#electronicmetal — Public Fediverse posts

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

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

ClarkKent’s Sci-Fi Soundbites

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

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

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

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

Thus Spoke’s Tectonic Treat

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

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

Grin Reaper’s Kooky Curios

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

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

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

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

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

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

Creeping Ivy’s Pandemonic Pleasure

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

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

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

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

ClarkKent’s Sci-Fi Soundbites

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

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

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

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

Thus Spoke’s Tectonic Treat

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

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

Grin Reaper’s Kooky Curios

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

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

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

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

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

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

Creeping Ivy’s Pandemonic Pleasure

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

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

Author & Punisher – Nocturnal Birding Review

By Dear Hollow

Contrary to the plethora of one-man metal projects out there, Author & Punisher’s mastermind Tristan Shone, has always stayed on this side of innovative, consistently riding the line between apocalyptic/dystopian atmospheres and the heaviest electronics since Godflesh. Much like Igorrr’s Gautiere Serre, Shone’s genius has been just as much in song construction as instrument construction, having put his experience as a mechanical engineer to the configuration of his “drone machines” and “dub machines.” This skill has allowed Shone a flexibility in his compositions, with albums like Ursus Americanus and Beastland boasting formidable anthemic brutality, while the more subdued Melk en Honig and Krüller rely on sprawling atmospheres that feel as fiery as they are dense. Nocturnal Birding takes a unique concept and spins it for a trip down Riff Lane.

A leaner and more concise album than even Beastland, Nocturnal Birding is another step from the transhumanism of Author & Punisher’s pedigree into more organic territory – although undoubtedly owing its success to its history. It steps outside Shone’s comfort zone, the composition of Nocturnal Birding revolving around the literal birdsongs of the tracks’ respective namesakes – in a metaphorical homage to the migrants crossing from Mexico to the US and the dangers they face. The album sees Krüller contributor and A Life Once Lost alum Doug Sabolick inducted as full-time guitarist, offering riffs and humanity alike throughout the album’s thirty-four-minute runtime. Revolving around a unique concept that never overstays its welcome, Nocturnal Birding is a romp through everything that makes Author & Punisher unique – and more.

Shone’s dynamics have always been a force to be reckoned with, elevating his already crushing drone/doom/industrial attack to colossal proportions, and Nocturnal Birding is no exception. The introduction of the birdsong adds an intriguing texture to this dynamic, quirky melodics morphing into devastating waves of noise. Author & Punisher offers some of its most accessible content since Ursus Americanus, mammoth dub techno beats guiding the movement between these two extremes. Lulling listeners into a false sense of surreal melody only to blast out the speakers with intense sound, punishing tracks will get your head moving in slow motion weight (“Titanis,” “Black Storm Petrel”), more thoughtful compositions bathe you in off-kilter rhythms and reverb-laden pulses (“Titmouse,” “Titmice”), and crawling brooding flocks offer eerie environs of darkness with Shone’s Reznor- and Peter Steele-influenced cleans (“Meadowlark,” “Mute Swans,” “Thrush”).

It would be tempting to say that if you’ve heard an Author & Punisher album before, you’ve probably heard what Nocturnal Birding has to offer – but 2025 finds the act sounding the most human they’ve ever been. While he exists as mainly supplemental, an added layer to the textured weight of the electronics, Doug Sabolick’s guitar shines as a razor-sharp counterweight to the sludgy downtuned electronic pulses (“Titmouse,” “Rook”) as well as a riffy force to be reckoned with (“Meadowlark,” “Thrush”). Furthermore, the live drums and simmering samples of Indonesian noise artist Kuntari in “Titanis” inject energy, the spoken word of Couch Slut’s Megan Oztrosits takes the creepy mood to haunting lows in “Mute Swans,” and the appearance of French industrial/sludge/death metal band Fange makes “Black Storm Petrel” one of the densest and most brutal tracks. Ultimately, while the synthetic and mechanical hallmarks are very much intact, the inclusion of live instruments adds a genuine feel to the proceedings – a trend that has likewise benefited Igorrr’s latest as the emphasis on solo machine-mongering has faltered.

In his review for Krüller, the illustrious Kronos observed that Author & Punisher albums seem to alternate between anthemic and ambitious. Aside from the foundational birdsong incorporation, Nocturnal Birding finds Shone and company firmly embracing the former – but with a uniquely human touch. This album will mercilessly crush you in the same way Beastland and Ursus Americanus did, as well as the likes of influences Godflesh, Neurosis, and Nine Inch Nails have done for years, and in a way that proposes new avenues for Shone and Sabolick moving forward. Nocturnal Birding is a fist raised to the sky, a poetic eye cast to the wings above, and one hell of a statement.

Rating: 4.0/5.0
DR: N/A | Format Reviewed: STREAM
Label: Relapse Records
Websites: authorandpunisher.bandcamp.com | authorandpunisher.com | facebook.com/authorandpunisher
Releases Worldwide: October 3rd, 2025

#2025 #40 #ALifeOnceLost #AmericanMetal #AuthorPunisher #CouchSlut #DoomMetal #Drone #ElectronicMetal #Fange #Godflesh #Igorrr #IndustrialMetal #Kuntari #Neurosis #NineInchNails #NocturnalBirding #Noise #Oct25 #RelapseRecords #Review #Reviews #TypeONegative

Nuclear Dudes – Truth Paste Review

By Thus Spoke

Nuclear Dudes is one step closer to living up to their moniker as they are now officially more than one person.1 Joined by Brandon Nakamura (Doomsday 1999, ex-Teen Cthulu) on vocals, Sandrider’s Jon Weisnewski bounces back from the synthwave moment of Compression Crimes 1 to resume the usual trajectory of insanity. 2023’s Boss Blades—my personal introduction to this madness—was a disarmingly likeable collection of silly and serious sounds heavy and light. It was also surprisingly good. Though I’d partly forgotten this due to its brevity and my sieve-like brain, the band has such character, in name, in vibe, and artwork theme—that a commenter very sensibly pointed out is likely courtesy of Weisnewski’s small child and not his brother as I hilariously assumed—that I was instantly back in the room with Nuclear Dudes, ready for the next trip.

With a permanent2 vocalist alongside Weisnewski’s own contributions, Truth Paste is closer to powerviolence or grind than previous outings. But a vague resemblance to these genres is as close as it gets. The record is a breezy 23 minutes across 11 tracks (check one: very short runtimes), and there are more passages of outright beatdown, screaming, chaotic metallic insanity (check 2: silly heavy and intense). But it’s what’s going on within that runtime, and both during and between those especially heavy moments that matters. Nuclear Dudes don’t waste a second. Opening on a bizarre tribute to Guns ‘n Roses’ “Welcome to the Jungle”—which includes using that song’s literal intro as their own—the duo switch in a flash to an electro-grind(core), erratically accented by an array of eclectic sound effects, which is a recurrent style on the album. Approximately four and a half minutes in, it becomes clear that the preceding two tracks (“Napalm Life,” “Holiday Warfare”) functioned as a violent induction to themes that are to follow, as the title track ramps up to a pure hardcore breakdown to a woman crying “ohhhh myy gawwd it’s—”, and the ensuing chuggery forms the first ‘breather’ for the listener. That concludes the most normal segment on the record.

Truth Paste is weird, but it’s not incoherent. Despite the apparently revolving door of blooping, whirring keys and sound effects, and tempo changes that would give an F1 driver whiplash (“Napalm Life,” “Dirty 20,” “Death at Burning Man”), the whole thing flows remarkably well. Pretty much all songs transition seamlessly from the previous with overlapping samples, humming melodies, basslines, or keyboard something-or-other. Nuclear Dudes hit their peak at moments when the electronica-mixed-with-guitar transforms into synthwave by way of grind, making for ridiculously fun grooves (“Concussion Protocol,” “Space Juice,” “Pelvis Presley”) if not some very entertaining melodic excursions. Or perhaps the best parts are during those rapid-fire switches, where goofy meets brutal and jaw-smashing breakdowns are followed or preceded by floaty ethereality (“Truth Paste,” “Juggalos for Congress”).

As a novelty band that takes not taking itself seriously quite seriously, Nuclear Dudes are doing everything right. Track titles are dumb, the movie samples cheesy, and the harsh vox mix is a wry recollection of a bygone bedroom death/grind era. Nuclear Dudes own every last second of it, from the roboticised vocals (“Napalm Life,” “Concussion Protocol,” “Cyrus the Virus”) to the videogame battle sequence vibes of the keyboard gymnastics (“Dirty 20,” “Space Juice”). It’s almost annoying how un-annoying it is. And since you effectively experience it as one extended track, given those instant transitions, it becomes very easy to just vibe with it and not worry about which song you’re actually hearing at any moment, or whether what you just heard was genius or just silly. But in having superior flow to its predecessors, Truth Paste also possesses fewer true standout moments. There are no lows, it’s true, but there are also no epic peaks—no “Many Knifes,” for instance. Then again, this record is committing more strongly to the meth-head electro-grind genre than Boss Blades, and in that respect, kind of smashes it.

If you want to have a very entertaining 23 minutes and six seconds, Truth Paste should be your go-to. Nuclear Dudes has taken recruiting a vocalist, and evolving into their full hybrid mad-subgenre form in their stride, as they continue to half-sprint, half-dance ahead. This record is so tight, fun, and irritatingly self-aware that personal taste is practically irrelevant. I’m no longer going to express surprise that anything Nuclear Dudes creates will be fucking great.

Rating: Great
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Website: Bandcamp
Releases Worldwide: September 5th, 2025

#2025 #40 #DeathMetal #EDM #ElectronicMetal #ExperimentalMetal #Grind #Grindcore #NuclearDudes #Powerviolence #Review #Reviews #Sandrider #SelfReleases #Sep25 #Synthwave #TeenCthulhu #TruthPaste #USMetal