put together a meager spread. Enjoy in moderation!

Kenstrosity’s Blackened Buds

Echoes of Gloom // The Mind’s Eternal Storm [July 12th, 2025 – Self-Release]

Queensland isn’t my first thought when considering locales for atmospheric black metal. A genre so often built upon frigid tones and icy melodies feels incongruous to the heat and beastliness of the Australian landscape. Yet, one-man atmoblack act Echoes of Gloom persists. Masterminded by one Dan Elkin, Echoes of Gloom evokes a warm, muggy, and morose spirit with debut record The Mind’s Eternal Storm. But unlike many of the atmospheric persuasion, Echoes of Gloom also injects a classic heavy metal attack and a vaguely punky/folky twist into their formula to keep interest high (“Immortality Manifest,” “Throes of Bereavement I”). Furthermore, Echoes of Gloom weaponizes their energetic take on depressing atmoblack such that even as my head bounces to the riffy groove of surprisingly propulsive numbers like “The Wandering Moon” and “Great Malignant Towers of Delirium,” a palpable pall looms ever present, sapping all color from life as I witness this work. This in turn translates well to the long form, as demonstrated by the epic two-part “Throes of Bereavement” suite and ripping ten-minute closer “Wanderer of the Mind’s Eternal Storm,” boasting dynamics uncommon in the atmospheric field. In sum, if you’re the kind of metal fan that struggles with the airier side of the spectrum, The Mind’s Eternal Storm might be a good place to start.

Witchyre // Witchy Forest Dance Contest [July 14th, 2025 – Self-Release]

Germany’s Witchyre answer a question nobody asked but everyone should: what would happen if black metal and dance music joined forces? With debut LP Witchy Forest Dance Contest, we get to experience this mad alchemy firsthand, and it is an absolute joy! The staunchly anti-fascist Witchyre take the raw sound everyone knows and pumps it full of groove, bounce, and uninhibited fun for a raucous 46 minutes. Evoking equal parts Darude and Darkthrone, bangers like “Let There be Light…,” “Witchy Forest Dance Party,” and “Lost in a Dream” burst with infectious energy that feels demonic and exuberant at the same time. The raw production of the metallic elements shouldn’t work with the glossy sheen of electronic doots, but Witchyre’s often pop-punky song structure that develops as these divergent aesthetics collide adeptly bridges the gap (“Spirits Twirling,” “The Vampire Witch,” “Dragon’s Breath”). My main gripe is that even at a reasonable 46 minutes, each song feels a bit bloated, and some dance elements feel recycled in multiple places (“The Spirits Robbed My Mind”). But don’t let that scare you away. Witchyre is a delightful little deviation from convention fit for fans of Curta’n Wall and Old Nick, and everyone should give it a whirl just for fun!

Owlswald’s Hidden Hoots

Sheev // Ate’s Alchemist [July 11th, 2025 – Ripple Music]

While stoner can be hit-or-miss, Ripple Music often delivers the goods. And with Berlin’s Sheev, they can add another notch to their sativa-flavored belt. Since 2017, the four-piece has been brewing their unique, progressive-infused stoner rock sound. On their second full-length, Ate’s Alchemist, Sheev doubles down on their sonic elixir, with a throwback prog-rock vibe that evokes the likes of Yes and Jethro Tull, but with heavy doses of grunge, jam and modern rock. Vocalist Nitzan Sheps’ provides a stripped-down and authentic performance, sounding like a cross between Muse’s Matt Bellamy and Alice in Chains’ Layne Staley. The rhythm section is particularly great here. Drummer Philipp Vogt’s kit work is exceptionally musical, with intricate cymbal patterns on tracks like “Elephant Trunk,” “Cul De Sac,” and “King Mustard II” that fuel deep-pocket grooves. He also provides Tool-like syncopated rhythms on tracks like “Tüdelüt” and “Henry” that lock with bassist Joshan Chaudhary. Chaudhary’s bass playing is rare in its prominence and clarity in the mix. He maintains a tight pocket while also venturing out regularly with nimbler, adventurous flurries that highlight his technical skill. Yeah, a couple of the longer songs get a little lost, but the album is packed with killer musicianship and vocal hooks that stick with you, so it barely matters. Overall, Sheev has delivered a solid record that I’ll be spinning a lot—and you should too.

Dephosphorus // Planetoktonos [July 18th, 2025 – Selfmadegod Records/7 Degrees Records/Nerve Altar]

Space…the final grind-tier. On their fifth album, Planetoktonos (“Planetkiller”), Greek astro-grind quartet Dephosphorus rejects normal grind classifications and instead annihilates worlds with a brutal, interstellar collision of grind, blackened death, and hardcore. Taking inspiration from the harsh sci-fi of James S.A. Corey’s The Expanse, Planetoktonos is a relentless twenty-eight-minute assault—a sonic asteroid belt of thick, menacing distortion and time-warped drumming that channels Dephosphorus’ raw, furious energy. “The Triumph of Science and Reason” and “After the Holocaust” attack with the ruthless speed of Nasum while others, such as “The Kinetics of a Superintelligence Explosion,” “Hunting for Dyson Spheres,” and “Calculating Infinity,” punctuate sludgy aggression with razor-sharp, shredding passages reminiscent of early Mastodon that offer contrasting technical and rhythmic hostility. Vocalist Panos Agoros’ despairing howls are a particular highlight, full of a gravelly, blackened urgency that sounds the alarm for an interplanetary attack. Gang vocals on tracks like “Living in a Metastable Universe” and “The Kinetics of a Superintelligence Explosion” add extra weight to his frantic performance, proving Dephosphorus can incinerate worlds and still have a blast doing it. Raw, intense, and violent, Planetokonos is a must-listen for fans seeking Remission-era energy.

Tyme’s Tattered Treats

Mortual // Altars of Brutality [July 4th, 2025 – Nuclear Winter Records]

From the fetid rainforests of Costa Rica, San Jose’s Mortual dropped their sneaky good death metal debut, Altar of Brutality, on Independence Day this year. Free of frills and fuckery, Justin Corpse and Master Killer—both have guitar, bass, and vocal credits here—go for the jugular, providing swarms of riffs entrenched in filthy, Floridian swamp waters and powdered with Jersey grit. Solo work comes fast, squealy, and furious as if graduated from the Azagthothian school of shred (“Dominion of Eternal Blasphemy,” “Skeletal Vortex”), as hints of early Deicide lurk within the chugging chunks of “Altar of Brutality” and whiffs of early Monstrosity float amongst the speedier nooks and crannies of “Divine Monstrosity.”1 Incantationally cavernous, the vocals fit the OSDM mold to a tee, sitting spaciously fat and happy within Dan Lowndes’ great mix and master, which consequently draws out a bestial bass sound that permeates the entirety of Altar of Brutality with low-end menace. Chalo’s (Chemicide) drum performance warrants particular note, as, from the opening tom roll of “Mortuary Rites,” he proceeds to bash skulls throughout Altar of Brutality’s swift thirty-five-minute runtime with a brutal blitz of double-kicking and blast-beating kit abuse. Embodying a DIY work ethic that imbues these tracks with youthful energy and a wealth of death metal character, Mortual aren’t looking to reinvent the wheel as much as they’d like to crush you under its meaty treads, over and over again.

Stomach // Low Demon [July 18th, 2025 – Self-Release]

Droney, doomy, sweaty, and sludgy as fuck, Stomach’s blast furnace second album, Low Demon, is the antithesis of summer-fun metal. Hailing from Geneva, Illinois, Stomach is drummer/vocalist John Hoffman (Weekend Nachos) and guitarist Adam Tomlinson (Sick/Tired, Sea of Shit), who capably carry out their cacophonous work in such a way as to defy the fact that they’re only a duo.2 At volume, and believe me, you’ll want to crank this fucker to eleven, Low Demon will have you retching up all that light beer you drank by the pool and crying for yer mom, as “Dredged” oozes, rib-rattling from the speakers, a continuous, four-and-a-half-minute chord-layered exercise in exponentially applied tonal pressure. With five tracks spanning just over forty-three minutes, there’s not a lot on Low Demon that’s in a hurry, and aside from sections of up-tempo doom riffs (“Get Through Winter”) and some downright grindery (“Oscillate”) offering respite from the otherwise crushing wall of sound, listening to Stomach is akin to being waterboarded with molasses. Heavy influences from Earth, Sunn O))), Crossed Out, and Grief—whose Come to Grief stands as a sludge staple—form the basis for much of Stomach’s sound, and while Primitive Man and Hell draw apt comparisons as well, I’m guessing you know what you’re getting into by now. Maniacally cinematic and far from light-hearted, Stomach’s Low Demon was everything I didn’t think I needed during this hot and humid-as-an-armpit-in-hell summer.

Killjoy’s Flutes of Fancy

Braia // Vertentes de lá e cá [July 10th, 2025 – Self-Release]

Bruno Maia is one of the most inventive and hardworking musicians that I know of. Best known for the whimsical Celtic folk metal of Tuatha de Danann, he also has his own folk rock side project, Braia. Vertentes de lá e cá explores the rich history and culture of the Minas Gerais state in his native country, Brazil.3 Bursting with more sweetness than a ripe mango, Vertentes de lá e cá sports a huge diversity of musical styles and instruments. A combination of flute, viola, and acoustic guitar forms the backbone of most of the songs, like the Irish jigs in “Vertentes” or the flitting melodies of “Princesa do Sul.” My ears also detect accordion (“O Cururu do Ingaí”), saxophone (“Serra das Letras”), harmonica (“Hipólita”), banjo (“Carrancas”), and spacey synth effects (“Pagode Mouro”). That last one might sound out of place, but it makes more sense after learning of the local tales of extraterrestrial encounters. Maia sings in only two of the twelve tracks (“Emboabas” and “Rei do Campo Grande”), but all 41 minutes should be engaging enough for listeners who are typically unmoved by instrumental music. Though thematically focused on one specific location, Vertentes de lá e cá deserves to be heard by the entire world.

Storchi // By Far Away [July 25th, 2025 – Self-Release]

I would guess that the “experimental” tag causes some degree of trepidation within most listeners. However, occasionally an artist executes a fresh new vision so confidently that I can’t help but wonder if it’s secretly been around for a long time. Storchi, an instrumental prog group from Kabri, Israel, utilizes a flute in creative ways. Its bright, jazzy demeanor almost functions as a substitute for a vocalist in terms of expressiveness and personality. The Middle Eastern flair combined with modest electronic elements reminds me of Hugo Kant’s flute-heavy multicultural trip-hop. The chunky palm-muted guitar and bass borrow the best aspects of djent alongside eccentrically dynamic drum tempos. There is premeditation amidst the chaos, though. The triplet tracks “Far,” “Further,” and “Furthest” scattered throughout By Far Away each offer a unique rendition of the same core flute tune. “Lagoona” and “Smoky” make good use of melodic reprisals at the very end to neatly close the loop on what might have otherwise felt like more disjointed songs. Despite frequent and abrupt stylistic shifts, Storchi manages to make the 31-minute runtime of By Far Away feel more enjoyable than jolting. Flute fanatics should take note.

ClarkKent’s Addictive Addition

Daron Malakian and Scars on Broadway // Addicted to the Violence [July 19th, 2025 – Scarred for Life]

Since System of a Down disbanded, guitarist Daron Malakian has gone on to release 3 full-length albums under the moniker Scars on Broadway between 2008 and 2025. This spinoff project has proven Malakian to be the oddball of the group, and this goofiness hasn’t mellowed since SOAD’s debut released 27 years ago. The energetic set of tunes on Addicted to the Violence mixes nu-metal, groove rock, and pop with plenty of synths to create some fun and catchy beats. Sure, you have to delve through some baffling lyrics,4 such as when Malakian sings that there’s “a tiger that’s riding on your back / And it’s singing out ‘Rawr! Rawr!'” (“Killing Spree”). Malakian also turns to the familiar theme of drug addiction that he and Serj have explored from “Sugar” to “Heroine” to “Chemicals.”5 This time around, it’s “Satan Hussein,” where he mixes Quaaludes and Vicodin with Jesus Christ. To offset the repetition within songs, Malakian has the sense to mix things up. There’s the nu-metal cuts of “Satan Hussein” and “Destroy the Power,” featuring energetic vocalizations and grooves, but there’s also a lot of pop (“You Destroy You”). The riffs may not be as wild or creative as times past, but Addicted to the Violence makes use of a variety of instruments that keep things fresh, from an organ (“Done Me Wrong”) to a mandolin (“You Destroy You”) to some sweet synth solos. There’s even a brief saxophone appearance to conclude the album. Yes, I know exactly what you’re thinking: “This sounds awesome!”

#2025 #7DegreesRecords #AddictedToTheViolence #AliceInChains #AltarsOfBrutality #AmericanMetal #AteSAlchemist #AtmosphericBlackMetal #AustralianMetal #BlackMetal #BlackenedDeathMetal #Braia #BrazilianMetal #ByFarAway #Chemicide #CostaRicanMetal #CrossedOut #CurtaNWall #Dance #Darkthrone #DaronMalakianAndScarsOnBroadway #Darude #DeathMetal #Deathgrind #Deicide #Dephosphorus #Doom #DoomMetal #Drone #Earth #EchoesOfGloom #EDM #ExperimentalMetal #FolkMetal #FolkRock #GermanMetal #Gindcore #GreekMetal #Grief #GrooveMetal #Hardcore #Hell #HugoKant #InstrumentalMetal #IsraeliMetal #JethroTull #Jul25 #LowDemon #Mastodon #MelodicBlackMetal #Monstrosity #Mortual #Muse #Nasum #NerveAltar #NuMetal #NuclearWinterRecords #OldNick #Planetoktonos #PopMetal #PrimitiveMan #ProgressiveMetal #RawBlackMetal #Review #Reviews #RippleMusic #ScarredForLife #SeaOfShit #SelfRelease #SelfmadegodRecords #Sheev #SickTired #Sludge #SludgeMetal #Stomach #StonerDoom #StonerMetal #Storchi #StuckInTheFilter #StuckInTheFilter2025 #SunnO_ #SystemOfADown #TheMindSEternalStorm #Tool #TuathaDeDanann #VertentesDeLáECá #WeekendNachos #WitchyForestDanceContest #Witchyre #Yes

A crazy Day. Yesterday I flied from #Bello to #bogota on the morning. At night, I had #Deicide and #Behemoth concert. Then, I spent the night in the #airport because I have a fly to #Santiago #Chile early at the morning (in 30 minutes will begin boarding). I'll spend the afternoon waiting for my fly to #Concepcion

A crazy Day. Yesterday I flied from #Bello to #bogota on the morning. At night, I had #Deicide and #Behemoth concert. Then, I spent the night in the #airport because I have a fly to #Santiago #Chile early at the morning (in 30 minutes will begin boarding). I'll spend the afternoon waiting for my fly to #Concepcion

I'm #flying to #bogota to the #concert of #Behemoth and #Deicide. My third time seeing the Polish and my first time seeing the #gringo, my favorite #deathmetal band

Deicide perform first show with new guitarist Jadran “Conan” Gonzalez:

#Deicide #Exmortus #JadranConanGonzalez

Link: https://metalinsider.net/video/deicide-perform-first-show-with-new-guitarist-jadran-conan-gonzalez