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Crypts of Golgotha – Disembodied in the Arms of Perdition Review

Nestled in the underground crevices and rocky terrain of Denver, Colorado, emerging upstarts Crypts of Golgotha ris…
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Nestled in the underground crevices and rocky terrain of Denver, Colorado, emerging upstarts Crypts of Golgotha rise with the debut full-length, Disembodied in the Arms of Perdition, hellbent on bruising and battering the weak. Formed in 2022, the four-piece have cranked out a busy collection of demos, EPs and split releases before arriving at their debut LP. The term is perhaps used a little loosely in this case, as Crypts of Golgotha strip shit down to the bare essentials, crushing the listener into submission over the course of an all too brief twenty-four-minute beatdown. Boasting an uber chunky style of brutal, groove-infected death, let us dig in to see whether Crypts of Golgotha possess the chops and songwriting smarts to elevate themselves from the overcrowded pack.

As quickly determined, subtlety is not in the Crypts of Golgotha playbook. Nor are they preoccupied with techy flatulence, shitty interludes or throwaway instrumentals. These dudes cut to the chase, using the almighty power of the riff to drive each rugged, in-your-face composition, packing each meaty slab with enough tempo shifts, cohesion and structural variety to maintain interest. Tight, direct and refreshingly clutter- and gimmick-free, Crypts of Golgotha draws inspiration from classic sources, including the mighty Suffocation, Dying Fetus and Morbid Angel. Outside of the classic fare, Crypts of Golgotha strike a nifty balance of contemporary meets old school influences, recalling the immense weight, riff-based chugs, and uppercutting grooves of modern heavyweights Bloodgutter, Unhallowed Deliverance, and reliable Danish vets, Dawn of Demise.

Crypts of Golgotha slather their old school ideals with a modern approach, complete with lashings of slammy groove, pit-ready breakdowns, and guttural brutal death, wrapped in a dense, beefy production and darkly gritty underground atmosphere. Sprightly and impactful, Crypts of Golgotha crafted a heavyweight platform of bricks and mortar to expand upon. Roots of budding potential are well established, as Crypts of Golgotha thrive on pummeling the listener into dust, slowing down to bowel-rumbling levels for maximum heaviness, while frequently shifting tempos and rhythmic patterns to ensure the material doesn’t devolve into monotony. Instrumentally heavy opener “Cross on Calvary” spends most of its runtime battering auditory senses through beefy riffs, slick tempo changes, and a devastatingly heavy climax. Featuring impressive quality and consistency, Disembodied in the Arms of Perdition features a rampaging collection of killer tunes, with nary a moment wasted. Brutally rugged riffs, sick dual vox, and gargantuan grooves regularly detonate with crushing, infectious impact (“Disembodied in the Arms of Perdition,” ‘Pummeled into Nonexistence,” “I am Decay”).

“Wolf and the Knife” draws power from its thick, sinewy basslines, slobber-knocking riffs, and techy, urgent throes, while “Elegy of the Forgotten God” channels the stout power and attitude of classic New York death. The rapid affair concludes with the compellingly riff-stacked and body-slamming grooves of “Order to Comply.” Technically proficient without resorting to flashy showmanship, Crypts of Golgotha sound immensely tight and monstrously heavy. Showcasing a deft handle of songcraft, bolstered by a weighty sack of hammering riffs and gnarly, varied vox to drive momentum, the riffs cycle through brutal and classic death metal influences, cutting a satisfyingly heavy wallop and a brutally infectious streak. Guitars are reinforced by extra beefy tones, mixing sledgehammer heft and sharp clarity. Gabe Sragon (also on vox) and Dominik Dworak wield their axes with confidence and a nasty underground swagger. I would be remiss not to highlight the excellent rhythm section, from Cooper Jones’ ever-present, chunkified bass rumbles to the bulldozing, groove-centric and creative patterns of drummer Joaquin Aragon.

Strengths comfortably outweigh any nitpicks or weaknesses on Disembodied in the Arms of Perdition. To be expected from a young band’s debut LP, there is naturally room for growth and development in the songwriting department to refine their identity, and occasionally the album could benefit from more frequent bursts of speed. While reluctant to draw a negative of refreshing brevity, the album leaves you wanting more, making for enjoyable replay value, but a feeling an extra few minutes of material would have made for a more fully fleshed-out experience. Otherwise, matching songwriting smarts to compliment the preposterously guttural onslaughts and knuckle-dragging bruteness, Crypts of Golgotha unleashed a confident, delightfully crushing debut, with youth on their side to hone their craft into an even more deadly form of thuggish savagery.

Rating: 3.5/5.0
DR: N/A | Format Reviewed: Stream
Label: DSFP Records
Website: Bandcamp
Releases Worldwide: June 26th, 2026

Nestled in the underground crevices and rocky terrain of Denver, Colorado, emerging upstarts Crypts of Golgotha rise with the debut full-length, Disembodied in the Arms of Perdition, hellbent on bruising and battering the weak. Formed in 2022, the four-piece have cranked out a busy collection of demos, EPs and split releases before arriving at their debut LP. The term is perhaps used a little loosely in this case, as Crypts of Golgotha strip shit down to the bare essentials, crushing the listener into submission over the course of an all too brief twenty-four-minute beatdown. Boasting an uber chunky style of brutal, groove-infected death, let us dig in to see whether Crypts of Golgotha possess the chops and songwriting smarts to elevate themselves from the overcrowded pack.

As quickly determined, subtlety is not in the Crypts of Golgotha playbook. Nor are they preoccupied with techy flatulence, shitty interludes or throwaway instrumentals. These dudes cut to the chase, using the almighty power of the riff to drive each rugged, in-your-face composition, packing each meaty slab with enough tempo shifts, cohesion and structural variety to maintain interest. Tight, direct and refreshingly clutter- and gimmick-free, Crypts of Golgotha draws inspiration from classic sources, including the mighty Suffocation, Dying Fetus and Morbid Angel. Outside of the classic fare, Crypts of Golgotha strike a nifty balance of contemporary meets old school influences, recalling the immense weight, riff-based chugs, and uppercutting grooves of modern heavyweights Bloodgutter, Unhallowed Deliverance, and reliable Danish vets, Dawn of Demise.

Crypts of Golgotha slather their old school ideals with a modern approach, complete with lashings of slammy groove, pit-ready breakdowns, and guttural brutal death, wrapped in a dense, beefy production and darkly gritty underground atmosphere. Sprightly and impactful, Crypts of Golgotha crafted a heavyweight platform of bricks and mortar to expand upon. Roots of budding potential are well established, as Crypts of Golgotha thrive on pummeling the listener into dust, slowing down to bowel-rumbling levels for maximum heaviness, while frequently shifting tempos and rhythmic patterns to ensure the material doesn’t devolve into monotony. Instrumentally heavy opener “Cross on Calvary” spends most of its runtime battering auditory senses through beefy riffs, slick tempo changes, and a devastatingly heavy climax. Featuring impressive quality and consistency, Disembodied in the Arms of Perdition features a rampaging collection of killer tunes, with nary a moment wasted. Brutally rugged riffs, sick dual vox, and gargantuan grooves regularly detonate with crushing, infectious impact (“Disembodied in the Arms of Perdition,” ‘Pummeled into Nonexistence,” “I am Decay”).

“Wolf and the Knife” draws power from its thick, sinewy basslines, slobber-knocking riffs, and techy, urgent throes, while “Elegy of the Forgotten God” channels the stout power and attitude of classic New York death. The rapid affair concludes with the compellingly riff-stacked and body-slamming grooves of “Order to Comply.” Technically proficient without resorting to flashy showmanship, Crypts of Golgotha sound immensely tight and monstrously heavy. Showcasing a deft handle of songcraft, bolstered by a weighty sack of hammering riffs and gnarly, varied vox to drive momentum, the riffs cycle through brutal and classic death metal influences, cutting a satisfyingly heavy wallop and a brutally infectious streak. Guitars are reinforced by extra beefy tones, mixing sledgehammer heft and sharp clarity. Gabe Sragon (also on vox) and Dominik Dworak wield their axes with confidence and a nasty underground swagger. I would be remiss not to highlight the excellent rhythm section, from Cooper Jones’ ever-present, chunkified bass rumbles to the bulldozing, groove-centric and creative patterns of drummer Joaquin Aragon.

Strengths comfortably outweigh any nitpicks or weaknesses on Disembodied in the Arms of Perdition. To be expected from a young band’s debut LP, there is naturally room for growth and development in the songwriting department to refine their identity, and occasionally the album could benefit from more frequent bursts of speed. While reluctant to draw a negative of refreshing brevity, the album leaves you wanting more, making for enjoyable replay value, but a feeling an extra few minutes of material would have made for a more fully fleshed-out experience. Otherwise, matching songwriting smarts to compliment the preposterously guttural onslaughts and knuckle-dragging bruteness, Crypts of Golgotha unleashed a confident, delightfully crushing debut, with youth on their side to hone their craft into an even more deadly form of thuggish savagery.

Rating: 3.5/5.0
DR: N/A | Format Reviewed: Stream
Label: DSFP Records
Website: Bandcamp
Releases Worldwide: June 26th, 2026

Nestled in the underground crevices and rocky terrain of Denver, Colorado, emerging upstarts Crypts of Golgotha rise with the debut full-length, Disembodied in the Arms of Perdition, hellbent on bruising and battering the weak. Formed in 2022, the four-piece have cranked out a busy collection of demos, EPs and split releases before arriving at their debut LP. The term is perhaps used a little loosely in this case, as Crypts of Golgotha strip shit down to the bare essentials, crushing the listener into submission over the course of an all too brief twenty-four-minute beatdown. Boasting an uber chunky style of brutal, groove-infected death, let us dig in to see whether Crypts of Golgotha possess the chops and songwriting smarts to elevate themselves from the overcrowded pack.

As quickly determined, subtlety is not in the Crypts of Golgotha playbook. Nor are they preoccupied with techy flatulence, shitty interludes or throwaway instrumentals. These dudes cut to the chase, using the almighty power of the riff to drive each rugged, in-your-face composition, packing each meaty slab with enough tempo shifts, cohesion and structural variety to maintain interest. Tight, direct and refreshingly clutter- and gimmick-free, Crypts of Golgotha draws inspiration from classic sources, including the mighty Suffocation, Dying Fetus and Morbid Angel. Outside of the classic fare, Crypts of Golgotha strike a nifty balance of contemporary meets old school influences, recalling the immense weight, riff-based chugs, and uppercutting grooves of modern heavyweights Bloodgutter, Unhallowed Deliverance, and reliable Danish vets, Dawn of Demise.

Crypts of Golgotha slather their old school ideals with a modern approach, complete with lashings of slammy groove, pit-ready breakdowns, and guttural brutal death, wrapped in a dense, beefy production and darkly gritty underground atmosphere. Sprightly and impactful, Crypts of Golgotha crafted a heavyweight platform of bricks and mortar to expand upon. Roots of budding potential are well established, as Crypts of Golgotha thrive on pummeling the listener into dust, slowing down to bowel-rumbling levels for maximum heaviness, while frequently shifting tempos and rhythmic patterns to ensure the material doesn’t devolve into monotony. Instrumentally heavy opener “Cross on Calvary” spends most of its runtime battering auditory senses through beefy riffs, slick tempo changes, and a devastatingly heavy climax. Featuring impressive quality and consistency, Disembodied in the Arms of Perdition features a rampaging collection of killer tunes, with nary a moment wasted. Brutally rugged riffs, sick dual vox, and gargantuan grooves regularly detonate with crushing, infectious impact (“Disembodied in the Arms of Perdition,” ‘Pummeled into Nonexistence,” “I am Decay”).

“Wolf and the Knife” draws power from its thick, sinewy basslines, slobber-knocking riffs, and techy, urgent throes, while “Elegy of the Forgotten God” channels the stout power and attitude of classic New York death. The rapid affair concludes with the compellingly riff-stacked and body-slamming grooves of “Order to Comply.” Technically proficient without resorting to flashy showmanship, Crypts of Golgotha sound immensely tight and monstrously heavy. Showcasing a deft handle of songcraft, bolstered by a weighty sack of hammering riffs and gnarly, varied vox to drive momentum, the riffs cycle through brutal and classic death metal influences, cutting a satisfyingly heavy wallop and a brutally infectious streak. Guitars are reinforced by extra beefy tones, mixing sledgehammer heft and sharp clarity. Gabe Sragon (also on vox) and Dominik Dworak wield their axes with confidence and a nasty underground swagger. I would be remiss not to highlight the excellent rhythm section, from Cooper Jones’ ever-present, chunkified bass rumbles to the bulldozing, groove-centric and creative patterns of drummer Joaquin Aragon.

Strengths comfortably outweigh any nitpicks or weaknesses on Disembodied in the Arms of Perdition. To be expected from a young band’s debut LP, there is naturally room for growth and development in the songwriting department to refine their identity, and occasionally the album could benefit from more frequent bursts of speed. While reluctant to draw a negative of refreshing brevity, the album leaves you wanting more, making for enjoyable replay value, but a feeling an extra few minutes of material would have made for a more fully fleshed-out experience. Otherwise, matching songwriting smarts to compliment the preposterously guttural onslaughts and knuckle-dragging bruteness, Crypts of Golgotha unleashed a confident, delightfully crushing debut, with youth on their side to hone their craft into an even more deadly form of thuggish savagery.

Rating: 3.5/5.0
DR: N/A | Format Reviewed: Stream
Label: DSFP Records
Website: Bandcamp
Releases Worldwide: June 26th, 2026

Nestled in the underground crevices and rocky terrain of Denver, Colorado, emerging upstarts Crypts of Golgotha rise with the debut full-length, Disembodied in the Arms of Perdition, hellbent on bruising and battering the weak. Formed in 2022, the four-piece have cranked out a busy collection of demos, EPs and split releases before arriving at their debut LP. The term is perhaps used a little loosely in this case, as Crypts of Golgotha strip shit down to the bare essentials, crushing the listener into submission over the course of an all too brief twenty-four-minute beatdown. Boasting an uber chunky style of brutal, groove-infected death, let us dig in to see whether Crypts of Golgotha possess the chops and songwriting smarts to elevate themselves from the overcrowded pack.

As quickly determined, subtlety is not in the Crypts of Golgotha playbook. Nor are they preoccupied with techy flatulence, shitty interludes or throwaway instrumentals. These dudes cut to the chase, using the almighty power of the riff to drive each rugged, in-your-face composition, packing each meaty slab with enough tempo shifts, cohesion and structural variety to maintain interest. Tight, direct and refreshingly clutter- and gimmick-free, Crypts of Golgotha draws inspiration from classic sources, including the mighty Suffocation, Dying Fetus and Morbid Angel. Outside of the classic fare, Crypts of Golgotha strike a nifty balance of contemporary meets old school influences, recalling the immense weight, riff-based chugs, and uppercutting grooves of modern heavyweights Bloodgutter, Unhallowed Deliverance, and reliable Danish vets, Dawn of Demise.

Crypts of Golgotha slather their old school ideals with a modern approach, complete with lashings of slammy groove, pit-ready breakdowns, and guttural brutal death, wrapped in a dense, beefy production and darkly gritty underground atmosphere. Sprightly and impactful, Crypts of Golgotha crafted a heavyweight platform of bricks and mortar to expand upon. Roots of budding potential are well established, as Crypts of Golgotha thrive on pummeling the listener into dust, slowing down to bowel-rumbling levels for maximum heaviness, while frequently shifting tempos and rhythmic patterns to ensure the material doesn’t devolve into monotony. Instrumentally heavy opener “Cross on Calvary” spends most of its runtime battering auditory senses through beefy riffs, slick tempo changes, and a devastatingly heavy climax. Featuring impressive quality and consistency, Disembodied in the Arms of Perdition features a rampaging collection of killer tunes, with nary a moment wasted. Brutally rugged riffs, sick dual vox, and gargantuan grooves regularly detonate with crushing, infectious impact (“Disembodied in the Arms of Perdition,” ‘Pummeled into Nonexistence,” “I am Decay”).

“Wolf and the Knife” draws power from its thick, sinewy basslines, slobber-knocking riffs, and techy, urgent throes, while “Elegy of the Forgotten God” channels the stout power and attitude of classic New York death. The rapid affair concludes with the compellingly riff-stacked and body-slamming grooves of “Order to Comply.” Technically proficient without resorting to flashy showmanship, Crypts of Golgotha sound immensely tight and monstrously heavy. Showcasing a deft handle of songcraft, bolstered by a weighty sack of hammering riffs and gnarly, varied vox to drive momentum, the riffs cycle through brutal and classic death metal influences, cutting a satisfyingly heavy wallop and a brutally infectious streak. Guitars are reinforced by extra beefy tones, mixing sledgehammer heft and sharp clarity. Gabe Sragon (also on vox) and Dominik Dworak wield their axes with confidence and a nasty underground swagger. I would be remiss not to highlight the excellent rhythm section, from Cooper Jones’ ever-present, chunkified bass rumbles to the bulldozing, groove-centric and creative patterns of drummer Joaquin Aragon.

Strengths comfortably outweigh any nitpicks or weaknesses on Disembodied in the Arms of Perdition. To be expected from a young band’s debut LP, there is naturally room for growth and development in the songwriting department to refine their identity, and occasionally the album could benefit from more frequent bursts of speed. While reluctant to draw a negative of refreshing brevity, the album leaves you wanting more, making for enjoyable replay value, but a feeling an extra few minutes of material would have made for a more fully fleshed-out experience. Otherwise, matching songwriting smarts to compliment the preposterously guttural onslaughts and knuckle-dragging bruteness, Crypts of Golgotha unleashed a confident, delightfully crushing debut, with youth on their side to hone their craft into an even more deadly form of thuggish savagery.

Rating: 3.5/5.0
DR: N/A | Format Reviewed: Stream
Label: DSFP Records
Website: Bandcamp
Releases Worldwide: June 26th, 2026

Nestled in the underground crevices and rocky terrain of Denver, Colorado, emerging upstarts Crypts of Golgotha rise with the debut full-length, Disembodied in the Arms of Perdition, hellbent on bruising and battering the weak. Formed in 2022, the four-piece have cranked out a busy collection of demos, EPs and split releases before arriving at their debut LP. The term is perhaps used a little loosely in this case, as Crypts of Golgotha strip shit down to the bare essentials, crushing the listener into submission over the course of an all too brief twenty-four-minute beatdown. Boasting an uber chunky style of brutal, groove-infected death, let us dig in to see whether Crypts of Golgotha possess the chops and songwriting smarts to elevate themselves from the overcrowded pack.

As quickly determined, subtlety is not in the Crypts of Golgotha playbook. Nor are they preoccupied with techy flatulence, shitty interludes or throwaway instrumentals. These dudes cut to the chase, using the almighty power of the riff to drive each rugged, in-your-face composition, packing each meaty slab with enough tempo shifts, cohesion and structural variety to maintain interest. Tight, direct and refreshingly clutter- and gimmick-free, Crypts of Golgotha draws inspiration from classic sources, including the mighty Suffocation, Dying Fetus and Morbid Angel. Outside of the classic fare, Crypts of Golgotha strike a nifty balance of contemporary meets old school influences, recalling the immense weight, riff-based chugs, and uppercutting grooves of modern heavyweights Bloodgutter, Unhallowed Deliverance, and reliable Danish vets, Dawn of Demise.

Crypts of Golgotha slather their old school ideals with a modern approach, complete with lashings of slammy groove, pit-ready breakdowns, and guttural brutal death, wrapped in a dense, beefy production and darkly gritty underground atmosphere. Sprightly and impactful, Crypts of Golgotha crafted a heavyweight platform of bricks and mortar to expand upon. Roots of budding potential are well established, as Crypts of Golgotha thrive on pummeling the listener into dust, slowing down to bowel-rumbling levels for maximum heaviness, while frequently shifting tempos and rhythmic patterns to ensure the material doesn’t devolve into monotony. Instrumentally heavy opener “Cross on Calvary” spends most of its runtime battering auditory senses through beefy riffs, slick tempo changes, and a devastatingly heavy climax. Featuring impressive quality and consistency, Disembodied in the Arms of Perdition features a rampaging collection of killer tunes, with nary a moment wasted. Brutally rugged riffs, sick dual vox, and gargantuan grooves regularly detonate with crushing, infectious impact (“Disembodied in the Arms of Perdition,” ‘Pummeled into Nonexistence,” “I am Decay”).

“Wolf and the Knife” draws power from its thick, sinewy basslines, slobber-knocking riffs, and techy, urgent throes, while “Elegy of the Forgotten God” channels the stout power and attitude of classic New York death. The rapid affair concludes with the compellingly riff-stacked and body-slamming grooves of “Order to Comply.” Technically proficient without resorting to flashy showmanship, Crypts of Golgotha sound immensely tight and monstrously heavy. Showcasing a deft handle of songcraft, bolstered by a weighty sack of hammering riffs and gnarly, varied vox to drive momentum, the riffs cycle through brutal and classic death metal influences, cutting a satisfyingly heavy wallop and a brutally infectious streak. Guitars are reinforced by extra beefy tones, mixing sledgehammer heft and sharp clarity. Gabe Sragon (also on vox) and Dominik Dworak wield their axes with confidence and a nasty underground swagger. I would be remiss not to highlight the excellent rhythm section, from Cooper Jones’ ever-present, chunkified bass rumbles to the bulldozing, groove-centric and creative patterns of drummer Joaquin Aragon.

Strengths comfortably outweigh any nitpicks or weaknesses on Disembodied in the Arms of Perdition. To be expected from a young band’s debut LP, there is naturally room for growth and development in the songwriting department to refine their identity, and occasionally the album could benefit from more frequent bursts of speed. While reluctant to draw a negative of refreshing brevity, the album leaves you wanting more, making for enjoyable replay value, but a feeling an extra few minutes of material would have made for a more fully fleshed-out experience. Otherwise, matching songwriting smarts to compliment the preposterously guttural onslaughts and knuckle-dragging bruteness, Crypts of Golgotha unleashed a confident, delightfully crushing debut, with youth on their side to hone their craft into an even more deadly form of thuggish savagery.

Rating: 3.5/5.0
DR: N/A | Format Reviewed: Stream
Label: DSFP Records
Website: Bandcamp
Releases Worldwide: June 26th, 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

“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

True Crime has had its moment in the mainstream, with more than a fair share of content having been generated, particularly in the first half of this decade. But rather than bingeing on Ryan Murphy’s questionable Monster series,1 I instead suggest you take Monument of Misanthropy’s discography for a spin. Washington State Charm is the Austrians’ third successive LP tackling the exploits of a notorious serial killer—this time, Ted Bundy—and it’s bags more fun and significantly less disrespectful than your average makeup-and-true-crime YouTube video2 or Netflix dramatization. It’s also a showcase for some pretty great tech-death. As has become their trademark, Monument of Misanthropy evolve once again, tweaking their style to fit their despicable protagonist whilst remaining satisfyingly heavy. Are they still getting away with the gimmick, or is it time to hang up the hacksaw?

One thing’s clear at least: Washington State Charm is entertaining, and it interestingly suits its subject matter. Pivoting away slightly from the grind and brutality of Vile Postmortem Irrumatio and towards melody, hookiness, and groove, the album taps into a different form of Monument of Misanthropy’s signature snappiness. With guest appearances from Johnny Ciardullo (Angelmaker), Mendel bij de Leij (ex-Aborted), Gabe Mangold (Enterprise Earth), Hal Microutsicos (Engulf), and Jean-Jacques Moréac (Misanthrope), the record is scattered with riff-centric deathcore influence. For the most part, this really works. Intentional or not, there’s a parallel between this catchier, more accessible sound and Bundy’s status as one of the most well-known serial killers in modern history, who was also infamously “charming,” “handsome,” and otherwise palatable to society. If the previous album sounded, as I said at the time, “like Cattle Decapitation had a baby with Aborted,” then Washington State Charm is that baby growing into a teenager and experimenting, funnily enough, resembling their parent Aborted quite markedly, but with a bit of Cytotoxin by way of Dying Fetus thrown in for good measure.

Washington State Charm’s key strength is how Monument of Misanthropy twisted each aspect of their sound to make the whole infectiously catchy and memorable. Melody floods in with effervescent lead arpeggios (“Neath Tacoma Asphalt,” “A Hunger Unstilled,” “Colorado Murder”). Speed is used smartly in tandem with punchy syncopation (title track), and is met with a fairer dose of slower, circular swing (“The 1974 PNW Spree,” “The Hacksaw Blade”). The band’s mastery of rhythm to emphasize their punchlines (“The 1974…,” “Colorado Murder”), amp up the energy (“Neath Tacoma Asphalt,” “Colorado Murder”), and create an irresistible groove (“Suwannee Hog Shed”) has markedly improved.3 Together, this makes for highlights like the twin-guitar soloing on “Neath Tacoma Asphalt,” the drop-tuned uptempo groove on “Colorado Murder,” the call-and-response snarls and beats on “Chi Omega Blood Rage,” and the wonderful seesawing slide on “Strapped to the Throne.” There’s no way you’re listening to this without a savage grin plastered on your face.

It’s the album’s structure that lets down what might otherwise be a knock-out success. Humming with adrenaline from the literal high note of “Neath Tacoma Asphalt”‘s final riff, the inexplicably instrumental “A Hunger Unstilled” hits a little strangely. It’s a great piece in isolation, with a churning progression of melody and pace that calls to mind some hybrid of Aborted and Hath. But it’s most charitably taken as an extended intro to “The 1974…—which instantly kicks things back into murderous gear—and that feels wasteful. Monument of Misanthropy again add interview samples as miniature tracks, but their placement is similarly wonky, clustered around the start and end. It’s also hard not to compare them unfavorably to the drama-enhancing atmospheric examples on VPI. One could argue—not without justification—that these quirks are an intended reflection of their subject’s “career”: long periods without arrest, and an escape and ensuing murder spree once he was finally caught the first time. That would be fair, though it wouldn’t totally iron out flaws in the album’s flow. Less understandable, though less egregious, is the recurrence of a classic death metal cover at the close—Nile’s “Eye of Ra.” It’s a decent cover, but I don’t fully see its relevance.4

Washington State Charm achieves what it sets out to do: narrate the grisly story of a serial killer through slick, crushing death metal. It even goes one further, improving on the production—non-sample tracks averaging a DR of 5.5. Naysayers might bemoan the perceived slide towards accessibility, but really, the sheer gleeful energy of Washington State Charm is a testament to Monument of Misanthropy’s ever-increasing mastery of their craft.

Rating: Very Good
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Listenable Records
Websites: Bandcamp | Facebook
Releases Worldwide: June 26th, 2026

True Crime has had its moment in the mainstream, with more than a fair share of content having been generated, particularly in the first half of this decade. But rather than bingeing on Ryan Murphy’s questionable Monster series,1 I instead suggest you take Monument of Misanthropy’s discography for a spin. Washington State Charm is the Austrians’ third successive LP tackling the exploits of a notorious serial killer—this time, Ted Bundy—and it’s bags more fun and significantly less disrespectful than your average makeup-and-true-crime YouTube video2 or Netflix dramatization. It’s also a showcase for some pretty great tech-death. As has become their trademark, Monument of Misanthropy evolve once again, tweaking their style to fit their despicable protagonist whilst remaining satisfyingly heavy. Are they still getting away with the gimmick, or is it time to hang up the hacksaw?

One thing’s clear at least: Washington State Charm is entertaining, and it interestingly suits its subject matter. Pivoting away slightly from the grind and brutality of Vile Postmortem Irrumatio and towards melody, hookiness, and groove, the album taps into a different form of Monument of Misanthropy’s signature snappiness. With guest appearances from Johnny Ciardullo (Angelmaker), Mendel bij de Leij (ex-Aborted), Gabe Mangold (Enterprise Earth), Hal Microutsicos (Engulf), and Jean-Jacques Moréac (Misanthrope), the record is scattered with riff-centric deathcore influence. For the most part, this really works. Intentional or not, there’s a parallel between this catchier, more accessible sound and Bundy’s status as one of the most well-known serial killers in modern history, who was also infamously “charming,” “handsome,” and otherwise palatable to society. If the previous album sounded, as I said at the time, “like Cattle Decapitation had a baby with Aborted,” then Washington State Charm is that baby growing into a teenager and experimenting, funnily enough, resembling their parent Aborted quite markedly, but with a bit of Cytotoxin by way of Dying Fetus thrown in for good measure.

Washington State Charm’s key strength is how Monument of Misanthropy twisted each aspect of their sound to make the whole infectiously catchy and memorable. Melody floods in with effervescent lead arpeggios (“Neath Tacoma Asphalt,” “A Hunger Unstilled,” “Colorado Murder”). Speed is used smartly in tandem with punchy syncopation (title track), and is met with a fairer dose of slower, circular swing (“The 1974 PNW Spree,” “The Hacksaw Blade”). The band’s mastery of rhythm to emphasize their punchlines (“The 1974…,” “Colorado Murder”), amp up the energy (“Neath Tacoma Asphalt,” “Colorado Murder”), and create an irresistible groove (“Suwannee Hog Shed”) has markedly improved.3 Together, this makes for highlights like the twin-guitar soloing on “Neath Tacoma Asphalt,” the drop-tuned uptempo groove on “Colorado Murder,” the call-and-response snarls and beats on “Chi Omega Blood Rage,” and the wonderful seesawing slide on “Strapped to the Throne.” There’s no way you’re listening to this without a savage grin plastered on your face.

It’s the album’s structure that lets down what might otherwise be a knock-out success. Humming with adrenaline from the literal high note of “Neath Tacoma Asphalt”‘s final riff, the inexplicably instrumental “A Hunger Unstilled” hits a little strangely. It’s a great piece in isolation, with a churning progression of melody and pace that calls to mind some hybrid of Aborted and Hath. But it’s most charitably taken as an extended intro to “The 1974…—which instantly kicks things back into murderous gear—and that feels wasteful. Monument of Misanthropy again add interview samples as miniature tracks, but their placement is similarly wonky, clustered around the start and end. It’s also hard not to compare them unfavorably to the drama-enhancing atmospheric examples on VPI. One could argue—not without justification—that these quirks are an intended reflection of their subject’s “career”: long periods without arrest, and an escape and ensuing murder spree once he was finally caught the first time. That would be fair, though it wouldn’t totally iron out flaws in the album’s flow. Less understandable, though less egregious, is the recurrence of a classic death metal cover at the close—Nile’s “Eye of Ra.” It’s a decent cover, but I don’t fully see its relevance.4

Washington State Charm achieves what it sets out to do: narrate the grisly story of a serial killer through slick, crushing death metal. It even goes one further, improving on the production—non-sample tracks averaging a DR of 5.5. Naysayers might bemoan the perceived slide towards accessibility, but really, the sheer gleeful energy of Washington State Charm is a testament to Monument of Misanthropy’s ever-increasing mastery of their craft.

Rating: Very Good
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Listenable Records
Websites: Bandcamp | Facebook
Releases Worldwide: June 26th, 2026

True Crime has had its moment in the mainstream, with more than a fair share of content having been generated, particularly in the first half of this decade. But rather than bingeing on Ryan Murphy’s questionable Monster series,1 I instead suggest you take Monument of Misanthropy’s discography for a spin. Washington State Charm is the Austrians’ third successive LP tackling the exploits of a notorious serial killer—this time, Ted Bundy—and it’s bags more fun and significantly less disrespectful than your average makeup-and-true-crime YouTube video2 or Netflix dramatization. It’s also a showcase for some pretty great tech-death. As has become their trademark, Monument of Misanthropy evolve once again, tweaking their style to fit their despicable protagonist whilst remaining satisfyingly heavy. Are they still getting away with the gimmick, or is it time to hang up the hacksaw?

One thing’s clear at least: Washington State Charm is entertaining, and it interestingly suits its subject matter. Pivoting away slightly from the grind and brutality of Vile Postmortem Irrumatio and towards melody, hookiness, and groove, the album taps into a different form of Monument of Misanthropy’s signature snappiness. With guest appearances from Johnny Ciardullo (Angelmaker), Mendel bij de Leij (ex-Aborted), Gabe Mangold (Enterprise Earth), Hal Microutsicos (Engulf), and Jean-Jacques Moréac (Misanthrope), the record is scattered with riff-centric deathcore influence. For the most part, this really works. Intentional or not, there’s a parallel between this catchier, more accessible sound and Bundy’s status as one of the most well-known serial killers in modern history, who was also infamously “charming,” “handsome,” and otherwise palatable to society. If the previous album sounded, as I said at the time, “like Cattle Decapitation had a baby with Aborted,” then Washington State Charm is that baby growing into a teenager and experimenting, funnily enough, resembling their parent Aborted quite markedly, but with a bit of Cytotoxin by way of Dying Fetus thrown in for good measure.

Washington State Charm’s key strength is how Monument of Misanthropy twisted each aspect of their sound to make the whole infectiously catchy and memorable. Melody floods in with effervescent lead arpeggios (“Neath Tacoma Asphalt,” “A Hunger Unstilled,” “Colorado Murder”). Speed is used smartly in tandem with punchy syncopation (title track), and is met with a fairer dose of slower, circular swing (“The 1974 PNW Spree,” “The Hacksaw Blade”). The band’s mastery of rhythm to emphasize their punchlines (“The 1974…,” “Colorado Murder”), amp up the energy (“Neath Tacoma Asphalt,” “Colorado Murder”), and create an irresistible groove (“Suwannee Hog Shed”) has markedly improved.3 Together, this makes for highlights like the twin-guitar soloing on “Neath Tacoma Asphalt,” the drop-tuned uptempo groove on “Colorado Murder,” the call-and-response snarls and beats on “Chi Omega Blood Rage,” and the wonderful seesawing slide on “Strapped to the Throne.” There’s no way you’re listening to this without a savage grin plastered on your face.

It’s the album’s structure that lets down what might otherwise be a knock-out success. Humming with adrenaline from the literal high note of “Neath Tacoma Asphalt”‘s final riff, the inexplicably instrumental “A Hunger Unstilled” hits a little strangely. It’s a great piece in isolation, with a churning progression of melody and pace that calls to mind some hybrid of Aborted and Hath. But it’s most charitably taken as an extended intro to “The 1974…—which instantly kicks things back into murderous gear—and that feels wasteful. Monument of Misanthropy again add interview samples as miniature tracks, but their placement is similarly wonky, clustered around the start and end. It’s also hard not to compare them unfavorably to the drama-enhancing atmospheric examples on VPI. One could argue—not without justification—that these quirks are an intended reflection of their subject’s “career”: long periods without arrest, and an escape and ensuing murder spree once he was finally caught the first time. That would be fair, though it wouldn’t totally iron out flaws in the album’s flow. Less understandable, though less egregious, is the recurrence of a classic death metal cover at the close—Nile’s “Eye of Ra.” It’s a decent cover, but I don’t fully see its relevance.4

Washington State Charm achieves what it sets out to do: narrate the grisly story of a serial killer through slick, crushing death metal. It even goes one further, improving on the production—non-sample tracks averaging a DR of 5.5. Naysayers might bemoan the perceived slide towards accessibility, but really, the sheer gleeful energy of Washington State Charm is a testament to Monument of Misanthropy’s ever-increasing mastery of their craft.

Rating: Very Good
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Listenable Records
Websites: Bandcamp | Facebook
Releases Worldwide: June 26th, 2026

True Crime has had its moment in the mainstream, with more than a fair share of content having been generated, particularly in the first half of this decade. But rather than bingeing on Ryan Murphy’s questionable Monster series,1 I instead suggest you take Monument of Misanthropy’s discography for a spin. Washington State Charm is the Austrians’ third successive LP tackling the exploits of a notorious serial killer—this time, Ted Bundy—and it’s bags more fun and significantly less disrespectful than your average makeup-and-true-crime YouTube video2 or Netflix dramatization. It’s also a showcase for some pretty great tech-death. As has become their trademark, Monument of Misanthropy evolve once again, tweaking their style to fit their despicable protagonist whilst remaining satisfyingly heavy. Are they still getting away with the gimmick, or is it time to hang up the hacksaw?

One thing’s clear at least: Washington State Charm is entertaining, and it interestingly suits its subject matter. Pivoting away slightly from the grind and brutality of Vile Postmortem Irrumatio and towards melody, hookiness, and groove, the album taps into a different form of Monument of Misanthropy’s signature snappiness. With guest appearances from Johnny Ciardullo (Angelmaker), Mendel bij de Leij (ex-Aborted), Gabe Mangold (Enterprise Earth), Hal Microutsicos (Engulf), and Jean-Jacques Moréac (Misanthrope), the record is scattered with riff-centric deathcore influence. For the most part, this really works. Intentional or not, there’s a parallel between this catchier, more accessible sound and Bundy’s status as one of the most well-known serial killers in modern history, who was also infamously “charming,” “handsome,” and otherwise palatable to society. If the previous album sounded, as I said at the time, “like Cattle Decapitation had a baby with Aborted,” then Washington State Charm is that baby growing into a teenager and experimenting, funnily enough, resembling their parent Aborted quite markedly, but with a bit of Cytotoxin by way of Dying Fetus thrown in for good measure.

Washington State Charm’s key strength is how Monument of Misanthropy twisted each aspect of their sound to make the whole infectiously catchy and memorable. Melody floods in with effervescent lead arpeggios (“Neath Tacoma Asphalt,” “A Hunger Unstilled,” “Colorado Murder”). Speed is used smartly in tandem with punchy syncopation (title track), and is met with a fairer dose of slower, circular swing (“The 1974 PNW Spree,” “The Hacksaw Blade”). The band’s mastery of rhythm to emphasize their punchlines (“The 1974…,” “Colorado Murder”), amp up the energy (“Neath Tacoma Asphalt,” “Colorado Murder”), and create an irresistible groove (“Suwannee Hog Shed”) has markedly improved.3 Together, this makes for highlights like the twin-guitar soloing on “Neath Tacoma Asphalt,” the drop-tuned uptempo groove on “Colorado Murder,” the call-and-response snarls and beats on “Chi Omega Blood Rage,” and the wonderful seesawing slide on “Strapped to the Throne.” There’s no way you’re listening to this without a savage grin plastered on your face.

It’s the album’s structure that lets down what might otherwise be a knock-out success. Humming with adrenaline from the literal high note of “Neath Tacoma Asphalt”‘s final riff, the inexplicably instrumental “A Hunger Unstilled” hits a little strangely. It’s a great piece in isolation, with a churning progression of melody and pace that calls to mind some hybrid of Aborted and Hath. But it’s most charitably taken as an extended intro to “The 1974…—which instantly kicks things back into murderous gear—and that feels wasteful. Monument of Misanthropy again add interview samples as miniature tracks, but their placement is similarly wonky, clustered around the start and end. It’s also hard not to compare them unfavorably to the drama-enhancing atmospheric examples on VPI. One could argue—not without justification—that these quirks are an intended reflection of their subject’s “career”: long periods without arrest, and an escape and ensuing murder spree once he was finally caught the first time. That would be fair, though it wouldn’t totally iron out flaws in the album’s flow. Less understandable, though less egregious, is the recurrence of a classic death metal cover at the close—Nile’s “Eye of Ra.” It’s a decent cover, but I don’t fully see its relevance.4

Washington State Charm achieves what it sets out to do: narrate the grisly story of a serial killer through slick, crushing death metal. It even goes one further, improving on the production—non-sample tracks averaging a DR of 5.5. Naysayers might bemoan the perceived slide towards accessibility, but really, the sheer gleeful energy of Washington State Charm is a testament to Monument of Misanthropy’s ever-increasing mastery of their craft.

Rating: Very Good
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Listenable Records
Websites: Bandcamp | Facebook
Releases Worldwide: June 26th, 2026

True Crime has had its moment in the mainstream, with more than a fair share of content having been generated, particularly in the first half of this decade. But rather than bingeing on Ryan Murphy’s questionable Monster series,1 I instead suggest you take Monument of Misanthropy’s discography for a spin. Washington State Charm is the Austrians’ third successive LP tackling the exploits of a notorious serial killer—this time, Ted Bundy—and it’s bags more fun and significantly less disrespectful than your average makeup-and-true-crime YouTube video2 or Netflix dramatization. It’s also a showcase for some pretty great tech-death. As has become their trademark, Monument of Misanthropy evolve once again, tweaking their style to fit their despicable protagonist whilst remaining satisfyingly heavy. Are they still getting away with the gimmick, or is it time to hang up the hacksaw?

One thing’s clear at least: Washington State Charm is entertaining, and it interestingly suits its subject matter. Pivoting away slightly from the grind and brutality of Vile Postmortem Irrumatio and towards melody, hookiness, and groove, the album taps into a different form of Monument of Misanthropy’s signature snappiness. With guest appearances from Johnny Ciardullo (Angelmaker), Mendel bij de Leij (ex-Aborted), Gabe Mangold (Enterprise Earth), Hal Microutsicos (Engulf), and Jean-Jacques Moréac (Misanthrope), the record is scattered with riff-centric deathcore influence. For the most part, this really works. Intentional or not, there’s a parallel between this catchier, more accessible sound and Bundy’s status as one of the most well-known serial killers in modern history, who was also infamously “charming,” “handsome,” and otherwise palatable to society. If the previous album sounded, as I said at the time, “like Cattle Decapitation had a baby with Aborted,” then Washington State Charm is that baby growing into a teenager and experimenting, funnily enough, resembling their parent Aborted quite markedly, but with a bit of Cytotoxin by way of Dying Fetus thrown in for good measure.

Washington State Charm’s key strength is how Monument of Misanthropy twisted each aspect of their sound to make the whole infectiously catchy and memorable. Melody floods in with effervescent lead arpeggios (“Neath Tacoma Asphalt,” “A Hunger Unstilled,” “Colorado Murder”). Speed is used smartly in tandem with punchy syncopation (title track), and is met with a fairer dose of slower, circular swing (“The 1974 PNW Spree,” “The Hacksaw Blade”). The band’s mastery of rhythm to emphasize their punchlines (“The 1974…,” “Colorado Murder”), amp up the energy (“Neath Tacoma Asphalt,” “Colorado Murder”), and create an irresistible groove (“Suwannee Hog Shed”) has markedly improved.3 Together, this makes for highlights like the twin-guitar soloing on “Neath Tacoma Asphalt,” the drop-tuned uptempo groove on “Colorado Murder,” the call-and-response snarls and beats on “Chi Omega Blood Rage,” and the wonderful seesawing slide on “Strapped to the Throne.” There’s no way you’re listening to this without a savage grin plastered on your face.

It’s the album’s structure that lets down what might otherwise be a knock-out success. Humming with adrenaline from the literal high note of “Neath Tacoma Asphalt”‘s final riff, the inexplicably instrumental “A Hunger Unstilled” hits a little strangely. It’s a great piece in isolation, with a churning progression of melody and pace that calls to mind some hybrid of Aborted and Hath. But it’s most charitably taken as an extended intro to “The 1974…—which instantly kicks things back into murderous gear—and that feels wasteful. Monument of Misanthropy again add interview samples as miniature tracks, but their placement is similarly wonky, clustered around the start and end. It’s also hard not to compare them unfavorably to the drama-enhancing atmospheric examples on VPI. One could argue—not without justification—that these quirks are an intended reflection of their subject’s “career”: long periods without arrest, and an escape and ensuing murder spree once he was finally caught the first time. That would be fair, though it wouldn’t totally iron out flaws in the album’s flow. Less understandable, though less egregious, is the recurrence of a classic death metal cover at the close—Nile’s “Eye of Ra.” It’s a decent cover, but I don’t fully see its relevance.4

Washington State Charm achieves what it sets out to do: narrate the grisly story of a serial killer through slick, crushing death metal. It even goes one further, improving on the production—non-sample tracks averaging a DR of 5.5. Naysayers might bemoan the perceived slide towards accessibility, but really, the sheer gleeful energy of Washington State Charm is a testament to Monument of Misanthropy’s ever-increasing mastery of their craft.

Rating: Very Good
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Listenable Records
Websites: Bandcamp | Facebook
Releases Worldwide: June 26th, 2026

https://www.europesays.com/be-nl/81303/ Goreworm – Miasmic Solitude | Zware Metalen #2026 #alterbeast #Amusement #arsis #BE #België #Belgium #BoltThrower #Canada #death #DeathMetal #DyingFetus #Entertainment #fleshbore #goreworm #gorod #MiasmicSolitude #Music #Muziek #NapalmDeath #NibalCorpse #obscura #recensie #TechnicalDeathMetal #TheBlackDahliaMurder #TranscendingObscurityRecords #xenosis #ZwareMetalen

Dying Fetus Album Features World’s First ‘Prenatal Advisory’ Warning

https://web.brid.gy/r/https://thehardtimes.net/music/metal/dying-fetus-album-features-worlds-first-prenatal-advisory-warning/

Dying Fetus Album Features World’s First ‘Prenatal Advisory’ Warning

https://web.brid.gy/r/https://thehardtimes.net/music/metal/dying-fetus-album-features-worlds-first-prenatal-advisory-warning/

Dying Fetus Album Features World’s First ‘Prenatal Advisory’ Warning

https://web.brid.gy/r/https://thehardtimes.net/music/metal/dying-fetus-album-features-worlds-first-prenatal-advisory-warning/

Dying Fetus Album Features World’s First ‘Prenatal Advisory’ Warning

https://web.brid.gy/r/https://thehardtimes.net/music/metal/dying-fetus-album-features-worlds-first-prenatal-advisory-warning/

Dying Fetus Album Features World’s First ‘Prenatal Advisory’ Warning

https://web.brid.gy/r/https://thehardtimes.net/music/metal/dying-fetus-album-features-worlds-first-prenatal-advisory-warning/

Fun bit of #Thursdeath from France's Warside:
https://warside1.bandcamp.com/album/cognitive-extinction

A bit too tech to be brutal, but a bit too brutal to be tech, so maybe it lacks it's own identity like one review I read suggests. But every song has at least one good idea and plenty of memorable moments. And it's punchy and short, so it avoids the pitfall of becoming an unforgetable riff salad. And the performances are all top notch!

Ffo #DyingFetus #Benighted and early #Decapitated

Fun bit of #Thursdeath from France's Warside:
https://warside1.bandcamp.com/album/cognitive-extinction

A bit too tech to be brutal, but a bit too brutal to be tech, so maybe it lacks it's own identity like one review I read suggests. But every song has at least one good idea and plenty of memorable moments. And it's punchy and short, so it avoids the pitfall of becoming an unforgetable riff salad. And the performances are all top notch!

Ffo #DyingFetus #Benighted and early #Decapitated

Dying Fetus and Sanguisugabogg are hitting the road this fall.
A stacked lineup and a full North American run.
Details: https://metalinsider.net/touring/dying-fetus-and-sanguisugabogg-announce-fall-2026-co-headline-tour
#DyingFetus #Sanguisugabogg #DeathMetal #Metal #TourAnnouncement

Dying Fetus and Sanguisugabogg are hitting the road this fall.
A stacked lineup and a full North American run.
Details: https://metalinsider.net/touring/dying-fetus-and-sanguisugabogg-announce-fall-2026-co-headline-tour
#DyingFetus #Sanguisugabogg #DeathMetal #Metal #TourAnnouncement

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Die UK-Deather INGESTED haben mit „Watch You Fold" die nächste Single aus ihrem kommenden Album "Denigration" geteilt. Als Gastmusiker ist John Gallagher von DYING FETUS zu hören. #ingested #dyingfetus

https://www.burnyourears.de/news/54853-ingested-veroeffentlichen-neue-single-watch-you-fold-feat-john-gallagher-dying-fetus.html

Dying Fetus en Chile cambia de fecha: 1 de diciembre 2026 | vía #iRock

https://www.irock.cl/dying-fetus-en-chile-cambia-de-fecha-1-de-diciembre-2026/?utm_source=rss&utm_medium=rss&utm_campaign=dying-fetus-en-chile-cambia-de-fecha-1-de-diciembre-2026

#blondie #conciertos #dyingfetus #internacional

Dying Fetus en Chile cambia de fecha: 1 de diciembre 2026 | vía #iRock

https://www.irock.cl/dying-fetus-en-chile-cambia-de-fecha-1-de-diciembre-2026/?utm_source=rss&utm_medium=rss&utm_campaign=dying-fetus-en-chile-cambia-de-fecha-1-de-diciembre-2026

#blondie #conciertos #dyingfetus #internacional

Exhumed – Red Asphalt Review

Unfortunately, the mighty Relapse stable now floats down the shitty stream for promos. As such, we are slow…
#NewsBeep #News #Music #2026 #3.5 #AmericanMetal #CA #Canada #carcass #CastleFreak #DeathMetal #Deathgrind #DeedsofFlesh #DyingFetus #EndReign #Entertainment #Exhumed #GoreMetal #MammothGrinder #RedAsphalt #RelapseRecords #review #reviews
https://www.newsbeep.com/ca/510277/

Exhumed – Red Asphalt Review

Unfortunately, the mighty Relapse stable now floats down the shitty stream for promos. As such, we are slow…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2026 #3.5 #AmericanMetal #Carcass #CastleFreak #DeathMetal #Deathgrind #DeedsofFlesh #DyingFetus #EndReign #Entertainment #Exhumed #GoreMetal #MammothGrinder #RedAsphalt #RelapseRecords #review #reviews
https://www.newsbeep.com/us/499989/

Exhumed – Red Asphalt Review

Unfortunately, the mighty Relapse stable now floats down the shitty stream for promos. As such, we are slow…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2026 #3.5 #AmericanMetal #Carcass #CastleFreak #DeathMetal #Deathgrind #DeedsofFlesh #DyingFetus #EndReign #Entertainment #Exhumed #GoreMetal #MammothGrinder #RedAsphalt #RelapseRecords #review #reviews
https://www.newsbeep.com/us/499989/

https://www.europesays.com/ie/364535/ Exhumed – Red Asphalt Review #2026 #35 #AmericanMetal #carcass #CastleFreak #DeathMetal #Deathgrind #DeedsOfFlesh #DyingFetus #Éire #EndReign #Entertainment #exhumed #GoreMetal #IE #Ireland #MammothGrinder #Music #RedAsphalt #RelapseRecords #Review #Reviews

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

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

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

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

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



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

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

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

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

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

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



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

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

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

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

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

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



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

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

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

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

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

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



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

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

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

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

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

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



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

DYING FETUS «MAKE THEM BEG FOR DEATH » (2023) | vía #SonidosOcultos

https://www.sonidosocultos.com/discos/dying-fetus-make-them-beg-for-death-2023/

#album2023 #deathmetal #discos #dyingfetus #dyingfetusmakethembegfordeath2023 #makethembegfordeath #reportajesso #reviewdeálbum

DYING FETUS «MAKE THEM BEG FOR DEATH » (2023) | vía #SonidosOcultos

https://www.sonidosocultos.com/discos/dying-fetus-make-them-beg-for-death-2023/

#album2023 #deathmetal #discos #dyingfetus #dyingfetusmakethembegfordeath2023 #makethembegfordeath #reportajesso #reviewdeálbum

DYING FETUS SIGUE EXTERMINANDO CON “INTO THE CESSPOOL” | vía #SonidosOcultos

https://www.sonidosocultos.com/noticia/dying-fetus-sigue-exterminando-con-into-the-cesspool/

#dyingfetus #johngallagherguitarrayvozprincipal #livechile #sonidoscultoscom #t2026

DYING FETUS SIGUE EXTERMINANDO CON “INTO THE CESSPOOL” | vía #SonidosOcultos

https://www.sonidosocultos.com/noticia/dying-fetus-sigue-exterminando-con-into-the-cesspool/

#dyingfetus #johngallagherguitarrayvozprincipal #livechile #sonidoscultoscom #t2026

DYING FETUS SIGUE EXTERMINANDO CON “INTO THE CESSPOOL” | vía #SonidosOcultos

https://www.sonidosocultos.com/noticia/dying-fetus-sigue-exterminando-con-into-the-cesspool/

#dyingfetus #johngallagherguitarrayvozprincipal #livechile #sonidoscultoscom #t2026

Dying Fetus confirma su esperado regreso a Chile (2026) | vía #SonidosOcultos

https://www.sonidosocultos.com/noticia/dying-fetus-confirma-su-esperado-regreso-a-chile-2026/

#blondie #deathmetal #dyingfetus #livechile #metalpesado #producelivebeats_prodcolaboraateneaevents #rockpesado #t2026

Dying Fetus confirma su esperado regreso a Chile (2026) | vía #SonidosOcultos

https://www.sonidosocultos.com/noticia/dying-fetus-confirma-su-esperado-regreso-a-chile-2026/

#blondie #deathmetal #dyingfetus #livechile #metalpesado #producelivebeats_prodcolaboraateneaevents #rockpesado #t2026

Dying Fetus confirma su esperado regreso a Chile (2026) | vía #SonidosOcultos

https://www.sonidosocultos.com/noticia/dying-fetus-confirma-su-esperado-regreso-a-chile-2026/

#blondie #deathmetal #dyingfetus #livechile #metalpesado #producelivebeats_prodcolaboraateneaevents #rockpesado #t2026

Dying Fetus confirma su esperado regreso a Chile | vía #iRock

https://www.irock.cl/dying-fetus-confirma-su-esperado-regreso-a-chile/?utm_source=rss&utm_medium=rss&utm_campaign=dying-fetus-confirma-su-esperado-regreso-a-chile

#blondie #conciertos #dyingfetus #internacional #metal

Dying Fetus confirma su esperado regreso a Chile | vía #iRock

https://www.irock.cl/dying-fetus-confirma-su-esperado-regreso-a-chile/?utm_source=rss&utm_medium=rss&utm_campaign=dying-fetus-confirma-su-esperado-regreso-a-chile

#blondie #conciertos #dyingfetus #internacional #metal

New post: Gig Review: Slaughter To Prevail / Dying Fetus / Suicide Silence / Annotations of an Autopsy – O2 Victoria Warehouse, Manchester (17th January 2026) https://moshville.co.uk/reviews/gig-review/2026/01/gig-review-slaughter-to-prevail-dying-fetus-suicide-silence-annotations-of-an-autopsy-o2-victoria-warehouse-manchester-17th-january-2026/ #DyingFetus #SlaughterToPrevail #SuicideSilence

New post: Gig Review: Slaughter To Prevail / Dying Fetus / Suicide Silence / Annotations of an Autopsy – O2 Victoria Warehouse, Manchester (17th January 2026) https://moshville.co.uk/reviews/gig-review/2026/01/gig-review-slaughter-to-prevail-dying-fetus-suicide-silence-annotations-of-an-autopsy-o2-victoria-warehouse-manchester-17th-january-2026/ #DyingFetus #SlaughterToPrevail #SuicideSilence

New post: Gig Review: Slaughter To Prevail / Dying Fetus / Suicide Silence / Annotations of an Autopsy – O2 Victoria Warehouse, Manchester (17th January 2026) https://moshville.co.uk/reviews/gig-review/2026/01/gig-review-slaughter-to-prevail-dying-fetus-suicide-silence-annotations-of-an-autopsy-o2-victoria-warehouse-manchester-17th-january-2026/ #DyingFetus #SlaughterToPrevail #SuicideSilence

https://www.europesays.com/nl/113193/ Geen ademruimte in 013 bij Slaughter to Prevail, Dying Fetus en Suicide Silence #013 #Amusement #crowdsurfers #deathcore #deathmetal #Dutch #DyingFetus #Entertainment #metal #moshpits #Music #Muziek #Nederland #Nederlanden #Nederlands #Netherlands #NL #Podium013 #SlaughterToPrevail #SuicideSilence #Tilburg #tour

Despised Icon – Shadow Work Review

Widely regarded as one of the original architects of deathcore, Canada’s Despised Icon hardly needs an introduction. But…
#NewsBeep #News #Music #2025 #3.0 #AU #Australia #CanadianMetal #Carnifex #ChelseaGrin #Deathcore #DespisedIcon #Devourment #DyingFetus #Entertainment #Hatebreed #KublaiKhanTX #NuclearBlast #Oct25 #review #reviews #ShadowWork #Suffocation
https://www.newsbeep.com/au/260786/

Despised Icon – Shadow Work Review

Widely regarded as one of the original architects of deathcore, Canada’s Despised Icon hardly needs an introduction. But…
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Despised Icon – Shadow Work Review

By Owlswald

Widely regarded as one of the original architects of deathcore, Canada’s Despised Icon hardly needs an introduction. But just in case you’ve been living under a rock for the past two decades, here’s a brief introduction: back in 2002, when MySpace was all the rage and everyone had a friend named Tom, five dudes from Montreal dropped their debut LP, Consumed by Your Poison. Heavily influenced by the likes of Suffocation and Dying Fetus, these Canadians continued to hone their crushing sound on 2005’s The Healing Process by injecting metalcore and hardcore elements into their deathly framework. This unique formula culminated with their third LP, The Ills of Modern Man (2007)—the crown jewel of their discography that made Despised Icon deathcore royalty. The rest, they say, is history. Fast forward 18 years and, following a hiatus and three subsequent albums, the group has now readied their seventh LP, Shadow Work. So, dust off that windbreaker and lace up your best pair of New Balance kicks; it’s time to dive into Shadow Work.

In typical Despised Icon fashion, the opening title track instantly rips one’s jaw from its joints with a strong, technical launch. Leading the assault is Éric Jarrin and Ben Landreville’s signature pitch-shifted guitar squeals (a staple since 2019’s Purgatory), which, alongside rapid-fire tremolo scales, synchronize perfectly with Alex Pelletier’s blistering rhythms and Sebastien Piché’s grinding bass to fuel the album’s heavy, frenetic passages. The dual-headed vocal attack from Alex Erian and Steve Marois sounds as strong as ever, alternating raspy screams, slam-style pig squeals and hardcore chants that add a sharp, aggressive edge. Guest spots from Matthew Honeycutt (Kublai Khan TX), Scott Ian Lewis (Carnifex) and Tom Barber (Chelsea Grin) compliment Erian and Marois’ delivery but ultimately land with mixed results. Shadow Work’s powerful first half (“Shadow Work” through “The Apparition”) proves Despised Icon can still execute with the same ferocity as on past efforts. Conversely, Shadow Work’s energy wanes toward the end with formulaic pit anthems (“Obsessive Compulsive Disaster,” “Fallen Ones”) settling into a cliché hardcore spirit, though the record’s strongest material warrants repeat listens.

The first half of Shadow Work delivers a powerful blend of technical proficiency and a dash of genre experimentation before the album settles into a more formulaic hardcore groove. “Death Of An Artist” is a straight-up, drum-driven banger that introduces new wrinkles like clean vocals, dissonant high leads and a tasteful thrash and death eeriness that adds fresh flavor to Despised Icon’s well-known formula. Similarly, “The Apparition” is a relentless burner, injecting elements of symphonic death and black metal while maintaining the group’s core sound. Across the album’s succinct 37 minutes, monolithic breakdowns are plentiful—tense builds frequently give way to gut-punching beatdowns replete with fret slides (“Shadow Work”), air raid sirens (“The Apparition”) and stutter-step riffing (“Death of an Artist”), delivering a seismic release and an irresistible urge to pit.

However, Shadow Work hits a predictable wall at its midpoint, slumping into an over-reliance on tropey, Hatebreed-adjacent, inspirational anthems. Characterized by pervasive gang vocals, two-step riffs, and cheesy lyrical themes, tracks like “Fallen Ones,” “Obsessive Compulsive Disaster,” and “Reaper” feel less about pushing Despised Icon’s established deathcore boundaries and more about catering to the masses, thereby detracting from Shadow Work’s initial aggression. While Scott Ian Lewis’ gruff, thrashy vocal textures on “In Memoriam” effectively add a new element and the raucous “Omen of Misfortune” or “ContreCoeur” offer relief, Despised Icon’s heavy reliance on clichéd, tough-guy hardcore vocal cadences and themes holds Shadow Work back. For instance, lines like “From the ground up, never gave up, from the gutter to the surface” (“Reaper”) leans too far into its hardcore roots. Even the otherwise stronger early track “Over My Dead Body” is hampered by a cheesy hardcore/nu-metal feel in its bridge, its jarring cadence and Honeycutt’s yelling of “bitch” further exposing Shadow Work’s central weakness.1

Shadow Work is a good record marred by frustrating dualities. The first half unleashes the punishing, technical ferocity and syncopated slams that cement Despised Icon’s legacy as godfathers of deathcore. Yet, Shadow Work’s potential is sacrificed in the latter half, by leaning too hard on formulaic, predictable hardcore anthems. By repeatedly prioritizing comfortable clichés over their trademark sound, Despised Icon ultimately delivers an uneven album that only teases at the complete savagery fans know these legends are still more than capable of delivering.

Rating: Good
DR: 5 | Format Reviewed: 256 kbps mp3
Label: Nuclear Blast
Websites: despisedicon.com | facebook.com/despisedicon
Releases Worldwide: October 31st, 2025

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