#eschaton — Public Fediverse posts

Business idea: Pet care for Evangelicals pets left behind after the #rapture #eschaton

Business idea: Pet care for Evangelicals pets left behind after the #rapture #eschaton

Business idea: Pet care for Evangelicals pets left behind after the #rapture #eschaton

Village IMMANENTIZE THE ESCHATON Propaganda from Hermetic Library Office of the Ministry of Information https://hermetic.com/information/immanentize-the-eschaton/index

#propaganda #TheVillage #ThePrisoner #immanetize #eschaton #ImmanentizeTheEschaton

Village IMMANENTIZE THE ESCHATON Propaganda from Hermetic Library Office of the Ministry of Information https://hermetic.com/information/immanentize-the-eschaton/index

#propaganda #TheVillage #ThePrisoner #immanetize #eschaton #ImmanentizeTheEschaton

Village IMMANENTIZE THE ESCHATON Propaganda from Hermetic Library Office of the Ministry of Information https://hermetic.com/information/immanentize-the-eschaton/index

#propaganda #TheVillage #ThePrisoner #immanetize #eschaton #ImmanentizeTheEschaton

Village IMMANENTIZE THE ESCHATON Propaganda from Hermetic Library Office of the Ministry of Information https://hermetic.com/information/immanentize-the-eschaton/index

#propaganda #TheVillage #ThePrisoner #immanetize #eschaton #ImmanentizeTheEschaton

Village IMMANENTIZE THE ESCHATON Propaganda from Hermetic Library Office of the Ministry of Information https://hermetic.com/information/immanentize-the-eschaton/index

#propaganda #TheVillage #ThePrisoner #immanetize #eschaton #ImmanentizeTheEschaton

Village DON'T LET THEM IMMANENTIZE THE ESCHATON Propaganda from Hermetic Library Office of the Ministry of Information https://hermetic.com/information/immanentize-the-eschaton/index

#propaganda #TheVillage #ThePrisoner #DontLetThem #immanentize #eschaton #ImmanentizeTheEschaton

Village DON'T LET THEM IMMANENTIZE THE ESCHATON Propaganda from Hermetic Library Office of the Ministry of Information https://hermetic.com/information/immanentize-the-eschaton/index

#propaganda #TheVillage #ThePrisoner #DontLetThem #immanentize #eschaton #ImmanentizeTheEschaton

Village DON'T LET THEM IMMANENTIZE THE ESCHATON Propaganda from Hermetic Library Office of the Ministry of Information https://hermetic.com/information/immanentize-the-eschaton/index

#propaganda #TheVillage #ThePrisoner #DontLetThem #immanentize #eschaton #ImmanentizeTheEschaton

Village DON'T LET THEM IMMANENTIZE THE ESCHATON Propaganda from Hermetic Library Office of the Ministry of Information https://hermetic.com/information/immanentize-the-eschaton/index

#propaganda #TheVillage #ThePrisoner #DontLetThem #immanentize #eschaton #ImmanentizeTheEschaton

Village DON'T LET THEM IMMANENTIZE THE ESCHATON Propaganda from Hermetic Library Office of the Ministry of Information https://hermetic.com/information/immanentize-the-eschaton/index

#propaganda #TheVillage #ThePrisoner #DontLetThem #immanentize #eschaton #ImmanentizeTheEschaton

Peter Thiel eschatology: Tech leader is full-on bonkers, seeing the Antichrist's hand in efforts to fight climate change or regulate AI
https://sfstandard.com/2025/09/23/spilled-peter-thiel-s-antichrist-secrets-now-s-banned-lectures/
#batshitinsane #climatechange #antichrist #politics #eschaton #uspol #thiel #-

Peter Thiel eschatology: Tech leader is full-on bonkers, seeing the Antichrist's hand in efforts to fight climate change or regulate AI
https://sfstandard.com/2025/09/23/spilled-peter-thiel-s-antichrist-secrets-now-s-banned-lectures/
#batshitinsane #climatechange #antichrist #politics #eschaton #uspol #thiel #-

Peter Thiel eschatology: Tech leader is full-on bonkers, seeing the Antichrist's hand in efforts to fight climate change or regulate AI
https://sfstandard.com/2025/09/23/spilled-peter-thiel-s-antichrist-secrets-now-s-banned-lectures/
#batshitinsane #climatechange #antichrist #politics #eschaton #uspol #thiel #-

Peter Thiel eschatology: Tech leader is full-on bonkers, seeing the Antichrist's hand in efforts to fight climate change or regulate AI
https://sfstandard.com/2025/09/23/spilled-peter-thiel-s-antichrist-secrets-now-s-banned-lectures/
#batshitinsane #climatechange #antichrist #politics #eschaton #uspol #thiel #-

Peter Thiel eschatology: Tech leader is full-on bonkers, seeing the Antichrist's hand in efforts to fight climate change or regulate AI
https://sfstandard.com/2025/09/23/spilled-peter-thiel-s-antichrist-secrets-now-s-banned-lectures/
#batshitinsane #climatechange #antichrist #politics #eschaton #uspol #thiel #-

Cytolysis – Surge of Cruelty Review

By Owlswald

Embracing the brutal death metal staples of extreme violence, mutilation, and gore, Cytolysis is the solo project of drummer Darren Cesca (ex-Arsis, ex-Deeds of Flesh). Temporarily breaking from his duties in Goratory and Eschaton, Cesca uses Cytolysis as an outlet to write, perform, and produce his own horror-filled material. His first offering, Portraits of Malevolence, tipped the scales firmly towards deathcore and was a competent yet unremarkable slab of sonic torture. After a five-year hiatus, Cesca emerges from the depths once more with Surge of Cruelty, hoping to follow Cytolysis’ run-of-the-mill debut with something far more malicious. But as it turns out, not much has changed.

Cytolysis remains deathcore through and through. Driven by its strong rhythmic core, the name of the game on Surge of Cruelty is consistency and groove, with songwriting that largely relies on devastating Acacia Strain-esque breakdowns, mid-tempo plods, and half-time slams. Down-tuned guitars deliver a one-dimensional backdrop of bludgeoning power chords and devilish chugs, while Cesca’s blast beats, swift kick patterns, and tight grooves twist and turn with technical precision and a mechanical pulse. His Pyrexian vocals feature an abundance of unvaried pig squeals and guttural, vomit-flavored growls that often recede into the highly compressed mix. Guest vocals—like those from Brian Forgue (Syphilic) on “A Blood Soaked Offering,” or Mac Smith (Eschaton, Apogean) on “Devout Sacrifice”1—offer a welcome contrast to Cesca’s conventional delivery, injecting much-needed dynamism through their soiled, vulgar-sounding roars. Still, even with its technically sound components, Cesca assembles Surge of Cruelty into a predictable and ultimately monotonous eleven tracks.

Surge of Cruelty suffers from a structural monotony that makes its forty-four minutes feel sluggish and overlong. Cytolysis’ over-reliance on a limited playbook of chunky breakdowns and trudging grooves ultimately bleeds the album of its energy. Rather than building or evolving, the record’s flow feels like Cesca stitched similar-sounding tracks together. This predictability is immediately evident on opener “Your Slow Demise.” Embodying a run-of-the-mill brutality, the track builds on a foundation of lumbering mid-tempo chuggery and grinding slowdowns amidst Cesca’s squeals. Attempts at variation—like the choo-choo whistling guitar bends or the spells of dissonant guitars—lack supremacy and fall flat. Elsewhere, tracks like “Mark of the Demons,” “Surge of Cruelty,” and “Tribal Savagery” are packed with formulaic rhythms, low-end chugs, and tired-sounding riffs. Thankfully, the instrumental “Ritual Carnage” provides a moment of separation with its buzzing bass, pounding drums, and throat singing, but its effect is short-lived, as Cesca quickly pushes Surge of Cruelty right back into its old patterns. While the album’s shorter songs (“Innocence is Raped,” “A Blood Soaked Offering,” and “Consenting Brood”) fare better, too many tracks feel uninspired and aimless, lacking the quality material to justify their duration.

Moments of technical flair provide Surge of Cruelty’s most engaging passages, as Cytolysis explores the boundaries of its deathcore mold. Cesca’s quick double bass bursts in “Mark of the Demons” or the accented ride pattern in the title track provide subtle dynamics and a brief sense of variation. “Devout Sacrifice” stands out as one of the album’s strongest tracks, thanks to its numerous twists and turns and its tight, punishing groove that holds my attention despite its whistling guitar bends. Other notable material includes the syncopated intro riff of “Innocence is Raped” and the refreshingly fast tempo and dark atmosphere of “Hung from the Rafters”—a welcome change of pace that unfortunately arrives far too late. Making matters worse, the album’s production—which is compressed to hell—magnifies Surge of Cruelty’s homogeneity, stripping the material of any life and hindering Cytolysis’ moments of creativity.

My time with Surge of Cruelty began with hope but ended in disappointment. Cesca’s ability to single-handedly write, perform, and produce Cytolysis’ material is undoubtedly impressive, but Surge of Cruelty buckles under the weight of its own monotony and its sterile mix. While guest vocalists inject some much-needed dynamism and moments of technicality provide creative sparks, they are too infrequent to save an album that ultimately leaves little to hold onto after its best moments pass. Surge of Cruelty is a missed opportunity, but Cesca certainly has the talent to produce something far more compelling in the future.

Rating: Disappointing
DR: 4 | Format Reviewed: 320 kb/s mp3
Label: Comatose Music
Websites: darrencesca.weebly.com | facebook.com/darren.cesca
Releases Worldwide: August 8th, 2025

#20 #2025 #AcaciaStrain #AmericanMetal #Apogean #Arsis #Aug25 #ComatoseMusic #Cytolysis #DeathMetal #Deathcore #DeedsOfFlesh #Eschaton #Goratory #Pyrexia #Review #Reviews #SurgeOfCruelty #Syphilic

Cytolysis – Surge of Cruelty Review

By Owlswald

Embracing the brutal death metal staples of extreme violence, mutilation, and gore, Cytolysis is the solo project of drummer Darren Cesca (ex-Arsis, ex-Deeds of Flesh). Temporarily breaking from his duties in Goratory and Eschaton, Cesca uses Cytolysis as an outlet to write, perform, and produce his own horror-filled material. His first offering, Portraits of Malevolence, tipped the scales firmly towards deathcore and was a competent yet unremarkable slab of sonic torture. After a five-year hiatus, Cesca emerges from the depths once more with Surge of Cruelty, hoping to follow Cytolysis’ run-of-the-mill debut with something far more malicious. But as it turns out, not much has changed.

Cytolysis remains deathcore through and through. Driven by its strong rhythmic core, the name of the game on Surge of Cruelty is consistency and groove, with songwriting that largely relies on devastating Acacia Strain-esque breakdowns, mid-tempo plods, and half-time slams. Down-tuned guitars deliver a one-dimensional backdrop of bludgeoning power chords and devilish chugs, while Cesca’s blast beats, swift kick patterns, and tight grooves twist and turn with technical precision and a mechanical pulse. His Pyrexian vocals feature an abundance of unvaried pig squeals and guttural, vomit-flavored growls that often recede into the highly compressed mix. Guest vocals—like those from Brian Forgue (Syphilic) on “A Blood Soaked Offering,” or Mac Smith (Eschaton, Apogean) on “Devout Sacrifice”1—offer a welcome contrast to Cesca’s conventional delivery, injecting much-needed dynamism through their soiled, vulgar-sounding roars. Still, even with its technically sound components, Cesca assembles Surge of Cruelty into a predictable and ultimately monotonous eleven tracks.

Surge of Cruelty suffers from a structural monotony that makes its forty-four minutes feel sluggish and overlong. Cytolysis’ over-reliance on a limited playbook of chunky breakdowns and trudging grooves ultimately bleeds the album of its energy. Rather than building or evolving, the record’s flow feels like Cesca stitched similar-sounding tracks together. This predictability is immediately evident on opener “Your Slow Demise.” Embodying a run-of-the-mill brutality, the track builds on a foundation of lumbering mid-tempo chuggery and grinding slowdowns amidst Cesca’s squeals. Attempts at variation—like the choo-choo whistling guitar bends or the spells of dissonant guitars—lack supremacy and fall flat. Elsewhere, tracks like “Mark of the Demons,” “Surge of Cruelty,” and “Tribal Savagery” are packed with formulaic rhythms, low-end chugs, and tired-sounding riffs. Thankfully, the instrumental “Ritual Carnage” provides a moment of separation with its buzzing bass, pounding drums, and throat singing, but its effect is short-lived, as Cesca quickly pushes Surge of Cruelty right back into its old patterns. While the album’s shorter songs (“Innocence is Raped,” “A Blood Soaked Offering,” and “Consenting Brood”) fare better, too many tracks feel uninspired and aimless, lacking the quality material to justify their duration.

Moments of technical flair provide Surge of Cruelty’s most engaging passages, as Cytolysis explores the boundaries of its deathcore mold. Cesca’s quick double bass bursts in “Mark of the Demons” or the accented ride pattern in the title track provide subtle dynamics and a brief sense of variation. “Devout Sacrifice” stands out as one of the album’s strongest tracks, thanks to its numerous twists and turns and its tight, punishing groove that holds my attention despite its whistling guitar bends. Other notable material includes the syncopated intro riff of “Innocence is Raped” and the refreshingly fast tempo and dark atmosphere of “Hung from the Rafters”—a welcome change of pace that unfortunately arrives far too late. Making matters worse, the album’s production—which is compressed to hell—magnifies Surge of Cruelty’s homogeneity, stripping the material of any life and hindering Cytolysis’ moments of creativity.

My time with Surge of Cruelty began with hope but ended in disappointment. Cesca’s ability to single-handedly write, perform, and produce Cytolysis’ material is undoubtedly impressive, but Surge of Cruelty buckles under the weight of its own monotony and its sterile mix. While guest vocalists inject some much-needed dynamism and moments of technicality provide creative sparks, they are too infrequent to save an album that ultimately leaves little to hold onto after its best moments pass. Surge of Cruelty is a missed opportunity, but Cesca certainly has the talent to produce something far more compelling in the future.

Rating: Disappointing
DR: 4 | Format Reviewed: 320 kb/s mp3
Label: Comatose Music
Websites: darrencesca.weebly.com | facebook.com/darren.cesca
Releases Worldwide: August 8th, 2025

#20 #2025 #AcaciaStrain #AmericanMetal #Apogean #Arsis #Aug25 #ComatoseMusic #Cytolysis #DeathMetal #Deathcore #DeedsOfFlesh #Eschaton #Goratory #Pyrexia #Review #Reviews #SurgeOfCruelty #Syphilic

Cytolysis – Surge of Cruelty Review

By Owlswald

Embracing the brutal death metal staples of extreme violence, mutilation, and gore, Cytolysis is the solo project of drummer Darren Cesca (ex-Arsis, ex-Deeds of Flesh). Temporarily breaking from his duties in Goratory and Eschaton, Cesca uses Cytolysis as an outlet to write, perform, and produce his own horror-filled material. His first offering, Portraits of Malevolence, tipped the scales firmly towards deathcore and was a competent yet unremarkable slab of sonic torture. After a five-year hiatus, Cesca emerges from the depths once more with Surge of Cruelty, hoping to follow Cytolysis’ run-of-the-mill debut with something far more malicious. But as it turns out, not much has changed.

Cytolysis remains deathcore through and through. Driven by its strong rhythmic core, the name of the game on Surge of Cruelty is consistency and groove, with songwriting that largely relies on devastating Acacia Strain-esque breakdowns, mid-tempo plods, and half-time slams. Down-tuned guitars deliver a one-dimensional backdrop of bludgeoning power chords and devilish chugs, while Cesca’s blast beats, swift kick patterns, and tight grooves twist and turn with technical precision and a mechanical pulse. His Pyrexian vocals feature an abundance of unvaried pig squeals and guttural, vomit-flavored growls that often recede into the highly compressed mix. Guest vocals—like those from Brian Forgue (Syphilic) on “A Blood Soaked Offering,” or Mac Smith (Eschaton, Apogean) on “Devout Sacrifice”1—offer a welcome contrast to Cesca’s conventional delivery, injecting much-needed dynamism through their soiled, vulgar-sounding roars. Still, even with its technically sound components, Cesca assembles Surge of Cruelty into a predictable and ultimately monotonous eleven tracks.

Surge of Cruelty suffers from a structural monotony that makes its forty-four minutes feel sluggish and overlong. Cytolysis’ over-reliance on a limited playbook of chunky breakdowns and trudging grooves ultimately bleeds the album of its energy. Rather than building or evolving, the record’s flow feels like Cesca stitched similar-sounding tracks together. This predictability is immediately evident on opener “Your Slow Demise.” Embodying a run-of-the-mill brutality, the track builds on a foundation of lumbering mid-tempo chuggery and grinding slowdowns amidst Cesca’s squeals. Attempts at variation—like the choo-choo whistling guitar bends or the spells of dissonant guitars—lack supremacy and fall flat. Elsewhere, tracks like “Mark of the Demons,” “Surge of Cruelty,” and “Tribal Savagery” are packed with formulaic rhythms, low-end chugs, and tired-sounding riffs. Thankfully, the instrumental “Ritual Carnage” provides a moment of separation with its buzzing bass, pounding drums, and throat singing, but its effect is short-lived, as Cesca quickly pushes Surge of Cruelty right back into its old patterns. While the album’s shorter songs (“Innocence is Raped,” “A Blood Soaked Offering,” and “Consenting Brood”) fare better, too many tracks feel uninspired and aimless, lacking the quality material to justify their duration.

Moments of technical flair provide Surge of Cruelty’s most engaging passages, as Cytolysis explores the boundaries of its deathcore mold. Cesca’s quick double bass bursts in “Mark of the Demons” or the accented ride pattern in the title track provide subtle dynamics and a brief sense of variation. “Devout Sacrifice” stands out as one of the album’s strongest tracks, thanks to its numerous twists and turns and its tight, punishing groove that holds my attention despite its whistling guitar bends. Other notable material includes the syncopated intro riff of “Innocence is Raped” and the refreshingly fast tempo and dark atmosphere of “Hung from the Rafters”—a welcome change of pace that unfortunately arrives far too late. Making matters worse, the album’s production—which is compressed to hell—magnifies Surge of Cruelty’s homogeneity, stripping the material of any life and hindering Cytolysis’ moments of creativity.

My time with Surge of Cruelty began with hope but ended in disappointment. Cesca’s ability to single-handedly write, perform, and produce Cytolysis’ material is undoubtedly impressive, but Surge of Cruelty buckles under the weight of its own monotony and its sterile mix. While guest vocalists inject some much-needed dynamism and moments of technicality provide creative sparks, they are too infrequent to save an album that ultimately leaves little to hold onto after its best moments pass. Surge of Cruelty is a missed opportunity, but Cesca certainly has the talent to produce something far more compelling in the future.

Rating: Disappointing
DR: 4 | Format Reviewed: 320 kb/s mp3
Label: Comatose Music
Websites: darrencesca.weebly.com | facebook.com/darren.cesca
Releases Worldwide: August 8th, 2025

#20 #2025 #AcaciaStrain #AmericanMetal #Apogean #Arsis #Aug25 #ComatoseMusic #Cytolysis #DeathMetal #Deathcore #DeedsOfFlesh #Eschaton #Goratory #Pyrexia #Review #Reviews #SurgeOfCruelty #Syphilic

Cytolysis – Surge of Cruelty Review

By Owlswald

Embracing the brutal death metal staples of extreme violence, mutilation, and gore, Cytolysis is the solo project of drummer Darren Cesca (ex-Arsis, ex-Deeds of Flesh). Temporarily breaking from his duties in Goratory and Eschaton, Cesca uses Cytolysis as an outlet to write, perform, and produce his own horror-filled material. His first offering, Portraits of Malevolence, tipped the scales firmly towards deathcore and was a competent yet unremarkable slab of sonic torture. After a five-year hiatus, Cesca emerges from the depths once more with Surge of Cruelty, hoping to follow Cytolysis’ run-of-the-mill debut with something far more malicious. But as it turns out, not much has changed.

Cytolysis remains deathcore through and through. Driven by its strong rhythmic core, the name of the game on Surge of Cruelty is consistency and groove, with songwriting that largely relies on devastating Acacia Strain-esque breakdowns, mid-tempo plods, and half-time slams. Down-tuned guitars deliver a one-dimensional backdrop of bludgeoning power chords and devilish chugs, while Cesca’s blast beats, swift kick patterns, and tight grooves twist and turn with technical precision and a mechanical pulse. His Pyrexian vocals feature an abundance of unvaried pig squeals and guttural, vomit-flavored growls that often recede into the highly compressed mix. Guest vocals—like those from Brian Forgue (Syphilic) on “A Blood Soaked Offering,” or Mac Smith (Eschaton, Apogean) on “Devout Sacrifice”1—offer a welcome contrast to Cesca’s conventional delivery, injecting much-needed dynamism through their soiled, vulgar-sounding roars. Still, even with its technically sound components, Cesca assembles Surge of Cruelty into a predictable and ultimately monotonous eleven tracks.

Surge of Cruelty suffers from a structural monotony that makes its forty-four minutes feel sluggish and overlong. Cytolysis’ over-reliance on a limited playbook of chunky breakdowns and trudging grooves ultimately bleeds the album of its energy. Rather than building or evolving, the record’s flow feels like Cesca stitched similar-sounding tracks together. This predictability is immediately evident on opener “Your Slow Demise.” Embodying a run-of-the-mill brutality, the track builds on a foundation of lumbering mid-tempo chuggery and grinding slowdowns amidst Cesca’s squeals. Attempts at variation—like the choo-choo whistling guitar bends or the spells of dissonant guitars—lack supremacy and fall flat. Elsewhere, tracks like “Mark of the Demons,” “Surge of Cruelty,” and “Tribal Savagery” are packed with formulaic rhythms, low-end chugs, and tired-sounding riffs. Thankfully, the instrumental “Ritual Carnage” provides a moment of separation with its buzzing bass, pounding drums, and throat singing, but its effect is short-lived, as Cesca quickly pushes Surge of Cruelty right back into its old patterns. While the album’s shorter songs (“Innocence is Raped,” “A Blood Soaked Offering,” and “Consenting Brood”) fare better, too many tracks feel uninspired and aimless, lacking the quality material to justify their duration.

Moments of technical flair provide Surge of Cruelty’s most engaging passages, as Cytolysis explores the boundaries of its deathcore mold. Cesca’s quick double bass bursts in “Mark of the Demons” or the accented ride pattern in the title track provide subtle dynamics and a brief sense of variation. “Devout Sacrifice” stands out as one of the album’s strongest tracks, thanks to its numerous twists and turns and its tight, punishing groove that holds my attention despite its whistling guitar bends. Other notable material includes the syncopated intro riff of “Innocence is Raped” and the refreshingly fast tempo and dark atmosphere of “Hung from the Rafters”—a welcome change of pace that unfortunately arrives far too late. Making matters worse, the album’s production—which is compressed to hell—magnifies Surge of Cruelty’s homogeneity, stripping the material of any life and hindering Cytolysis’ moments of creativity.

My time with Surge of Cruelty began with hope but ended in disappointment. Cesca’s ability to single-handedly write, perform, and produce Cytolysis’ material is undoubtedly impressive, but Surge of Cruelty buckles under the weight of its own monotony and its sterile mix. While guest vocalists inject some much-needed dynamism and moments of technicality provide creative sparks, they are too infrequent to save an album that ultimately leaves little to hold onto after its best moments pass. Surge of Cruelty is a missed opportunity, but Cesca certainly has the talent to produce something far more compelling in the future.

Rating: Disappointing
DR: 4 | Format Reviewed: 320 kb/s mp3
Label: Comatose Music
Websites: darrencesca.weebly.com | facebook.com/darren.cesca
Releases Worldwide: August 8th, 2025

#20 #2025 #AcaciaStrain #AmericanMetal #Apogean #Arsis #Aug25 #ComatoseMusic #Cytolysis #DeathMetal #Deathcore #DeedsOfFlesh #Eschaton #Goratory #Pyrexia #Review #Reviews #SurgeOfCruelty #Syphilic

Cytolysis – Surge of Cruelty Review

By Owlswald

Embracing the brutal death metal staples of extreme violence, mutilation, and gore, Cytolysis is the solo project of drummer Darren Cesca (ex-Arsis, ex-Deeds of Flesh). Temporarily breaking from his duties in Goratory and Eschaton, Cesca uses Cytolysis as an outlet to write, perform, and produce his own horror-filled material. His first offering, Portraits of Malevolence, tipped the scales firmly towards deathcore and was a competent yet unremarkable slab of sonic torture. After a five-year hiatus, Cesca emerges from the depths once more with Surge of Cruelty, hoping to follow Cytolysis’ run-of-the-mill debut with something far more malicious. But as it turns out, not much has changed.

Cytolysis remains deathcore through and through. Driven by its strong rhythmic core, the name of the game on Surge of Cruelty is consistency and groove, with songwriting that largely relies on devastating Acacia Strain-esque breakdowns, mid-tempo plods, and half-time slams. Down-tuned guitars deliver a one-dimensional backdrop of bludgeoning power chords and devilish chugs, while Cesca’s blast beats, swift kick patterns, and tight grooves twist and turn with technical precision and a mechanical pulse. His Pyrexian vocals feature an abundance of unvaried pig squeals and guttural, vomit-flavored growls that often recede into the highly compressed mix. Guest vocals—like those from Brian Forgue (Syphilic) on “A Blood Soaked Offering,” or Mac Smith (Eschaton, Apogean) on “Devout Sacrifice”1—offer a welcome contrast to Cesca’s conventional delivery, injecting much-needed dynamism through their soiled, vulgar-sounding roars. Still, even with its technically sound components, Cesca assembles Surge of Cruelty into a predictable and ultimately monotonous eleven tracks.

Surge of Cruelty suffers from a structural monotony that makes its forty-four minutes feel sluggish and overlong. Cytolysis’ over-reliance on a limited playbook of chunky breakdowns and trudging grooves ultimately bleeds the album of its energy. Rather than building or evolving, the record’s flow feels like Cesca stitched similar-sounding tracks together. This predictability is immediately evident on opener “Your Slow Demise.” Embodying a run-of-the-mill brutality, the track builds on a foundation of lumbering mid-tempo chuggery and grinding slowdowns amidst Cesca’s squeals. Attempts at variation—like the choo-choo whistling guitar bends or the spells of dissonant guitars—lack supremacy and fall flat. Elsewhere, tracks like “Mark of the Demons,” “Surge of Cruelty,” and “Tribal Savagery” are packed with formulaic rhythms, low-end chugs, and tired-sounding riffs. Thankfully, the instrumental “Ritual Carnage” provides a moment of separation with its buzzing bass, pounding drums, and throat singing, but its effect is short-lived, as Cesca quickly pushes Surge of Cruelty right back into its old patterns. While the album’s shorter songs (“Innocence is Raped,” “A Blood Soaked Offering,” and “Consenting Brood”) fare better, too many tracks feel uninspired and aimless, lacking the quality material to justify their duration.

Moments of technical flair provide Surge of Cruelty’s most engaging passages, as Cytolysis explores the boundaries of its deathcore mold. Cesca’s quick double bass bursts in “Mark of the Demons” or the accented ride pattern in the title track provide subtle dynamics and a brief sense of variation. “Devout Sacrifice” stands out as one of the album’s strongest tracks, thanks to its numerous twists and turns and its tight, punishing groove that holds my attention despite its whistling guitar bends. Other notable material includes the syncopated intro riff of “Innocence is Raped” and the refreshingly fast tempo and dark atmosphere of “Hung from the Rafters”—a welcome change of pace that unfortunately arrives far too late. Making matters worse, the album’s production—which is compressed to hell—magnifies Surge of Cruelty’s homogeneity, stripping the material of any life and hindering Cytolysis’ moments of creativity.

My time with Surge of Cruelty began with hope but ended in disappointment. Cesca’s ability to single-handedly write, perform, and produce Cytolysis’ material is undoubtedly impressive, but Surge of Cruelty buckles under the weight of its own monotony and its sterile mix. While guest vocalists inject some much-needed dynamism and moments of technicality provide creative sparks, they are too infrequent to save an album that ultimately leaves little to hold onto after its best moments pass. Surge of Cruelty is a missed opportunity, but Cesca certainly has the talent to produce something far more compelling in the future.

Rating: Disappointing
DR: 4 | Format Reviewed: 320 kb/s mp3
Label: Comatose Music
Websites: darrencesca.weebly.com | facebook.com/darren.cesca
Releases Worldwide: August 8th, 2025

#20 #2025 #AcaciaStrain #AmericanMetal #Apogean #Arsis #Aug25 #ComatoseMusic #Cytolysis #DeathMetal #Deathcore #DeedsOfFlesh #Eschaton #Goratory #Pyrexia #Review #Reviews #SurgeOfCruelty #Syphilic

According to the Church of the #Subgenius, today is X-Day, the day the aliens arrive to take all Subgeniuses away on their pleasure saucers leaving the Pinks and the #Conspiracy behind https://toilet-guru.com/overview-faith.html?s=mb #cosmology #eschaton #apocalypse

According to the Church of the #Subgenius, today is X-Day, the day the aliens arrive to take all Subgeniuses away on their pleasure saucers leaving the Pinks and the #Conspiracy behind https://toilet-guru.com/overview-faith.html?s=mb #cosmology #eschaton #apocalypse

According to the Church of the #Subgenius, today is X-Day, the day the aliens arrive to take all Subgeniuses away on their pleasure saucers leaving the Pinks and the #Conspiracy behind https://toilet-guru.com/overview-faith.html?s=mb #cosmology #eschaton #apocalypse

According to the Church of the #Subgenius, today is X-Day, the day the aliens arrive to take all Subgeniuses away on their pleasure saucers leaving the Pinks and the #Conspiracy behind https://toilet-guru.com/overview-faith.html?s=mb #cosmology #eschaton #apocalypse

According to the Church of the #Subgenius, today is X-Day, the day the aliens arrive to take all Subgeniuses away on their pleasure saucers leaving the Pinks and the #Conspiracy behind https://toilet-guru.com/overview-faith.html?s=mb #cosmology #eschaton #apocalypse

According to the Church of the #Subgenius, today is X-Day, the day the aliens arrive to take all Subgeniuses away on their pleasure saucers leaving the Pinks and the #Conspiracy behind https://toilet-guru.com/overview-faith.html?s=mb #cosmology #eschaton #apocalypse

According to the Church of the #Subgenius, today is X-Day, the day the aliens arrive to take all Subgeniuses away on their pleasure saucers leaving the Pinks and the #Conspiracy behind https://toilet-guru.com/overview-faith.html?s=mb #cosmology #eschaton #apocalypse

According to the Church of the #Subgenius, today is X-Day, the day the aliens arrive to take all Subgeniuses away on their pleasure saucers leaving the Pinks and the #Conspiracy behind https://toilet-guru.com/overview-faith.html?s=mb #cosmology #eschaton #apocalypse

According to the Church of the #Subgenius, today is X-Day, the day the aliens arrive to take all Subgeniuses away on their pleasure saucers leaving the Pinks and the #Conspiracy behind https://toilet-guru.com/overview-faith.html?s=mb #cosmology #eschaton #apocalypse

According to the Church of the #Subgenius, today is X-Day, the day the aliens arrive to take all Subgeniuses away on their pleasure saucers leaving the Pinks and the #Conspiracy behind https://toilet-guru.com/overview-faith.html?s=mb #cosmology #eschaton #apocalypse

According to the Church of the #Subgenius, tomorrow is X-Day, the day the aliens arrive to take all Subgeniuses away on their pleasure saucers leaving the Pinks and the #Conspiracy behind https://toilet-guru.com/overview-faith.html?s=mb #cosmology #eschaton #apocalypse

According to the Church of the #Subgenius, tomorrow is X-Day, the day the aliens arrive to take all Subgeniuses away on their pleasure saucers leaving the Pinks and the #Conspiracy behind https://toilet-guru.com/overview-faith.html?s=mb #cosmology #eschaton #apocalypse

According to the Church of the #Subgenius, tomorrow is X-Day, the day the aliens arrive to take all Subgeniuses away on their pleasure saucers leaving the Pinks and the #Conspiracy behind https://toilet-guru.com/overview-faith.html?s=mb #cosmology #eschaton #apocalypse

According to the Church of the #Subgenius, tomorrow is X-Day, the day the aliens arrive to take all Subgeniuses away on their pleasure saucers leaving the Pinks and the #Conspiracy behind https://toilet-guru.com/overview-faith.html?s=mb #cosmology #eschaton #apocalypse

According to the Church of the #Subgenius, tomorrow is X-Day, the day the aliens arrive to take all Subgeniuses away on their pleasure saucers leaving the Pinks and the #Conspiracy behind https://toilet-guru.com/overview-faith.html?s=mb #cosmology #eschaton #apocalypse

According to the Church of the #Subgenius, tomorrow is X-Day, the day the aliens arrive to take all Subgeniuses away on their pleasure saucers leaving the Pinks and the #Conspiracy behind https://toilet-guru.com/overview-faith.html?s=mb #cosmology #eschaton #apocalypse

According to the Church of the #Subgenius, tomorrow is X-Day, the day the aliens arrive to take all Subgeniuses away on their pleasure saucers leaving the Pinks and the #Conspiracy behind https://toilet-guru.com/overview-faith.html?s=mb #cosmology #eschaton #apocalypse

According to the Church of the #Subgenius, tomorrow is X-Day, the day the aliens arrive to take all Subgeniuses away on their pleasure saucers leaving the Pinks and the #Conspiracy behind https://toilet-guru.com/overview-faith.html?s=mb #cosmology #eschaton #apocalypse

According to the Church of the #Subgenius, tomorrow is X-Day, the day the aliens arrive to take all Subgeniuses away on their pleasure saucers leaving the Pinks and the #Conspiracy behind https://toilet-guru.com/overview-faith.html?s=mb #cosmology #eschaton #apocalypse

According to the Church of the #Subgenius, tomorrow is X-Day, the day the aliens arrive to take all Subgeniuses away on their pleasure saucers leaving the Pinks and the #Conspiracy behind https://toilet-guru.com/overview-faith.html?s=mb #cosmology #eschaton #apocalypse

Eschaton – Techtalitarian Review

By Thus Spoke

Imagine you are trying to get your friend into a genre of music you love. Perhaps that genre has some unfortunate tropes that even an untrained ear can discern as all instances being relegated to the denigrated status of the lowest common denominator. You know first impressions are crucial, and thus desperately want theirs to be of music that goes beyond those trappings so your friend can share your joy. Let’s say that genre is tech-death, and the album that your friend first comes across in their journey Eschaton’s third, Techtalitarian. The band’s discography heretofore has been solid, but unremarkable, and given a prior emphasis on something closer to deathcore, you feel justified unease. But with a signing by Transcending Obscurity, and an almost entirely fresh lineup to boot, you hope Techtalitarian can break through, to your friend as well as to the wider death metal community.

With chagrin, you acknowledge that Techtalitarian cannot escape its existence as a textbook instance of a tech-death stereotype, for better or for worse. Beyond its comically on-the-nose moniker and aggressively cyberpunk cover art, the music is exactly what you might expect. The fusion of a vocal style that hasn’t quite left deathcore behind1, with the hyperactive arpeggio riffing, and restless and restlessly fast tempo bouncing for which this particular approach to death metal is wedded to. But sticking to the core of a sound need not be a curse if a band either execute it to perfection, thus proving why it is so enduring, or with some subtle flair that makes it their own. In this regard, Eschaton cannot be said to avoid their curse, but Techtalitarian is not without merit, thanks in large part to its nature, which unwittingly or not borrows more than a little of the thrill for which you fell in love with technical death metal in the first place.

Riffs, riffs, and yet more riffs await as you explore Techtalitarian. Par for the course, but also a chance for new guitarist Christian Münzner2 to prove that he can indeed play a guitar really rather well; all the musicians here have great technical prowess. Just the act of pointing this out in preface to discussing the music’s actual substance exemplifies the subgenre’s cliché. The record’s shape evolves but little across its breadth, with the flutters and churning of guitar, and especially pointed percussive pattering melting into a haze of agitation where Eschaton ricochet between ideas. And yet you can’t pretend you’re not enjoying yourself, for at least large segments at a time. Though they evade true memorability, many melodies and chirruping acrobatic riffs, carried on accompanying tides of snappy drumming and rhythmic syncopation, tickle the brain just right (“Blood of the People,” “The Bellicose Duality,” “Antimatter”). In a fickle but not charmless way, Eschaton rotate between the malevolent grooves of The Black Dahlia Murder (“Devour the Contrarian,” “Techtalitarian,” “Castle Strnad”3), the twin guitar flutters of Within the Ruins (“Hellfire’s Woe”), and mixing slammy deathcore with an approximation of the melodic depth of, say, Allegaeon, minus the cleans (“Antimatter”). They can’t quite make up their mind, but they seem to have fun doing it, and you’ll likely have some fun listening.

As entertaining as these segments can be, when stitched together into Techtalitarian, they end up being surprisingly intangible. Once a slick, squealy, super-speedy passage is over, it’s over in order to make room for the next thing. This is compounded by the fact that these rhythmic textures and riffing structures are not even that brilliant—not brain-meltingly gymnastic, or manically groovy, or breathtakingly claustrophobic—but instead almost generic. What ought to be cool comes across as blasé because nothing lies beneath the flashy, snarling, blastbeating surface. And when Escahaton do incorporate something else, they do so with lukewarm commitment; symphonics and choir that occasionally appear (“Hellfire’s Woe,” “Econocracy”) reading exactly like something you’d hear in a Shadow of Intent song, but not even as dramatic. Add to this the inevitably low DR of 4, and the reasonable 45-minute runtime starts to crawl.

Though it feels absurd when the music is this energetic, skilled, and heavy—as is all tech-death—Techtalitarian is not what you want your friend to hear; not first anyway. Its insubstantiality is due to no fault of Eschaton’s talent, but rather their execution. With more imagination and focus, their abilities could blossom into some of the most potent of the subgenre. It already lends itself to a pretty fun time. Eschaton may have a great record in them, but it isn’t Techtalitarian.

Rating: Mixed
DR: 4 | Format Reviewed: 320 kb/s mp3
Label: Transcending Obscurity
Websites: Bandcamp | Facebook
Releases Worldwide: May 30th, 2025

#25 #2025 #Allegaeon #AmericanMetal #DeathMetal #Deathcore #Eschaton #Jun25 #Obscura #Review #Reviews #TechnicalDeathMetal #Techtalitarian #TheBlackDahliaMurder #TranscendingObscurityRecords #WithinTheRuins

Eschaton – Techtalitarian Review

By Thus Spoke

Imagine you are trying to get your friend into a genre of music you love. Perhaps that genre has some unfortunate tropes that even an untrained ear can discern as all instances being relegated to the denigrated status of the lowest common denominator. You know first impressions are crucial, and thus desperately want theirs to be of music that goes beyond those trappings so your friend can share your joy. Let’s say that genre is tech-death, and the album that your friend first comes across in their journey Eschaton’s third, Techtalitarian. The band’s discography heretofore has been solid, but unremarkable, and given a prior emphasis on something closer to deathcore, you feel justified unease. But with a signing by Transcending Obscurity, and an almost entirely fresh lineup to boot, you hope Techtalitarian can break through, to your friend as well as to the wider death metal community.

With chagrin, you acknowledge that Techtalitarian cannot escape its existence as a textbook instance of a tech-death stereotype, for better or for worse. Beyond its comically on-the-nose moniker and aggressively cyberpunk cover art, the music is exactly what you might expect. The fusion of a vocal style that hasn’t quite left deathcore behind1, with the hyperactive arpeggio riffing, and restless and restlessly fast tempo bouncing for which this particular approach to death metal is wedded to. But sticking to the core of a sound need not be a curse if a band either execute it to perfection, thus proving why it is so enduring, or with some subtle flair that makes it their own. In this regard, Eschaton cannot be said to avoid their curse, but Techtalitarian is not without merit, thanks in large part to its nature, which unwittingly or not borrows more than a little of the thrill for which you fell in love with technical death metal in the first place.

Riffs, riffs, and yet more riffs await as you explore Techtalitarian. Par for the course, but also a chance for new guitarist Christian Münzner2 to prove that he can indeed play a guitar really rather well; all the musicians here have great technical prowess. Just the act of pointing this out in preface to discussing the music’s actual substance exemplifies the subgenre’s cliché. The record’s shape evolves but little across its breadth, with the flutters and churning of guitar, and especially pointed percussive pattering melting into a haze of agitation where Eschaton ricochet between ideas. And yet you can’t pretend you’re not enjoying yourself, for at least large segments at a time. Though they evade true memorability, many melodies and chirruping acrobatic riffs, carried on accompanying tides of snappy drumming and rhythmic syncopation, tickle the brain just right (“Blood of the People,” “The Bellicose Duality,” “Antimatter”). In a fickle but not charmless way, Eschaton rotate between the malevolent grooves of The Black Dahlia Murder (“Devour the Contrarian,” “Techtalitarian,” “Castle Strnad”3), the twin guitar flutters of Within the Ruins (“Hellfire’s Woe”), and mixing slammy deathcore with an approximation of the melodic depth of, say, Allegaeon, minus the cleans (“Antimatter”). They can’t quite make up their mind, but they seem to have fun doing it, and you’ll likely have some fun listening.

As entertaining as these segments can be, when stitched together into Techtalitarian, they end up being surprisingly intangible. Once a slick, squealy, super-speedy passage is over, it’s over in order to make room for the next thing. This is compounded by the fact that these rhythmic textures and riffing structures are not even that brilliant—not brain-meltingly gymnastic, or manically groovy, or breathtakingly claustrophobic—but instead almost generic. What ought to be cool comes across as blasé because nothing lies beneath the flashy, snarling, blastbeating surface. And when Escahaton do incorporate something else, they do so with lukewarm commitment; symphonics and choir that occasionally appear (“Hellfire’s Woe,” “Econocracy”) reading exactly like something you’d hear in a Shadow of Intent song, but not even as dramatic. Add to this the inevitably low DR of 4, and the reasonable 45-minute runtime starts to crawl.

Though it feels absurd when the music is this energetic, skilled, and heavy—as is all tech-death—Techtalitarian is not what you want your friend to hear; not first anyway. Its insubstantiality is due to no fault of Eschaton’s talent, but rather their execution. With more imagination and focus, their abilities could blossom into some of the most potent of the subgenre. It already lends itself to a pretty fun time. Eschaton may have a great record in them, but it isn’t Techtalitarian.

Rating: Mixed
DR: 4 | Format Reviewed: 320 kb/s mp3
Label: Transcending Obscurity
Websites: Bandcamp | Facebook
Releases Worldwide: May 30th, 2025

#25 #2025 #Allegaeon #AmericanMetal #DeathMetal #Deathcore #Eschaton #Jun25 #Obscura #Review #Reviews #TechnicalDeathMetal #Techtalitarian #TheBlackDahliaMurder #TranscendingObscurityRecords #WithinTheRuins

Eschaton – Techtalitarian Review

By Thus Spoke

Imagine you are trying to get your friend into a genre of music you love. Perhaps that genre has some unfortunate tropes that even an untrained ear can discern as all instances being relegated to the denigrated status of the lowest common denominator. You know first impressions are crucial, and thus desperately want theirs to be of music that goes beyond those trappings so your friend can share your joy. Let’s say that genre is tech-death, and the album that your friend first comes across in their journey Eschaton’s third, Techtalitarian. The band’s discography heretofore has been solid, but unremarkable, and given a prior emphasis on something closer to deathcore, you feel justified unease. But with a signing by Transcending Obscurity, and an almost entirely fresh lineup to boot, you hope Techtalitarian can break through, to your friend as well as to the wider death metal community.

With chagrin, you acknowledge that Techtalitarian cannot escape its existence as a textbook instance of a tech-death stereotype, for better or for worse. Beyond its comically on-the-nose moniker and aggressively cyberpunk cover art, the music is exactly what you might expect. The fusion of a vocal style that hasn’t quite left deathcore behind1, with the hyperactive arpeggio riffing, and restless and restlessly fast tempo bouncing for which this particular approach to death metal is wedded to. But sticking to the core of a sound need not be a curse if a band either execute it to perfection, thus proving why it is so enduring, or with some subtle flair that makes it their own. In this regard, Eschaton cannot be said to avoid their curse, but Techtalitarian is not without merit, thanks in large part to its nature, which unwittingly or not borrows more than a little of the thrill for which you fell in love with technical death metal in the first place.

Riffs, riffs, and yet more riffs await as you explore Techtalitarian. Par for the course, but also a chance for new guitarist Christian Münzner2 to prove that he can indeed play a guitar really rather well; all the musicians here have great technical prowess. Just the act of pointing this out in preface to discussing the music’s actual substance exemplifies the subgenre’s cliché. The record’s shape evolves but little across its breadth, with the flutters and churning of guitar, and especially pointed percussive pattering melting into a haze of agitation where Eschaton ricochet between ideas. And yet you can’t pretend you’re not enjoying yourself, for at least large segments at a time. Though they evade true memorability, many melodies and chirruping acrobatic riffs, carried on accompanying tides of snappy drumming and rhythmic syncopation, tickle the brain just right (“Blood of the People,” “The Bellicose Duality,” “Antimatter”). In a fickle but not charmless way, Eschaton rotate between the malevolent grooves of The Black Dahlia Murder (“Devour the Contrarian,” “Techtalitarian,” “Castle Strnad”3), the twin guitar flutters of Within the Ruins (“Hellfire’s Woe”), and mixing slammy deathcore with an approximation of the melodic depth of, say, Allegaeon, minus the cleans (“Antimatter”). They can’t quite make up their mind, but they seem to have fun doing it, and you’ll likely have some fun listening.

As entertaining as these segments can be, when stitched together into Techtalitarian, they end up being surprisingly intangible. Once a slick, squealy, super-speedy passage is over, it’s over in order to make room for the next thing. This is compounded by the fact that these rhythmic textures and riffing structures are not even that brilliant—not brain-meltingly gymnastic, or manically groovy, or breathtakingly claustrophobic—but instead almost generic. What ought to be cool comes across as blasé because nothing lies beneath the flashy, snarling, blastbeating surface. And when Escahaton do incorporate something else, they do so with lukewarm commitment; symphonics and choir that occasionally appear (“Hellfire’s Woe,” “Econocracy”) reading exactly like something you’d hear in a Shadow of Intent song, but not even as dramatic. Add to this the inevitably low DR of 4, and the reasonable 45-minute runtime starts to crawl.

Though it feels absurd when the music is this energetic, skilled, and heavy—as is all tech-death—Techtalitarian is not what you want your friend to hear; not first anyway. Its insubstantiality is due to no fault of Eschaton’s talent, but rather their execution. With more imagination and focus, their abilities could blossom into some of the most potent of the subgenre. It already lends itself to a pretty fun time. Eschaton may have a great record in them, but it isn’t Techtalitarian.

Rating: Mixed
DR: 4 | Format Reviewed: 320 kb/s mp3
Label: Transcending Obscurity
Websites: Bandcamp | Facebook
Releases Worldwide: May 30th, 2025

#25 #2025 #Allegaeon #AmericanMetal #DeathMetal #Deathcore #Eschaton #Jun25 #Obscura #Review #Reviews #TechnicalDeathMetal #Techtalitarian #TheBlackDahliaMurder #TranscendingObscurityRecords #WithinTheRuins

Eschaton – Techtalitarian Review

By Thus Spoke

Imagine you are trying to get your friend into a genre of music you love. Perhaps that genre has some unfortunate tropes that even an untrained ear can discern as all instances being relegated to the denigrated status of the lowest common denominator. You know first impressions are crucial, and thus desperately want theirs to be of music that goes beyond those trappings so your friend can share your joy. Let’s say that genre is tech-death, and the album that your friend first comes across in their journey Eschaton’s third, Techtalitarian. The band’s discography heretofore has been solid, but unremarkable, and given a prior emphasis on something closer to deathcore, you feel justified unease. But with a signing by Transcending Obscurity, and an almost entirely fresh lineup to boot, you hope Techtalitarian can break through, to your friend as well as to the wider death metal community.

With chagrin, you acknowledge that Techtalitarian cannot escape its existence as a textbook instance of a tech-death stereotype, for better or for worse. Beyond its comically on-the-nose moniker and aggressively cyberpunk cover art, the music is exactly what you might expect. The fusion of a vocal style that hasn’t quite left deathcore behind1, with the hyperactive arpeggio riffing, and restless and restlessly fast tempo bouncing for which this particular approach to death metal is wedded to. But sticking to the core of a sound need not be a curse if a band either execute it to perfection, thus proving why it is so enduring, or with some subtle flair that makes it their own. In this regard, Eschaton cannot be said to avoid their curse, but Techtalitarian is not without merit, thanks in large part to its nature, which unwittingly or not borrows more than a little of the thrill for which you fell in love with technical death metal in the first place.

Riffs, riffs, and yet more riffs await as you explore Techtalitarian. Par for the course, but also a chance for new guitarist Christian Münzner2 to prove that he can indeed play a guitar really rather well; all the musicians here have great technical prowess. Just the act of pointing this out in preface to discussing the music’s actual substance exemplifies the subgenre’s cliché. The record’s shape evolves but little across its breadth, with the flutters and churning of guitar, and especially pointed percussive pattering melting into a haze of agitation where Eschaton ricochet between ideas. And yet you can’t pretend you’re not enjoying yourself, for at least large segments at a time. Though they evade true memorability, many melodies and chirruping acrobatic riffs, carried on accompanying tides of snappy drumming and rhythmic syncopation, tickle the brain just right (“Blood of the People,” “The Bellicose Duality,” “Antimatter”). In a fickle but not charmless way, Eschaton rotate between the malevolent grooves of The Black Dahlia Murder (“Devour the Contrarian,” “Techtalitarian,” “Castle Strnad”3), the twin guitar flutters of Within the Ruins (“Hellfire’s Woe”), and mixing slammy deathcore with an approximation of the melodic depth of, say, Allegaeon, minus the cleans (“Antimatter”). They can’t quite make up their mind, but they seem to have fun doing it, and you’ll likely have some fun listening.

As entertaining as these segments can be, when stitched together into Techtalitarian, they end up being surprisingly intangible. Once a slick, squealy, super-speedy passage is over, it’s over in order to make room for the next thing. This is compounded by the fact that these rhythmic textures and riffing structures are not even that brilliant—not brain-meltingly gymnastic, or manically groovy, or breathtakingly claustrophobic—but instead almost generic. What ought to be cool comes across as blasé because nothing lies beneath the flashy, snarling, blastbeating surface. And when Escahaton do incorporate something else, they do so with lukewarm commitment; symphonics and choir that occasionally appear (“Hellfire’s Woe,” “Econocracy”) reading exactly like something you’d hear in a Shadow of Intent song, but not even as dramatic. Add to this the inevitably low DR of 4, and the reasonable 45-minute runtime starts to crawl.

Though it feels absurd when the music is this energetic, skilled, and heavy—as is all tech-death—Techtalitarian is not what you want your friend to hear; not first anyway. Its insubstantiality is due to no fault of Eschaton’s talent, but rather their execution. With more imagination and focus, their abilities could blossom into some of the most potent of the subgenre. It already lends itself to a pretty fun time. Eschaton may have a great record in them, but it isn’t Techtalitarian.

Rating: Mixed
DR: 4 | Format Reviewed: 320 kb/s mp3
Label: Transcending Obscurity
Websites: Bandcamp | Facebook
Releases Worldwide: May 30th, 2025

#25 #2025 #Allegaeon #AmericanMetal #DeathMetal #Deathcore #Eschaton #Jun25 #Obscura #Review #Reviews #TechnicalDeathMetal #Techtalitarian #TheBlackDahliaMurder #TranscendingObscurityRecords #WithinTheRuins

ESCHATON (Estats Units) presenta nou àlbum: "Techtalitarian" #Eschaton #TechnicalDeathMetal #Deathcore #Maig2025 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

ESCHATON (Estats Units) presenta nou àlbum: "Techtalitarian" #Eschaton #TechnicalDeathMetal #Deathcore #Maig2025 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

ESCHATON (Estats Units) presenta nou àlbum: "Techtalitarian" #Eschaton #TechnicalDeathMetal #Deathcore #Maig2025 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic