#dimmuborgir — Public Fediverse posts

Azure Emote – Cryptic Aura Review

By Owlswald

Azure Emote is the project of two very busy musicians, vocalist Mike Hrubovcak (ex-Monstrosity, ex-Vile) and guitarist Ryan Moll (Hypoxia, Total Fucking Destruction). In between their work with many acclaimed death metal acts, the duo reconvenes every five years or so to craft a new Azure Emote record.1 What began in 2010 with Chronicles of an Aging Mammal as an experimental think tank for their genre-defying ideas has steadily evolved into their own eclectic brand of avant-garde death metal. Cryptic Aura marks the group’s fourth full-length and their third featuring the same all-star lineup: drumming powerhouse Mike Heller (Abigail Williams, ex-Fear Factory), legendary bassist Kelly Conlon (ex-Death), and violinist extraordinaire Pete Johansen (ex-Sirenia). Anna Murphy (ex-Eluveitie) also joins this renowned lineup, contributing her enchanting clean vocals.2 While long gaps between releases and an overabundance of ideas have historically hindered Azure Emote, Cryptic Aura strives to defy this pattern, arriving with a clear ambition to be both darker and heavier than anything they’ve released before.

Imagine a collision of Dimmu Borgir, Ne Obliviscaris, and Mithras and you’ll be in the ballpark of describing Azure Emote’s sound. Hrubovcak’s symphonic keyboards and Shagrath-esque blackened growls top Moll’s driving riffs, Conlon’s dexterous bass and Heller’s remarkable drumming to create occult-infused songs rich with dark atmosphere and dramatic flair. Heller’s performance on Cryptic Aura is mind-blowing. His blazing tom rolls (“Aeons Adrift”), tight rhythms (“Disease of the Soul”), and creative backbeats (“Return to the Unknown”) are consistently jaw-dropping, at times even overpowering the album’s bright DR 9 master. Johansen’s violin steps into a main role, often assuming a folky, crestfallen tone across the album’s ten tracks.3 Enhancing Johansen’s violin are Murphy’s backing vocals, her majestic croons (“Bleed with the Moon”) and ethereal melodies (“Feast of Leeches,” “Aeons Adrift”) driving haunting transitions. She is a welcome addition, offering bouts of serenity and a fresh touch to Azure Emote’s relentless instrumental virtuosity.

Azure Emote’s technical elements frequently coalesce to create powerful, well-structured material, despite their inherent complexity. Still incorporating a wide array of musical styles and ideas into a progressive death metal mélange, Cryptic Aura feels more calculated than past efforts. “Disease of the Soul” is a prime example, standing out as one of the album’s strongest tracks. It demonstrates the group’s unified musical vision, maintaining control amidst torrents of virtuosic chaos. Likewise, “Feast of Leeches” showcases this synergy—Murphy’s soothing pitches, Johansen’s violin, and Hrubovcak’s synth arrangements artfully balancing its thrashy riffs, relentless blast beats and Moll and Conlon’s adventurous soloing. Johansen’s violin plays a crucial role in grounding Cryptic Aura’s songs and providing a consistent thematic thread. Far from being buried in the mix, Johansen often takes the lead, offering melodic death-folk elements and a variety of engaging leads and solos that share the spotlight with Moll. From trilling melodies (“Aeons Adrift,” “Insomnia Nervosa”) to chilling atmospheric passages with delay (“Defiance Infernus”) to a somber homestead feel (“Bleed with the Moon”), Johansen’s versatility adds a distinctive layer to Azure Emote’s multifaceted soundscape.

While Cryptic Aura features impressive technicality and several strong tracks, its prevailing density occasionally hampers it, thereby leading to listener fatigue. Heller’s performance, while spectacular, is overwhelming at times—particularly on “Defiance Infernus,” “Into Abysmal Oblivion,” and “Aeons Adrift”—due to his blistering speed and the drum-forward mix. Furthermore, the powerful beginnings of “Provoking the Obscene” and “Aeons Adrift” ultimately dissolve into exhausting complexity during their chaotic conclusions. “Bleed with the Moon,” meanwhile, offers a repetitive, cascading instrumental barrage that offers little reprieve from its intensity. Murphy’s performance serves Cryptic Aura well, however, helping to counterbalance the overwhelming instrumentation. Her choral passages shine—notably the Gladiator-like ambient transition in “Bleed the Moon”—and her dramatic and warm tone commands attention on “Return to the Unknown” and “Provoking the Obscene.” Unfortunately, she is largely confined to backup duties—a disappointing and missed opportunity.

Though not without its flaws, Cryptic Aura remains a good album. A consistent lineup has allowed Azure Emote to streamline their creativity, presenting their impressive virtuosity with a newfound focus. With Cryptic Aura, the group has found solid footing, marking a positive evolution and resulting in my favorite record from them to date. Such progress ignites my excitement for the future. My only hope is that their next iteration arrives much sooner.

Rating: Good
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Testimony Records
Websites: azureemote.bandcamp.com/music | facebook.com/azureemote
Releases Worldwide: July 25th, 2025

#2025 #30 #AbagailWilliams #AmericanMetal #AvantGarde #AzureEmote #CrypticAura #Death #DeathMetal #DimmuBorgir #Eluveitie #FearFactory #Hypoxia #Jul25 #Mithras #Monstrosity #NeObliviscaris #ProgressiveDeath #Review #Reviews #Sirenia #TestimonyRecords #TotalFuckingDestruction #Vile

Cabal – Everything Rots Review

By Dear Hollow

The struggle between viciousness and velocity is a storied one in the realm of deathcore, and Cabal is no exception in its battle between tone-abusing slogs and blazing blastbeats. Enacting a blackened deathcore attack that neglects orchestral atmospheres and paper-thin symphonics in favor of thick filth that covers every surface lead and fills every chugging crevice, it flaunts an arsenal of blackened chord progressions that lend a horror appropriate to its occult theme. The band has nevertheless toiled between the trenches of stagnation and devastation. Four albums in, expect filthy chugging aplenty, dark electronic flourishes abound, and a tasteful array of guest vocalists, all in service of a darker power. Business as usual.

In spite of its unmistakable filth that separates it from the likes of Lorna Shore, Worm Shepherd, or any of the other Deathcore Borgirs of the world, Denmark’s Cabal has a bit of a rollercoaster of a discography since 2018. Debut Mark of Rot was a simultaneously too-clean and too-dirty blend of down-tempo deathcore with blackened flourishes and a sterile djent guitar tone. 2020’s Drag Me Down amped the tempo with an unfuckwithable cutthroat quality that kept things fresh and brutal with spotlights of guests from Polaris, Møl, and Trivium. 2022’s Magno Interitus amped the tone with a lightless and mammoth foray into dark electronics that kept things interesting, although its more experimental pieces damaged its consistency. In this way, Everything Rots more seamlessly incorporates it into an over-the-top and absolutely relentless deathcore romp caked with Cabal’s suffocating trademark filth.

Like “Tongues” or “Demagogue” from Drag Me Down, Cabal manages to balance its absolutely crushing weight with a tasteful novelty in Everything Rots. While you’re guaranteed to be bludgeoned by breakdowns infused with the weight of Magno Interitus and pulverized by Andreas Bjulver’s husky roars, a heavier usage of blastbeats adds to the frenzy and the guest vocals add a dosage of well-placed freshness, not unlike Aborted’s latest. Injecting a hardcore call-out badassery (Viscera’s Jamie Graham in “No Peace;” Nasty’s Matthi Odysseus in “Unveiled”), rapid-fire groove (ten56.’s Aaron Matts in “Still Cursed”), and thick brutality (Aviana’s Joel Holmqvist in “Stuck;” Distant’s Alan Grnja in “Beneath Blackened Skies”). “Sort Sommer” (featuring hip-hop/punk duo Fabräk) has the same feel as “Blod af Mit” from Magno Interitus in its sudden embarrassment of nu-metal riches, but has been safely relegated to bonus track this time around. Cabal utilizes novelty as a reprieve to the relentless density that comprises its more straightforward pieces.

What’s consistently refreshing about Cabal is that their deathcore novelty is bolstered by a smart songwriting style that balances the meatheaded and the menacing. The best songs are those that are securely Cabal’s – in spite of the army of guests elsewhere – from the sweet placements of icy blackened chord progressions to mammoth breakdowns (“Everything Rots,” “Hell Hounds”). Compared to its predecessor, Everything Rots returns to what the band does best: being completely unhinged. It’s all about adrenaline-pumping intensity, pure gym-core, unshakeable groove populating its digestible tracks with a cold and intense melodic template (“Redemption Denied,” “End Times”). The electronic influence is far less jarring, adding a surreal pulse in addition to (instead of in replacement of) the deathcore intensity (“Forever Marked,” “Snake Tongues”).

Everything Rots will not sway your opinion on deathcore. It’s a meatheaded foray with enough chuggy breakdowns, brickwalled production, and vomitous vocals to kill an adult horse:1 A faster Black Tongue perhaps or a more blackened Humanity’s Last Breath. But armed with a blackened filth and a vocalist who could pass as his own arsenal of guest vocalists, Cabal’s got a trademark sound and a great interpretation of it. It’s a return to form for a band known for its balance, thanks to a cutthroat intensity that recalls the grandiosity of Drag Me Down. Dwelling in hell-scraping tone worship and tempo ignorance only when it benefits its occult aims, Everything Rots is a suffocating listen, smartly designed with necessary reprieves, with a must more tasteful electronic presence. It’s a brutal blackened deathcore album without all the symphonic bullshit. Deathcore fans rejoice!

Rating: 3.5/5.0
DR: 4 | Format Reviewed: 320 kb/s mp3
Label: Nuclear Blast Records
Websites: cabalcph.bandcamp.com | cabalcult.com | facebook.com/@cabalcph
Releases Worldwide: April 11th, 2025

#2025 #35 #Aborted #Apr25 #Aviana #BlackTongue #BlackenedDeathcore #CABAL #DanishMetal #Deathcore #DimmuBorgir #Distant #Electronic #EverythingRots #Fabräk #Hardcore #HumanitySLastBreath #LornaShore #Møl #Nasty #NuclearBlastRecords #Polaris #Review #Reviews #ten56_ #Trivium #Viscera #WormShepherd

Cabal – Everything Rots Review

By Dear Hollow

The struggle between viciousness and velocity is a storied one in the realm of deathcore, and Cabal is no exception in its battle between tone-abusing slogs and blazing blastbeats. Enacting a blackened deathcore attack that neglects orchestral atmospheres and paper-thin symphonics in favor of thick filth that covers every surface lead and fills every chugging crevice, it flaunts an arsenal of blackened chord progressions that lend a horror appropriate to its occult theme. The band has nevertheless toiled between the trenches of stagnation and devastation. Four albums in, expect filthy chugging aplenty, dark electronic flourishes abound, and a tasteful array of guest vocalists, all in service of a darker power. Business as usual.

In spite of its unmistakable filth that separates it from the likes of Lorna Shore, Worm Shepherd, or any of the other Deathcore Borgirs of the world, Denmark’s Cabal has a bit of a rollercoaster of a discography since 2018. Debut Mark of Rot was a simultaneously too-clean and too-dirty blend of down-tempo deathcore with blackened flourishes and a sterile djent guitar tone. 2020’s Drag Me Down amped the tempo with an unfuckwithable cutthroat quality that kept things fresh and brutal with spotlights of guests from Polaris, Møl, and Trivium. 2022’s Magno Interitus amped the tone with a lightless and mammoth foray into dark electronics that kept things interesting, although its more experimental pieces damaged its consistency. In this way, Everything Rots more seamlessly incorporates it into an over-the-top and absolutely relentless deathcore romp caked with Cabal’s suffocating trademark filth.

Like “Tongues” or “Demagogue” from Drag Me Down, Cabal manages to balance its absolutely crushing weight with a tasteful novelty in Everything Rots. While you’re guaranteed to be bludgeoned by breakdowns infused with the weight of Magno Interitus and pulverized by Andreas Bjulver’s husky roars, a heavier usage of blastbeats adds to the frenzy and the guest vocals add a dosage of well-placed freshness, not unlike Aborted’s latest. Injecting a hardcore call-out badassery (Viscera’s Jamie Graham in “No Peace;” Nasty’s Matthi Odysseus in “Unveiled”), rapid-fire groove (ten56.’s Aaron Matts in “Still Cursed”), and thick brutality (Aviana’s Joel Holmqvist in “Stuck;” Distant’s Alan Grnja in “Beneath Blackened Skies”). “Sort Sommer” (featuring hip-hop/punk duo Fabräk) has the same feel as “Blod af Mit” from Magno Interitus in its sudden embarrassment of nu-metal riches, but has been safely relegated to bonus track this time around. Cabal utilizes novelty as a reprieve to the relentless density that comprises its more straightforward pieces.

What’s consistently refreshing about Cabal is that their deathcore novelty is bolstered by a smart songwriting style that balances the meatheaded and the menacing. The best songs are those that are securely Cabal’s – in spite of the army of guests elsewhere – from the sweet placements of icy blackened chord progressions to mammoth breakdowns (“Everything Rots,” “Hell Hounds”). Compared to its predecessor, Everything Rots returns to what the band does best: being completely unhinged. It’s all about adrenaline-pumping intensity, pure gym-core, unshakeable groove populating its digestible tracks with a cold and intense melodic template (“Redemption Denied,” “End Times”). The electronic influence is far less jarring, adding a surreal pulse in addition to (instead of in replacement of) the deathcore intensity (“Forever Marked,” “Snake Tongues”).

Everything Rots will not sway your opinion on deathcore. It’s a meatheaded foray with enough chuggy breakdowns, brickwalled production, and vomitous vocals to kill an adult horse:1 A faster Black Tongue perhaps or a more blackened Humanity’s Last Breath. But armed with a blackened filth and a vocalist who could pass as his own arsenal of guest vocalists, Cabal’s got a trademark sound and a great interpretation of it. It’s a return to form for a band known for its balance, thanks to a cutthroat intensity that recalls the grandiosity of Drag Me Down. Dwelling in hell-scraping tone worship and tempo ignorance only when it benefits its occult aims, Everything Rots is a suffocating listen, smartly designed with necessary reprieves, with a must more tasteful electronic presence. It’s a brutal blackened deathcore album without all the symphonic bullshit. Deathcore fans rejoice!

Rating: 3.5/5.0
DR: 4 | Format Reviewed: 320 kb/s mp3
Label: Nuclear Blast Records
Websites: cabalcph.bandcamp.com | cabalcult.com | facebook.com/@cabalcph
Releases Worldwide: April 11th, 2025

#2025 #35 #Aborted #Apr25 #Aviana #BlackTongue #BlackenedDeathcore #CABAL #DanishMetal #Deathcore #DimmuBorgir #Distant #Electronic #EverythingRots #Fabräk #Hardcore #HumanitySLastBreath #LornaShore #Møl #Nasty #NuclearBlastRecords #Polaris #Review #Reviews #ten56_ #Trivium #Viscera #WormShepherd

Cabal – Everything Rots Review

By Dear Hollow

The struggle between viciousness and velocity is a storied one in the realm of deathcore, and Cabal is no exception in its battle between tone-abusing slogs and blazing blastbeats. Enacting a blackened deathcore attack that neglects orchestral atmospheres and paper-thin symphonics in favor of thick filth that covers every surface lead and fills every chugging crevice, it flaunts an arsenal of blackened chord progressions that lend a horror appropriate to its occult theme. The band has nevertheless toiled between the trenches of stagnation and devastation. Four albums in, expect filthy chugging aplenty, dark electronic flourishes abound, and a tasteful array of guest vocalists, all in service of a darker power. Business as usual.

In spite of its unmistakable filth that separates it from the likes of Lorna Shore, Worm Shepherd, or any of the other Deathcore Borgirs of the world, Denmark’s Cabal has a bit of a rollercoaster of a discography since 2018. Debut Mark of Rot was a simultaneously too-clean and too-dirty blend of down-tempo deathcore with blackened flourishes and a sterile djent guitar tone. 2020’s Drag Me Down amped the tempo with an unfuckwithable cutthroat quality that kept things fresh and brutal with spotlights of guests from Polaris, Møl, and Trivium. 2022’s Magno Interitus amped the tone with a lightless and mammoth foray into dark electronics that kept things interesting, although its more experimental pieces damaged its consistency. In this way, Everything Rots more seamlessly incorporates it into an over-the-top and absolutely relentless deathcore romp caked with Cabal’s suffocating trademark filth.

Like “Tongues” or “Demagogue” from Drag Me Down, Cabal manages to balance its absolutely crushing weight with a tasteful novelty in Everything Rots. While you’re guaranteed to be bludgeoned by breakdowns infused with the weight of Magno Interitus and pulverized by Andreas Bjulver’s husky roars, a heavier usage of blastbeats adds to the frenzy and the guest vocals add a dosage of well-placed freshness, not unlike Aborted’s latest. Injecting a hardcore call-out badassery (Viscera’s Jamie Graham in “No Peace;” Nasty’s Matthi Odysseus in “Unveiled”), rapid-fire groove (ten56.’s Aaron Matts in “Still Cursed”), and thick brutality (Aviana’s Joel Holmqvist in “Stuck;” Distant’s Alan Grnja in “Beneath Blackened Skies”). “Sort Sommer” (featuring hip-hop/punk duo Fabräk) has the same feel as “Blod af Mit” from Magno Interitus in its sudden embarrassment of nu-metal riches, but has been safely relegated to bonus track this time around. Cabal utilizes novelty as a reprieve to the relentless density that comprises its more straightforward pieces.

What’s consistently refreshing about Cabal is that their deathcore novelty is bolstered by a smart songwriting style that balances the meatheaded and the menacing. The best songs are those that are securely Cabal’s – in spite of the army of guests elsewhere – from the sweet placements of icy blackened chord progressions to mammoth breakdowns (“Everything Rots,” “Hell Hounds”). Compared to its predecessor, Everything Rots returns to what the band does best: being completely unhinged. It’s all about adrenaline-pumping intensity, pure gym-core, unshakeable groove populating its digestible tracks with a cold and intense melodic template (“Redemption Denied,” “End Times”). The electronic influence is far less jarring, adding a surreal pulse in addition to (instead of in replacement of) the deathcore intensity (“Forever Marked,” “Snake Tongues”).

Everything Rots will not sway your opinion on deathcore. It’s a meatheaded foray with enough chuggy breakdowns, brickwalled production, and vomitous vocals to kill an adult horse:1 A faster Black Tongue perhaps or a more blackened Humanity’s Last Breath. But armed with a blackened filth and a vocalist who could pass as his own arsenal of guest vocalists, Cabal’s got a trademark sound and a great interpretation of it. It’s a return to form for a band known for its balance, thanks to a cutthroat intensity that recalls the grandiosity of Drag Me Down. Dwelling in hell-scraping tone worship and tempo ignorance only when it benefits its occult aims, Everything Rots is a suffocating listen, smartly designed with necessary reprieves, with a must more tasteful electronic presence. It’s a brutal blackened deathcore album without all the symphonic bullshit. Deathcore fans rejoice!

Rating: 3.5/5.0
DR: 4 | Format Reviewed: 320 kb/s mp3
Label: Nuclear Blast Records
Websites: cabalcph.bandcamp.com | cabalcult.com | facebook.com/@cabalcph
Releases Worldwide: April 11th, 2025

#2025 #35 #Aborted #Apr25 #Aviana #BlackTongue #BlackenedDeathcore #CABAL #DanishMetal #Deathcore #DimmuBorgir #Distant #Electronic #EverythingRots #Fabräk #Hardcore #HumanitySLastBreath #LornaShore #Møl #Nasty #NuclearBlastRecords #Polaris #Review #Reviews #ten56_ #Trivium #Viscera #WormShepherd

Cabal – Everything Rots Review

By Dear Hollow

The struggle between viciousness and velocity is a storied one in the realm of deathcore, and Cabal is no exception in its battle between tone-abusing slogs and blazing blastbeats. Enacting a blackened deathcore attack that neglects orchestral atmospheres and paper-thin symphonics in favor of thick filth that covers every surface lead and fills every chugging crevice, it flaunts an arsenal of blackened chord progressions that lend a horror appropriate to its occult theme. The band has nevertheless toiled between the trenches of stagnation and devastation. Four albums in, expect filthy chugging aplenty, dark electronic flourishes abound, and a tasteful array of guest vocalists, all in service of a darker power. Business as usual.

In spite of its unmistakable filth that separates it from the likes of Lorna Shore, Worm Shepherd, or any of the other Deathcore Borgirs of the world, Denmark’s Cabal has a bit of a rollercoaster of a discography since 2018. Debut Mark of Rot was a simultaneously too-clean and too-dirty blend of down-tempo deathcore with blackened flourishes and a sterile djent guitar tone. 2020’s Drag Me Down amped the tempo with an unfuckwithable cutthroat quality that kept things fresh and brutal with spotlights of guests from Polaris, Møl, and Trivium. 2022’s Magno Interitus amped the tone with a lightless and mammoth foray into dark electronics that kept things interesting, although its more experimental pieces damaged its consistency. In this way, Everything Rots more seamlessly incorporates it into an over-the-top and absolutely relentless deathcore romp caked with Cabal’s suffocating trademark filth.

Like “Tongues” or “Demagogue” from Drag Me Down, Cabal manages to balance its absolutely crushing weight with a tasteful novelty in Everything Rots. While you’re guaranteed to be bludgeoned by breakdowns infused with the weight of Magno Interitus and pulverized by Andreas Bjulver’s husky roars, a heavier usage of blastbeats adds to the frenzy and the guest vocals add a dosage of well-placed freshness, not unlike Aborted’s latest. Injecting a hardcore call-out badassery (Viscera’s Jamie Graham in “No Peace;” Nasty’s Matthi Odysseus in “Unveiled”), rapid-fire groove (ten56.’s Aaron Matts in “Still Cursed”), and thick brutality (Aviana’s Joel Holmqvist in “Stuck;” Distant’s Alan Grnja in “Beneath Blackened Skies”). “Sort Sommer” (featuring hip-hop/punk duo Fabräk) has the same feel as “Blod af Mit” from Magno Interitus in its sudden embarrassment of nu-metal riches, but has been safely relegated to bonus track this time around. Cabal utilizes novelty as a reprieve to the relentless density that comprises its more straightforward pieces.

What’s consistently refreshing about Cabal is that their deathcore novelty is bolstered by a smart songwriting style that balances the meatheaded and the menacing. The best songs are those that are securely Cabal’s – in spite of the army of guests elsewhere – from the sweet placements of icy blackened chord progressions to mammoth breakdowns (“Everything Rots,” “Hell Hounds”). Compared to its predecessor, Everything Rots returns to what the band does best: being completely unhinged. It’s all about adrenaline-pumping intensity, pure gym-core, unshakeable groove populating its digestible tracks with a cold and intense melodic template (“Redemption Denied,” “End Times”). The electronic influence is far less jarring, adding a surreal pulse in addition to (instead of in replacement of) the deathcore intensity (“Forever Marked,” “Snake Tongues”).

Everything Rots will not sway your opinion on deathcore. It’s a meatheaded foray with enough chuggy breakdowns, brickwalled production, and vomitous vocals to kill an adult horse:1 A faster Black Tongue perhaps or a more blackened Humanity’s Last Breath. But armed with a blackened filth and a vocalist who could pass as his own arsenal of guest vocalists, Cabal’s got a trademark sound and a great interpretation of it. It’s a return to form for a band known for its balance, thanks to a cutthroat intensity that recalls the grandiosity of Drag Me Down. Dwelling in hell-scraping tone worship and tempo ignorance only when it benefits its occult aims, Everything Rots is a suffocating listen, smartly designed with necessary reprieves, with a must more tasteful electronic presence. It’s a brutal blackened deathcore album without all the symphonic bullshit. Deathcore fans rejoice!

Rating: 3.5/5.0
DR: 4 | Format Reviewed: 320 kb/s mp3
Label: Nuclear Blast Records
Websites: cabalcph.bandcamp.com | cabalcult.com | facebook.com/@cabalcph
Releases Worldwide: April 11th, 2025

#2025 #35 #Aborted #Apr25 #Aviana #BlackTongue #BlackenedDeathcore #CABAL #DanishMetal #Deathcore #DimmuBorgir #Distant #Electronic #EverythingRots #Fabräk #Hardcore #HumanitySLastBreath #LornaShore #Møl #Nasty #NuclearBlastRecords #Polaris #Review #Reviews #ten56_ #Trivium #Viscera #WormShepherd

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Underrated Black Metal, Saint Vitus' Closure & Other Top Stories You Might've Missed This Week

https://metalinjection.net/injection-reflection/underrated-black-metal-saint-vitus-closure-other-top-stories-you-mightve-missed-this-week

#BlackMetal #SaintVitus #OldMansChild #DimmuBorgir #Galder #MetalInjectionFestival #Jinjer #Converge #GodForbid