#deicide — Public Fediverse posts

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

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

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

Harvested – Dysthymia Review

By Tyme

Despite a waning stigma, mental illness remains an oft-closeted topic, as those suffering from it struggle not only to cope but to discuss their struggles with others. Here to shed some of their death metal light on the matter are Canadian upstarts Harvested, with their independent debut full-length Dysthymia, which, according to Johns Hopkins Medicine, is defined as a long-lasting form of mild depression. Touching on topics ranging from submitting to one’s long-bottled-up ‘shadow self’ (“Repressed Neurosis”) to the gluttonous way humans abuse the earth (“Unanchored”), something Harvested consider a form of mental illness, they’ve dialed back the lyrically gorier aspects of their eponymous 2022 EP to intensify the focus on their chosen theme. As evidenced by the beautifully rendered CJ Bertram cover art, which main guitarist Mitchi Dimitriadis says depicts ‘an individual in great mental turmoil’ and represents ‘the abstract visualization of the chaos that is the human brain,’ it’s clear that Harvested are committed to the subject. The only question left to answer is whether it’s worth reaping what Harvested’s Dysthymia hopes to have sown.

Nostalgically anchored in 1990s and early 2000s death metal, Harvested also incorporate modern elements of slam and tech-death into the mix to achieve Dysthymia’s goal. This is one brutal fucking record, and from the get, you realize Harvested aren’t messing about, as Dysthymia mashes the potatoes and pulls the meaty steaks off the grill, a muscle-bound manifestation of their Cannibal Corpse, Suffocation, and Deicide (“Harvested,” “The Infestation”) influences. Dimitriadis’ and Vitto Oh’s guitar harmonics are pinched harder than Grier‘s butt cheeks at an enema convention, ensorcelled by viscerally blistering riffs, technically proficient leads, and tornadic, swirling solos. Jacob Collins’ drums1 crack skulls and pummel sternums with whirling fills and destructive double-kicks while Eric Forget’s bass lines remember everything necessary to keep things rumbling along. Adam Semler’s vocals, primarily an homage to George Fisher’s chesty aggression and Glenn Benton’s demonic discernibility, also share elements with Cattle Decapitation’s Travis Ryan at his most high-pitched and raspy. For such a young band, Harvested have planted a flag on the death metal scene, and Dysthymia is the wind through which that flag furls, filled with exuberant, energy-filled performances and solid songwriting.

With highlights aplenty, Dysthymia demands attention by way of its genuine songcraft and near flawless execution. I found myself stank-faced and sweaty through many a listen, whether basking in the glow of galloping riffs and percussive bass on “Unending Madness” or taking in the detailed technicality of the Soreption and The Zenith Passage influenced “Designed Dilemma,” a song that chugs so hard through its last ninety seconds I nearly gave myself whiplash. My favorite track, “Gathered and Deluded,” is a Cattle Decapitation-tinted slammer with pinched harmonic progressions that have been living rent-free in my head for weeks as Forget’s bass marches in flurrying lockstep with Collins’ robotically precise drums, and Selmer channels his best inner Travis Ryan. Harvested is one tight-knit outfit, belying their relatively brief existence and sounding like a band that’s been together much longer.

I’d argue the efforts of Harvested’s “sixth member” deserve as much credit for the success Dysthymia should garner as the band themselves, and that is the excellent work Joe Lyko performed from the booth at Darkmoon Productions. Lyko’s mix and master slathers Dimitriadis’ and Oh’s guitar work in a tone that, for me, defies obvious comparison, as bright and bouncy as it is deadly and devastating. Like a calculated throat punch, it was the first thing that hit me when album opener, “Harvested,” launched, holding my rapt attention all the way through to “The Infestation,” an excellent close to Dysthymia’s very manageable thirty-two-minute runtime. Each instrument exists within its own space, breathing freely and intertwining with high-definition clarity, thereby topping this auditorily successful sundae with a big, fat, juicy cherry.

Lyrically poignant, brutally heavy, and bursting with engagingly twisted, hook-filled instrumentation, Dysthymia is a helluva debut, and one Harvested should be proud of. As poetically as I have waxed, I still believe there’s room for Harvested to grow. God help those who might lay their ears on a sophomore effort from this line-up, should they remain intact. Rest assured, I’ll definitely be watching and waiting. For now, however, I wholeheartedly recommend you spend some long-lasting, quality time with Dysthymia.

Rating: 3.5 / 5.0
DR: 7 | Format Reviewed: 320kbps mp3
Label: Self-Released
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: August 1st, 2025

#2025 #35 #Aug25 #CanadianMetal #CannibalCorpse #CattleDecapitation #DeathMetal #Deicide #Dysthymia #Harvested #Independent #Review #Soreption #Suffocation #TechnicalDeathMetal #TheZenithProcess

ON A SERIOUS NOTE
“christian” zionists hate anybody semitic and Arab so much, they support the #genocide of #Christian #Palestinians
https://www.theguardian.com/world/2025/apr/18/jerusalem-christians-easter-israeli-crackdown-church-holy-sepulchre

and to our Jewish kin:
today many xian zionist cults celebrate the Jewish #deicide #libel that is at the heart of the #Inquisition #expulsiones #pogroms and #Holocaust.
https://en.wikipedia.org/wiki/Jewish_deicide

and i say celebrate: the RCC officially repudiated the libel that many genocidal xians (including catholics) won’t cosign
https://en.wikipedia.org/wiki/Nostra_aetate

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#BraveWords
Today In Metal History 🤘 August 22nd, 2024🤘
ALICE IN CHAINS, LIVING COLOUR, RATT, DEICIDE, LAMB OF GOD

https://bravewords.com/news/today-in-metal-history-august-22nd-2024-alice-in-chains-living-colour-ratt-deicide-lamb-of-god

#AliceInChains #LivingColour #Ratt #Deicide #LambOfGod #LayneStaley #JuanCroucier #VernonReid #DCCooper #LAGuns #EnuffZNuff #TheGathering #Gorod #TheHumanAbstract #MiserySignals #Terrorizer #Unexpect #WallsOfJericho

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#MetalInjection
What Was The Best Release Of April 2024?
April 2024 was loaded with a lot of excellent releases!

https://metalinjection.net/news/poll/what-was-the-best-release-of-april-2024

#HumanoidAcidMammoth #SupersonicMegafaunaCollision #ACxDC #GOT #AtræBilis #Aumicide #Attacker #TheGodParticle #BalanceOfPower #FreshFromTheAbyss #BeneathTheBlazingAbyss #Benighted #Ekbom #Darkthrone #ItBeckonsUsAll #Dayseeker #Replica #Deicide #BanishedBySin #Disbelief #KillingKarma #Dool #TheShapeOfFluidity #Dvne #Voidkind #Eidola

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#BLABBERMOUTH
DEICIDE Completes Recording Long-Awaited New Studio Album
Florida death metal veterans DEICIDE have completed recording their long-awaited new studio album. On Saturday (May 6), DEICIDE shared a graphic with the text "The new album is finished," and included the following message: "The recording is done, it's going to test mixing, then mastering. The...

https://blabbermouth.net/news/deicide-completes-recording-long-awaited-new-studio-album

#Deicide
#NewAlbum
#Metal
#DeathMetal
#StudioAlbum
#LongAwaited

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#BLAERMOUTH.N
DEICIDE Signs Record Deal For Long-Awaited New Album
During an appearance on the latest episode of "The Jasta Show", the video podcast hosted by HATEBREED frontman Jamey Jasta, Glen Benton spoke about the status of DEICIDE's long-awaited new studio album. He said...

https://blabbermouth.net/news/deicide-signs-record-deal-for-long-awaited-new-album

#Deicide #RecordDeal #NewAlbum #LongAwaited #DeathMetalScion #MetalIndustryVeteran #CurrentLineup #GlenBenton #SteveAsheim #KevinQuirion #MarkEnglish