#experimentaldeathmetal — Public Fediverse posts

Ain Sof Aur – Theos-Vel-Samael Review

Be honest: what do you expect experimental blackened death metal steeped in Left-Hand-Path Occultism to sound like? Dissonant?…
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Be honest: what do you expect experimental blackened death metal steeped in Left-Hand-Path Occultism to sound like? Dissonant? Oppressively heavy? Rhythmically complex and meandering? You wouldn’t be entirely wrong—in general, or in the particular case of Ain Sof Aur. Stereotypes exist for a reason. But Theos-Vel-Samael—serves as a vessel not only for a ceremonial invocation of wisdom-bringing darkness,1 but also the interaction between musical identity and ideology. Our assumptions about the sound and style of heavy music associated with certain fringe spiritualities are a strange mirror of the demonisation heaped upon metal overall in mainstream media from the Satanic Panic onwards, though informed at least through experience and some degree of appreciation rather than ignorance and distaste. These ideas break down when we turn to extreme metal, where Ain Sof Aur and others like them sit: a sphere defined by pushing boundaries of complexity, intensity, and heaviness—itself a natural extension of the wider genre’s core trait of subversion. Theos-Vel-Samael is an extreme metal album expressing mysticisms at least adjacent to Luciferianism, and using any preconceived notion of these ideologies obscures the music’s actuality.

Theos-Vel-Samael prompts me to wax philosophical by its very essence. Its 45-minute runtime is divided into three movements simply labelled “I,” “II,” and “III”—though Ain Sof Aur explain that each respectively embody the progressive stages of the invocation: “vision,” “force,” and “action.” This itself is a kind of stereotype, and one could speculate on whether the steady contraction of song length across the record is saying anything about the significance placed on or effort required in each of “vision,” “force,” and “action”. The way these pieces enact their theme has more in common with a wonky, progressive strain of technical death metal than it does a diabolical, vehemently evil form of black metal; in many ways, it is weirdly reminiscent of Cryptic Shift in a Veilburner kind of setting, by way of Altar of the Horned God. “I” subverted my expectations entirely with its overwhelmingly exuberant tone—albeit in an odd key and time signature for much of the time—and “II” with lengthy passages of almost mellow atmospheric strumming. This isn’t a criticism but rather the point: The literal incantations that comprise the lyrics, and the artists’ say-so, are the tethers to the occult and so the almost Hathian melodeath charges and noodling amidst croaks and roars are to be taken at face value.

Theos-Vel-Samael by AIN SOF AUR

The other reason Theos-Vel-Samael causes me to wax philosophical is that it leaves me with strangely little else to say. There is much to appreciate: M.H.S’ gargling roars; L.B.W’s vivacious drum performance; the aforementioned creative approach to marrying discordant malice and melodiousness in such experimental, otherwise malevolent metal; Ain Sof Aur can turn a melodic phrase (“I,” “III”) and dramatic flourish (“II,” “III”). Yet it all feels somehow unfocused, and so less impactful. Moments of sanguinity are somehow bled dry—sometimes through repetition, but largely simply because they fade into the surrounding fluctuations of dissonance and harmony, choppy technical tempos, and the equal minimalism of pared-back stalks and full-speed double-bass (“I” is the worst offender here). “III” is possibly the strongest of the three tracks, arguably because of its superlative brevity2 condenses if not excises the detours from what is a solid, decisively unsettling extreme death metal composition. Indeed, taken piecemeal, Theos-Vel-Samael can captivate and swallow (just after “I”‘s midpoint, the minutes just before “II”s, “III”‘s closing act), but as a whole, it functions more as an enjoyably creepy, if hazily remembered, background soundscape.

And yet what is Ain Sof Aur’s objective with Theos-Vel-Samael other than to evoke some esoteric ceremony with their interpretive music? Should the freeform nature of this expression surprise or disappoint? Was I ever going to put one of these songs on a workout playlist? The writing could use some editing to be sure, but the musical elements themselves are stellar—everything from the eerie ambience to the most violent technicality is executed assertively. I enjoy my experience of the rite even if it doesn’t convert me.

To be brief—for the first time in this review—don’t let an intimidating subgenre label, theme, or I, Voidhanger’s reputation colour your feelings about Theos-Vel-Samael. It’s creepy and unusual, but with a firm grip on more familiar death metal stylings. It doesn’t waste (much) time meandering, but it does have room to breathe. You could do far worse when dabbling in the occult.

Rating: Good
DR: 7 | Format Reviewed: 256 kbps mp3
Label: I, Voidhanger
Websites: Bandcamp | Facebook
Releases Worldwide: March 27th, 2026

Be honest: what do you expect experimental blackened death metal steeped in Left-Hand-Path Occultism to sound like? Dissonant? Oppressively heavy? Rhythmically complex and meandering? You wouldn’t be entirely wrong—in general, or in the particular case of Ain Sof Aur. Stereotypes exist for a reason. But Theos-Vel-Samael—serves as a vessel not only for a ceremonial invocation of wisdom-bringing darkness,1 but also the interaction between musical identity and ideology. Our assumptions about the sound and style of heavy music associated with certain fringe spiritualities are a strange mirror of the demonisation heaped upon metal overall in mainstream media from the Satanic Panic onwards, though informed at least through experience and some degree of appreciation rather than ignorance and distaste. These ideas break down when we turn to extreme metal, where Ain Sof Aur and others like them sit: a sphere defined by pushing boundaries of complexity, intensity, and heaviness—itself a natural extension of the wider genre’s core trait of subversion. Theos-Vel-Samael is an extreme metal album expressing mysticisms at least adjacent to Luciferianism, and using any preconceived notion of these ideologies obscures the music’s actuality.

Theos-Vel-Samael prompts me to wax philosophical by its very essence. Its 45-minute runtime is divided into three movements simply labelled “I,” “II,” and “III”—though Ain Sof Aur explain that each respectively embody the progressive stages of the invocation: “vision,” “force,” and “action.” This itself is a kind of stereotype, and one could speculate on whether the steady contraction of song length across the record is saying anything about the significance placed on or effort required in each of “vision,” “force,” and “action”. The way these pieces enact their theme has more in common with a wonky, progressive strain of technical death metal than it does a diabolical, vehemently evil form of black metal; in many ways, it is weirdly reminiscent of Cryptic Shift in a Veilburner kind of setting, by way of Altar of the Horned God. “I” subverted my expectations entirely with its overwhelmingly exuberant tone—albeit in an odd key and time signature for much of the time—and “II” with lengthy passages of almost mellow atmospheric strumming. This isn’t a criticism but rather the point: The literal incantations that comprise the lyrics, and the artists’ say-so, are the tethers to the occult and so the almost Hathian melodeath charges and noodling amidst croaks and roars are to be taken at face value.

Theos-Vel-Samael by AIN SOF AUR

The other reason Theos-Vel-Samael causes me to wax philosophical is that it leaves me with strangely little else to say. There is much to appreciate: M.H.S’ gargling roars; L.B.W’s vivacious drum performance; the aforementioned creative approach to marrying discordant malice and melodiousness in such experimental, otherwise malevolent metal; Ain Sof Aur can turn a melodic phrase (“I,” “III”) and dramatic flourish (“II,” “III”). Yet it all feels somehow unfocused, and so less impactful. Moments of sanguinity are somehow bled dry—sometimes through repetition, but largely simply because they fade into the surrounding fluctuations of dissonance and harmony, choppy technical tempos, and the equal minimalism of pared-back stalks and full-speed double-bass (“I” is the worst offender here). “III” is possibly the strongest of the three tracks, arguably because of its superlative brevity2 condenses if not excises the detours from what is a solid, decisively unsettling extreme death metal composition. Indeed, taken piecemeal, Theos-Vel-Samael can captivate and swallow (just after “I”‘s midpoint, the minutes just before “II”s, “III”‘s closing act), but as a whole, it functions more as an enjoyably creepy, if hazily remembered, background soundscape.

And yet what is Ain Sof Aur’s objective with Theos-Vel-Samael other than to evoke some esoteric ceremony with their interpretive music? Should the freeform nature of this expression surprise or disappoint? Was I ever going to put one of these songs on a workout playlist? The writing could use some editing to be sure, but the musical elements themselves are stellar—everything from the eerie ambience to the most violent technicality is executed assertively. I enjoy my experience of the rite even if it doesn’t convert me.

To be brief—for the first time in this review—don’t let an intimidating subgenre label, theme, or I, Voidhanger’s reputation colour your feelings about Theos-Vel-Samael. It’s creepy and unusual, but with a firm grip on more familiar death metal stylings. It doesn’t waste (much) time meandering, but it does have room to breathe. You could do far worse when dabbling in the occult.

Rating: Good
DR: 7 | Format Reviewed: 256 kbps mp3
Label: I, Voidhanger
Websites: Bandcamp | Facebook
Releases Worldwide: March 27th, 2026

Be honest: what do you expect experimental blackened death metal steeped in Left-Hand-Path Occultism to sound like? Dissonant? Oppressively heavy? Rhythmically complex and meandering? You wouldn’t be entirely wrong—in general, or in the particular case of Ain Sof Aur. Stereotypes exist for a reason. But Theos-Vel-Samael—serves as a vessel not only for a ceremonial invocation of wisdom-bringing darkness,1 but also the interaction between musical identity and ideology. Our assumptions about the sound and style of heavy music associated with certain fringe spiritualities are a strange mirror of the demonisation heaped upon metal overall in mainstream media from the Satanic Panic onwards, though informed at least through experience and some degree of appreciation rather than ignorance and distaste. These ideas break down when we turn to extreme metal, where Ain Sof Aur and others like them sit: a sphere defined by pushing boundaries of complexity, intensity, and heaviness—itself a natural extension of the wider genre’s core trait of subversion. Theos-Vel-Samael is an extreme metal album expressing mysticisms at least adjacent to Luciferianism, and using any preconceived notion of these ideologies obscures the music’s actuality.

Theos-Vel-Samael prompts me to wax philosophical by its very essence. Its 45-minute runtime is divided into three movements simply labelled “I,” “II,” and “III”—though Ain Sof Aur explain that each respectively embody the progressive stages of the invocation: “vision,” “force,” and “action.” This itself is a kind of stereotype, and one could speculate on whether the steady contraction of song length across the record is saying anything about the significance placed on or effort required in each of “vision,” “force,” and “action”. The way these pieces enact their theme has more in common with a wonky, progressive strain of technical death metal than it does a diabolical, vehemently evil form of black metal; in many ways, it is weirdly reminiscent of Cryptic Shift in a Veilburner kind of setting, by way of Altar of the Horned God. “I” subverted my expectations entirely with its overwhelmingly exuberant tone—albeit in an odd key and time signature for much of the time—and “II” with lengthy passages of almost mellow atmospheric strumming. This isn’t a criticism but rather the point: The literal incantations that comprise the lyrics, and the artists’ say-so, are the tethers to the occult and so the almost Hathian melodeath charges and noodling amidst croaks and roars are to be taken at face value.

Theos-Vel-Samael by AIN SOF AUR

The other reason Theos-Vel-Samael causes me to wax philosophical is that it leaves me with strangely little else to say. There is much to appreciate: M.H.S’ gargling roars; L.B.W’s vivacious drum performance; the aforementioned creative approach to marrying discordant malice and melodiousness in such experimental, otherwise malevolent metal; Ain Sof Aur can turn a melodic phrase (“I,” “III”) and dramatic flourish (“II,” “III”). Yet it all feels somehow unfocused, and so less impactful. Moments of sanguinity are somehow bled dry—sometimes through repetition, but largely simply because they fade into the surrounding fluctuations of dissonance and harmony, choppy technical tempos, and the equal minimalism of pared-back stalks and full-speed double-bass (“I” is the worst offender here). “III” is possibly the strongest of the three tracks, arguably because of its superlative brevity2 condenses if not excises the detours from what is a solid, decisively unsettling extreme death metal composition. Indeed, taken piecemeal, Theos-Vel-Samael can captivate and swallow (just after “I”‘s midpoint, the minutes just before “II”s, “III”‘s closing act), but as a whole, it functions more as an enjoyably creepy, if hazily remembered, background soundscape.

And yet what is Ain Sof Aur’s objective with Theos-Vel-Samael other than to evoke some esoteric ceremony with their interpretive music? Should the freeform nature of this expression surprise or disappoint? Was I ever going to put one of these songs on a workout playlist? The writing could use some editing to be sure, but the musical elements themselves are stellar—everything from the eerie ambience to the most violent technicality is executed assertively. I enjoy my experience of the rite even if it doesn’t convert me.

To be brief—for the first time in this review—don’t let an intimidating subgenre label, theme, or I, Voidhanger’s reputation colour your feelings about Theos-Vel-Samael. It’s creepy and unusual, but with a firm grip on more familiar death metal stylings. It doesn’t waste (much) time meandering, but it does have room to breathe. You could do far worse when dabbling in the occult.

Rating: Good
DR: 7 | Format Reviewed: 256 kbps mp3
Label: I, Voidhanger
Websites: Bandcamp | Facebook
Releases Worldwide: March 27th, 2026

Be honest: what do you expect experimental blackened death metal steeped in Left-Hand-Path Occultism to sound like? Dissonant? Oppressively heavy? Rhythmically complex and meandering? You wouldn’t be entirely wrong—in general, or in the particular case of Ain Sof Aur. Stereotypes exist for a reason. But Theos-Vel-Samael—serves as a vessel not only for a ceremonial invocation of wisdom-bringing darkness,1 but also the interaction between musical identity and ideology. Our assumptions about the sound and style of heavy music associated with certain fringe spiritualities are a strange mirror of the demonisation heaped upon metal overall in mainstream media from the Satanic Panic onwards, though informed at least through experience and some degree of appreciation rather than ignorance and distaste. These ideas break down when we turn to extreme metal, where Ain Sof Aur and others like them sit: a sphere defined by pushing boundaries of complexity, intensity, and heaviness—itself a natural extension of the wider genre’s core trait of subversion. Theos-Vel-Samael is an extreme metal album expressing mysticisms at least adjacent to Luciferianism, and using any preconceived notion of these ideologies obscures the music’s actuality.

Theos-Vel-Samael prompts me to wax philosophical by its very essence. Its 45-minute runtime is divided into three movements simply labelled “I,” “II,” and “III”—though Ain Sof Aur explain that each respectively embody the progressive stages of the invocation: “vision,” “force,” and “action.” This itself is a kind of stereotype, and one could speculate on whether the steady contraction of song length across the record is saying anything about the significance placed on or effort required in each of “vision,” “force,” and “action”. The way these pieces enact their theme has more in common with a wonky, progressive strain of technical death metal than it does a diabolical, vehemently evil form of black metal; in many ways, it is weirdly reminiscent of Cryptic Shift in a Veilburner kind of setting, by way of Altar of the Horned God. “I” subverted my expectations entirely with its overwhelmingly exuberant tone—albeit in an odd key and time signature for much of the time—and “II” with lengthy passages of almost mellow atmospheric strumming. This isn’t a criticism but rather the point: The literal incantations that comprise the lyrics, and the artists’ say-so, are the tethers to the occult and so the almost Hathian melodeath charges and noodling amidst croaks and roars are to be taken at face value.

Theos-Vel-Samael by AIN SOF AUR

The other reason Theos-Vel-Samael causes me to wax philosophical is that it leaves me with strangely little else to say. There is much to appreciate: M.H.S’ gargling roars; L.B.W’s vivacious drum performance; the aforementioned creative approach to marrying discordant malice and melodiousness in such experimental, otherwise malevolent metal; Ain Sof Aur can turn a melodic phrase (“I,” “III”) and dramatic flourish (“II,” “III”). Yet it all feels somehow unfocused, and so less impactful. Moments of sanguinity are somehow bled dry—sometimes through repetition, but largely simply because they fade into the surrounding fluctuations of dissonance and harmony, choppy technical tempos, and the equal minimalism of pared-back stalks and full-speed double-bass (“I” is the worst offender here). “III” is possibly the strongest of the three tracks, arguably because of its superlative brevity2 condenses if not excises the detours from what is a solid, decisively unsettling extreme death metal composition. Indeed, taken piecemeal, Theos-Vel-Samael can captivate and swallow (just after “I”‘s midpoint, the minutes just before “II”s, “III”‘s closing act), but as a whole, it functions more as an enjoyably creepy, if hazily remembered, background soundscape.

And yet what is Ain Sof Aur’s objective with Theos-Vel-Samael other than to evoke some esoteric ceremony with their interpretive music? Should the freeform nature of this expression surprise or disappoint? Was I ever going to put one of these songs on a workout playlist? The writing could use some editing to be sure, but the musical elements themselves are stellar—everything from the eerie ambience to the most violent technicality is executed assertively. I enjoy my experience of the rite even if it doesn’t convert me.

To be brief—for the first time in this review—don’t let an intimidating subgenre label, theme, or I, Voidhanger’s reputation colour your feelings about Theos-Vel-Samael. It’s creepy and unusual, but with a firm grip on more familiar death metal stylings. It doesn’t waste (much) time meandering, but it does have room to breathe. You could do far worse when dabbling in the occult.

Rating: Good
DR: 7 | Format Reviewed: 256 kbps mp3
Label: I, Voidhanger
Websites: Bandcamp | Facebook
Releases Worldwide: March 27th, 2026

Be honest: what do you expect experimental blackened death metal steeped in Left-Hand-Path Occultism to sound like? Dissonant? Oppressively heavy? Rhythmically complex and meandering? You wouldn’t be entirely wrong—in general, or in the particular case of Ain Sof Aur. Stereotypes exist for a reason. But Theos-Vel-Samael—serves as a vessel not only for a ceremonial invocation of wisdom-bringing darkness,1 but also the interaction between musical identity and ideology. Our assumptions about the sound and style of heavy music associated with certain fringe spiritualities are a strange mirror of the demonisation heaped upon metal overall in mainstream media from the Satanic Panic onwards, though informed at least through experience and some degree of appreciation rather than ignorance and distaste. These ideas break down when we turn to extreme metal, where Ain Sof Aur and others like them sit: a sphere defined by pushing boundaries of complexity, intensity, and heaviness—itself a natural extension of the wider genre’s core trait of subversion. Theos-Vel-Samael is an extreme metal album expressing mysticisms at least adjacent to Luciferianism, and using any preconceived notion of these ideologies obscures the music’s actuality.

Theos-Vel-Samael prompts me to wax philosophical by its very essence. Its 45-minute runtime is divided into three movements simply labelled “I,” “II,” and “III”—though Ain Sof Aur explain that each respectively embody the progressive stages of the invocation: “vision,” “force,” and “action.” This itself is a kind of stereotype, and one could speculate on whether the steady contraction of song length across the record is saying anything about the significance placed on or effort required in each of “vision,” “force,” and “action”. The way these pieces enact their theme has more in common with a wonky, progressive strain of technical death metal than it does a diabolical, vehemently evil form of black metal; in many ways, it is weirdly reminiscent of Cryptic Shift in a Veilburner kind of setting, by way of Altar of the Horned God. “I” subverted my expectations entirely with its overwhelmingly exuberant tone—albeit in an odd key and time signature for much of the time—and “II” with lengthy passages of almost mellow atmospheric strumming. This isn’t a criticism but rather the point: The literal incantations that comprise the lyrics, and the artists’ say-so, are the tethers to the occult and so the almost Hathian melodeath charges and noodling amidst croaks and roars are to be taken at face value.

Theos-Vel-Samael by AIN SOF AUR

The other reason Theos-Vel-Samael causes me to wax philosophical is that it leaves me with strangely little else to say. There is much to appreciate: M.H.S’ gargling roars; L.B.W’s vivacious drum performance; the aforementioned creative approach to marrying discordant malice and melodiousness in such experimental, otherwise malevolent metal; Ain Sof Aur can turn a melodic phrase (“I,” “III”) and dramatic flourish (“II,” “III”). Yet it all feels somehow unfocused, and so less impactful. Moments of sanguinity are somehow bled dry—sometimes through repetition, but largely simply because they fade into the surrounding fluctuations of dissonance and harmony, choppy technical tempos, and the equal minimalism of pared-back stalks and full-speed double-bass (“I” is the worst offender here). “III” is possibly the strongest of the three tracks, arguably because of its superlative brevity2 condenses if not excises the detours from what is a solid, decisively unsettling extreme death metal composition. Indeed, taken piecemeal, Theos-Vel-Samael can captivate and swallow (just after “I”‘s midpoint, the minutes just before “II”s, “III”‘s closing act), but as a whole, it functions more as an enjoyably creepy, if hazily remembered, background soundscape.

And yet what is Ain Sof Aur’s objective with Theos-Vel-Samael other than to evoke some esoteric ceremony with their interpretive music? Should the freeform nature of this expression surprise or disappoint? Was I ever going to put one of these songs on a workout playlist? The writing could use some editing to be sure, but the musical elements themselves are stellar—everything from the eerie ambience to the most violent technicality is executed assertively. I enjoy my experience of the rite even if it doesn’t convert me.

To be brief—for the first time in this review—don’t let an intimidating subgenre label, theme, or I, Voidhanger’s reputation colour your feelings about Theos-Vel-Samael. It’s creepy and unusual, but with a firm grip on more familiar death metal stylings. It doesn’t waste (much) time meandering, but it does have room to breathe. You could do far worse when dabbling in the occult.

Rating: Good
DR: 7 | Format Reviewed: 256 kbps mp3
Label: I, Voidhanger
Websites: Bandcamp | Facebook
Releases Worldwide: March 27th, 2026

BETH (Estats Units) presenta nou àlbum: "Flagellants" #Beth #ExperimentalDeathMetal #Gener2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

BETH (Estats Units) presenta nou àlbum: "Flagellants" #Beth #ExperimentalDeathMetal #Gener2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

https://www.europesays.com/uk/729246/ Missed Album Review: Hermit Dreams – Desperate Anomies #2025 #5.5 #AvantGardeMetal #ChaosRecords #december #DissonantDeathMetal #ENGLISH #Entertainment #ExperimentalDeathMetal #HarshVocals #music #Norway #UK #UnitedKingdom

DISCORDANCE (Itàlia) presenta nou single: "Abisso" #Discordance #ExperimentalDeathMetal #Grindcore #Octubre2025 #Itàlia #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

Defigurement – Endbryo Review

By Grin Reaper

Defigurement’s debut album Endbryo is classified as experimental deathgrind, and though that’s accurate, it doesn’t fully capture what’s on tap. Endbryo is an album in constant flux, never content to lock into one vibe for too long. While experimental, Defigurement still adheres to grindcore’s brutal core tenets: short songs and unfettered aggression. Their sound isn’t limited to just these things, though, as Defigurement adopts crackerjack technicality that contrasts with the blunt drubbing associated with much of the subgenre. Varied paces and some unconventional instrumentation further heighten Endbryo’s unorthodox approach. Dissonant bleats, melodic leads, blast beats, and key-heavy interludes create an engaging atmosphere. Yet it takes more than a wide-ranging assortment of sounds and ideas to fashion an album.

With so many ingredients to unite, you may wonder what Defigurement actually sounds like. Gridlink’s Coronet Juniper, Full of Hell’s Coagulated Bliss, and Beaten to Death’s Sunrise over Rigor Mortis provide apt reference points. These albums imbue deceptively melodic hooks into grindcore’s caustic backdrop, a convention perpetuated on Endbryo. Gridlink’s own Takafumi Matsubara even appears on “Wounded Landscape,” imparting gorgeously malicious riffs. In addition to grindcore influences, Defigurement pays homage to System of a Down via the “Suite Pee”-tinged intro of “Shogun of Sorrow” and the Slayer “Rain in Blood” gallop heard in “Wounded Landscape.” Rather than aping these acts, though, Defigurement forges a stank all their own. Chaos is the name of the game, but not all of it is funneled through uniform, full-tilt abuse. Endbryo’s half-hour pumps blood and rhythm through sixteen tracks, featuring constant shifts in tempos and moods that make the music feel alive and unpredictable. The album is jam-packed with so many morsels that even after dozens of listens, I’m still discovering new details.

Conceiving such a diverse and layered soundscape requires heaps of vitality and musicianship, and Defigurement steps up to answer the challenge. From Mike Heller’s (Changeling, Azure Emote, ex-Fear Factory) atom-blasting drums to Kevin Fetus’s snaking leads and D.M.T.’s gritty bass, Endbryo brims with relentless vigor. Heller’s drum performance in particular elevates Defigurement’s character. Juggling blast beats, disco hi-hat frills (“Open Veins, Visceral Tapestry”), and jazzy phrasing (“We Are the Worst”) shouldn’t be this seamless, yet Heller’s nimble work provides the engine for the album’s mélange of styles. Rounding out the rhythm section, D.M.T.’s meaty bass grumbles and grooves in support, and a couple of intros even throw the spotlight on his throaty purr (“Wounded Landscape,” “Godtopsy”). Guitars attack from every direction, utilizing trem-picked blitzes (“Burnt by the Truth”), plaintive wails (“We Are the Worst”), and glossy shredding (“Godtopsy”). Matthias Joyce’s vocals are capable and versatile, sitting far enough back in the mix that they mesh smoothly with the music rather than overpowering it. Besides Matsubara, several other guests pop in, including Brian Hopp (Cephalic Carnage) and Leon Del Muerte (Impaled, ex-Nails). Endbryo boasts a potpourri of talent, and this bouquet reeks of grind beef.

Endbryo sounds great, even though some moments don’t effortlessly converge. Subgenres like grindcore don’t need much auditory contrast to be effective, but Endbryo boasts a DR7 anyway, benefiting the complex structure of its tracks. The finely-tuned mix allows listeners to appreciate the nuances of the performances within, notably the drumming; a lesser production could have obfuscated Heller’s unhinged sticksmanship. My only complaint is that with such a dense album, Defigurement doesn’t quite achieve the cohesion needed to stitch all of Endbryo’s fragments together. Piano-only interlude “Eternal Dusk” is a beautiful instrumental featured about halfway through. It allows you to take a breath before re-entering the maelstrom, but foreshadowing the melody earlier or including piano elsewhere would have strengthened its inclusion. Similarly, “Left in a Cold Rain” contains slowly swirling synths played under a distorted voice-over. Once again, this skillfully navigates the album’s pacing, but without more tethers to other tracks, it feels isolated from its surroundings. Despite these small shortcomings, Endbryo scores a resounding success.

Defigurement pulls no punches on Endbryo, hewing a slab of great experimental deathgrind. Their ferocity is bruising and their vision unyielding, and it’s rare I encounter music that demands so many repeated spins. This platter is captivating, and each time I think I have Endbryo figured out, the next listen corrects that notion. So many ideas loaded into thirty minutes might seem daunting, but Defigurement expertly balances intrigue and digestibility. Assuming Endbryo is only the beginning, I’ll wait on the edge of my seat to hear how the band’s sound develops.

Rating: Great
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Nefarious Industries
Websites: Bandcamp | Facebook
Releases Worldwide: October 17th, 2025

#2025 #40 #BeatenToDeath #DeathGrind #DeathMetal #Deathgrind #Defigurement #Endbryo #ExperimentalDeathMetal #ExperimentalDeathgrind #FullOfHell #Gridlink #Grind #NefariousIndustries #Oct25 #Review #Reviews #Slayer #SystemOfADown #USMetal

Defigurement – Endbryo Review

By Grin Reaper

Defigurement’s debut album Endbryo is classified as experimental deathgrind, and though that’s accurate, it doesn’t fully capture what’s on tap. Endbryo is an album in constant flux, never content to lock into one vibe for too long. While experimental, Defigurement still adheres to grindcore’s brutal core tenets: short songs and unfettered aggression. Their sound isn’t limited to just these things, though, as Defigurement adopts crackerjack technicality that contrasts with the blunt drubbing associated with much of the subgenre. Varied paces and some unconventional instrumentation further heighten Endbryo’s unorthodox approach. Dissonant bleats, melodic leads, blast beats, and key-heavy interludes create an engaging atmosphere. Yet it takes more than a wide-ranging assortment of sounds and ideas to fashion an album.

With so many ingredients to unite, you may wonder what Defigurement actually sounds like. Gridlink’s Coronet Juniper, Full of Hell’s Coagulated Bliss, and Beaten to Death’s Sunrise over Rigor Mortis provide apt reference points. These albums imbue deceptively melodic hooks into grindcore’s caustic backdrop, a convention perpetuated on Endbryo. Gridlink’s own Takafumi Matsubara even appears on “Wounded Landscape,” imparting gorgeously malicious riffs. In addition to grindcore influences, Defigurement pays homage to System of a Down via the “Suite Pee”-tinged intro of “Shogun of Sorrow” and the Slayer “Rain in Blood” gallop heard in “Wounded Landscape.” Rather than aping these acts, though, Defigurement forges a stank all their own. Chaos is the name of the game, but not all of it is funneled through uniform, full-tilt abuse. Endbryo’s half-hour pumps blood and rhythm through sixteen tracks, featuring constant shifts in tempos and moods that make the music feel alive and unpredictable. The album is jam-packed with so many morsels that even after dozens of listens, I’m still discovering new details.

Conceiving such a diverse and layered soundscape requires heaps of vitality and musicianship, and Defigurement steps up to answer the challenge. From Mike Heller’s (Changeling, Azure Emote, ex-Fear Factory) atom-blasting drums to Kevin Fetus’s snaking leads and D.M.T.’s gritty bass, Endbryo brims with relentless vigor. Heller’s drum performance in particular elevates Defigurement’s character. Juggling blast beats, disco hi-hat frills (“Open Veins, Visceral Tapestry”), and jazzy phrasing (“We Are the Worst”) shouldn’t be this seamless, yet Heller’s nimble work provides the engine for the album’s mélange of styles. Rounding out the rhythm section, D.M.T.’s meaty bass grumbles and grooves in support, and a couple of intros even throw the spotlight on his throaty purr (“Wounded Landscape,” “Godtopsy”). Guitars attack from every direction, utilizing trem-picked blitzes (“Burnt by the Truth”), plaintive wails (“We Are the Worst”), and glossy shredding (“Godtopsy”). Matthias Joyce’s vocals are capable and versatile, sitting far enough back in the mix that they mesh smoothly with the music rather than overpowering it. Besides Matsubara, several other guests pop in, including Brian Hopp (Cephalic Carnage) and Leon Del Muerte (Impaled, ex-Nails). Endbryo boasts a potpourri of talent, and this bouquet reeks of grind beef.

Endbryo sounds great, even though some moments don’t effortlessly converge. Subgenres like grindcore don’t need much auditory contrast to be effective, but Endbryo boasts a DR7 anyway, benefiting the complex structure of its tracks. The finely-tuned mix allows listeners to appreciate the nuances of the performances within, notably the drumming; a lesser production could have obfuscated Heller’s unhinged sticksmanship. My only complaint is that with such a dense album, Defigurement doesn’t quite achieve the cohesion needed to stitch all of Endbryo’s fragments together. Piano-only interlude “Eternal Dusk” is a beautiful instrumental featured about halfway through. It allows you to take a breath before re-entering the maelstrom, but foreshadowing the melody earlier or including piano elsewhere would have strengthened its inclusion. Similarly, “Left in a Cold Rain” contains slowly swirling synths played under a distorted voice-over. Once again, this skillfully navigates the album’s pacing, but without more tethers to other tracks, it feels isolated from its surroundings. Despite these small shortcomings, Endbryo scores a resounding success.

Defigurement pulls no punches on Endbryo, hewing a slab of great experimental deathgrind. Their ferocity is bruising and their vision unyielding, and it’s rare I encounter music that demands so many repeated spins. This platter is captivating, and each time I think I have Endbryo figured out, the next listen corrects that notion. So many ideas loaded into thirty minutes might seem daunting, but Defigurement expertly balances intrigue and digestibility. Assuming Endbryo is only the beginning, I’ll wait on the edge of my seat to hear how the band’s sound develops.

Rating: Great
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Nefarious Industries
Websites: Bandcamp | Facebook
Releases Worldwide: October 17th, 2025

#2025 #40 #BeatenToDeath #DeathGrind #DeathMetal #Deathgrind #Defigurement #Endbryo #ExperimentalDeathMetal #ExperimentalDeathgrind #FullOfHell #Gridlink #Grind #NefariousIndustries #Oct25 #Review #Reviews #Slayer #SystemOfADown #USMetal

Defigurement – Endbryo Review

By Grin Reaper

Defigurement’s debut album Endbryo is classified as experimental deathgrind, and though that’s accurate, it doesn’t fully capture what’s on tap. Endbryo is an album in constant flux, never content to lock into one vibe for too long. While experimental, Defigurement still adheres to grindcore’s brutal core tenets: short songs and unfettered aggression. Their sound isn’t limited to just these things, though, as Defigurement adopts crackerjack technicality that contrasts with the blunt drubbing associated with much of the subgenre. Varied paces and some unconventional instrumentation further heighten Endbryo’s unorthodox approach. Dissonant bleats, melodic leads, blast beats, and key-heavy interludes create an engaging atmosphere. Yet it takes more than a wide-ranging assortment of sounds and ideas to fashion an album.

With so many ingredients to unite, you may wonder what Defigurement actually sounds like. Gridlink’s Coronet Juniper, Full of Hell’s Coagulated Bliss, and Beaten to Death’s Sunrise over Rigor Mortis provide apt reference points. These albums imbue deceptively melodic hooks into grindcore’s caustic backdrop, a convention perpetuated on Endbryo. Gridlink’s own Takafumi Matsubara even appears on “Wounded Landscape,” imparting gorgeously malicious riffs. In addition to grindcore influences, Defigurement pays homage to System of a Down via the “Suite Pee”-tinged intro of “Shogun of Sorrow” and the Slayer “Rain in Blood” gallop heard in “Wounded Landscape.” Rather than aping these acts, though, Defigurement forges a stank all their own. Chaos is the name of the game, but not all of it is funneled through uniform, full-tilt abuse. Endbryo’s half-hour pumps blood and rhythm through sixteen tracks, featuring constant shifts in tempos and moods that make the music feel alive and unpredictable. The album is jam-packed with so many morsels that even after dozens of listens, I’m still discovering new details.

Conceiving such a diverse and layered soundscape requires heaps of vitality and musicianship, and Defigurement steps up to answer the challenge. From Mike Heller’s (Changeling, Azure Emote, ex-Fear Factory) atom-blasting drums to Kevin Fetus’s snaking leads and D.M.T.’s gritty bass, Endbryo brims with relentless vigor. Heller’s drum performance in particular elevates Defigurement’s character. Juggling blast beats, disco hi-hat frills (“Open Veins, Visceral Tapestry”), and jazzy phrasing (“We Are the Worst”) shouldn’t be this seamless, yet Heller’s nimble work provides the engine for the album’s mélange of styles. Rounding out the rhythm section, D.M.T.’s meaty bass grumbles and grooves in support, and a couple of intros even throw the spotlight on his throaty purr (“Wounded Landscape,” “Godtopsy”). Guitars attack from every direction, utilizing trem-picked blitzes (“Burnt by the Truth”), plaintive wails (“We Are the Worst”), and glossy shredding (“Godtopsy”). Matthias Joyce’s vocals are capable and versatile, sitting far enough back in the mix that they mesh smoothly with the music rather than overpowering it. Besides Matsubara, several other guests pop in, including Brian Hopp (Cephalic Carnage) and Leon Del Muerte (Impaled, ex-Nails). Endbryo boasts a potpourri of talent, and this bouquet reeks of grind beef.

Endbryo sounds great, even though some moments don’t effortlessly converge. Subgenres like grindcore don’t need much auditory contrast to be effective, but Endbryo boasts a DR7 anyway, benefiting the complex structure of its tracks. The finely-tuned mix allows listeners to appreciate the nuances of the performances within, notably the drumming; a lesser production could have obfuscated Heller’s unhinged sticksmanship. My only complaint is that with such a dense album, Defigurement doesn’t quite achieve the cohesion needed to stitch all of Endbryo’s fragments together. Piano-only interlude “Eternal Dusk” is a beautiful instrumental featured about halfway through. It allows you to take a breath before re-entering the maelstrom, but foreshadowing the melody earlier or including piano elsewhere would have strengthened its inclusion. Similarly, “Left in a Cold Rain” contains slowly swirling synths played under a distorted voice-over. Once again, this skillfully navigates the album’s pacing, but without more tethers to other tracks, it feels isolated from its surroundings. Despite these small shortcomings, Endbryo scores a resounding success.

Defigurement pulls no punches on Endbryo, hewing a slab of great experimental deathgrind. Their ferocity is bruising and their vision unyielding, and it’s rare I encounter music that demands so many repeated spins. This platter is captivating, and each time I think I have Endbryo figured out, the next listen corrects that notion. So many ideas loaded into thirty minutes might seem daunting, but Defigurement expertly balances intrigue and digestibility. Assuming Endbryo is only the beginning, I’ll wait on the edge of my seat to hear how the band’s sound develops.

Rating: Great
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Nefarious Industries
Websites: Bandcamp | Facebook
Releases Worldwide: October 17th, 2025

#2025 #40 #BeatenToDeath #DeathGrind #DeathMetal #Deathgrind #Defigurement #Endbryo #ExperimentalDeathMetal #ExperimentalDeathgrind #FullOfHell #Gridlink #Grind #NefariousIndustries #Oct25 #Review #Reviews #Slayer #SystemOfADown #USMetal

Defigurement – Endbryo Review

By Grin Reaper

Defigurement’s debut album Endbryo is classified as experimental deathgrind, and though that’s accurate, it doesn’t fully capture what’s on tap. Endbryo is an album in constant flux, never content to lock into one vibe for too long. While experimental, Defigurement still adheres to grindcore’s brutal core tenets: short songs and unfettered aggression. Their sound isn’t limited to just these things, though, as Defigurement adopts crackerjack technicality that contrasts with the blunt drubbing associated with much of the subgenre. Varied paces and some unconventional instrumentation further heighten Endbryo’s unorthodox approach. Dissonant bleats, melodic leads, blast beats, and key-heavy interludes create an engaging atmosphere. Yet it takes more than a wide-ranging assortment of sounds and ideas to fashion an album.

With so many ingredients to unite, you may wonder what Defigurement actually sounds like. Gridlink’s Coronet Juniper, Full of Hell’s Coagulated Bliss, and Beaten to Death’s Sunrise over Rigor Mortis provide apt reference points. These albums imbue deceptively melodic hooks into grindcore’s caustic backdrop, a convention perpetuated on Endbryo. Gridlink’s own Takafumi Matsubara even appears on “Wounded Landscape,” imparting gorgeously malicious riffs. In addition to grindcore influences, Defigurement pays homage to System of a Down via the “Suite Pee”-tinged intro of “Shogun of Sorrow” and the Slayer “Rain in Blood” gallop heard in “Wounded Landscape.” Rather than aping these acts, though, Defigurement forges a stank all their own. Chaos is the name of the game, but not all of it is funneled through uniform, full-tilt abuse. Endbryo’s half-hour pumps blood and rhythm through sixteen tracks, featuring constant shifts in tempos and moods that make the music feel alive and unpredictable. The album is jam-packed with so many morsels that even after dozens of listens, I’m still discovering new details.

Conceiving such a diverse and layered soundscape requires heaps of vitality and musicianship, and Defigurement steps up to answer the challenge. From Mike Heller’s (Changeling, Azure Emote, ex-Fear Factory) atom-blasting drums to Kevin Fetus’s snaking leads and D.M.T.’s gritty bass, Endbryo brims with relentless vigor. Heller’s drum performance in particular elevates Defigurement’s character. Juggling blast beats, disco hi-hat frills (“Open Veins, Visceral Tapestry”), and jazzy phrasing (“We Are the Worst”) shouldn’t be this seamless, yet Heller’s nimble work provides the engine for the album’s mélange of styles. Rounding out the rhythm section, D.M.T.’s meaty bass grumbles and grooves in support, and a couple of intros even throw the spotlight on his throaty purr (“Wounded Landscape,” “Godtopsy”). Guitars attack from every direction, utilizing trem-picked blitzes (“Burnt by the Truth”), plaintive wails (“We Are the Worst”), and glossy shredding (“Godtopsy”). Matthias Joyce’s vocals are capable and versatile, sitting far enough back in the mix that they mesh smoothly with the music rather than overpowering it. Besides Matsubara, several other guests pop in, including Brian Hopp (Cephalic Carnage) and Leon Del Muerte (Impaled, ex-Nails). Endbryo boasts a potpourri of talent, and this bouquet reeks of grind beef.

Endbryo sounds great, even though some moments don’t effortlessly converge. Subgenres like grindcore don’t need much auditory contrast to be effective, but Endbryo boasts a DR7 anyway, benefiting the complex structure of its tracks. The finely-tuned mix allows listeners to appreciate the nuances of the performances within, notably the drumming; a lesser production could have obfuscated Heller’s unhinged sticksmanship. My only complaint is that with such a dense album, Defigurement doesn’t quite achieve the cohesion needed to stitch all of Endbryo’s fragments together. Piano-only interlude “Eternal Dusk” is a beautiful instrumental featured about halfway through. It allows you to take a breath before re-entering the maelstrom, but foreshadowing the melody earlier or including piano elsewhere would have strengthened its inclusion. Similarly, “Left in a Cold Rain” contains slowly swirling synths played under a distorted voice-over. Once again, this skillfully navigates the album’s pacing, but without more tethers to other tracks, it feels isolated from its surroundings. Despite these small shortcomings, Endbryo scores a resounding success.

Defigurement pulls no punches on Endbryo, hewing a slab of great experimental deathgrind. Their ferocity is bruising and their vision unyielding, and it’s rare I encounter music that demands so many repeated spins. This platter is captivating, and each time I think I have Endbryo figured out, the next listen corrects that notion. So many ideas loaded into thirty minutes might seem daunting, but Defigurement expertly balances intrigue and digestibility. Assuming Endbryo is only the beginning, I’ll wait on the edge of my seat to hear how the band’s sound develops.

Rating: Great
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Nefarious Industries
Websites: Bandcamp | Facebook
Releases Worldwide: October 17th, 2025

#2025 #40 #BeatenToDeath #DeathGrind #DeathMetal #Deathgrind #Defigurement #Endbryo #ExperimentalDeathMetal #ExperimentalDeathgrind #FullOfHell #Gridlink #Grind #NefariousIndustries #Oct25 #Review #Reviews #Slayer #SystemOfADown #USMetal

Defigurement – Endbryo Review

By Grin Reaper

Defigurement’s debut album Endbryo is classified as experimental deathgrind, and though that’s accurate, it doesn’t fully capture what’s on tap. Endbryo is an album in constant flux, never content to lock into one vibe for too long. While experimental, Defigurement still adheres to grindcore’s brutal core tenets: short songs and unfettered aggression. Their sound isn’t limited to just these things, though, as Defigurement adopts crackerjack technicality that contrasts with the blunt drubbing associated with much of the subgenre. Varied paces and some unconventional instrumentation further heighten Endbryo’s unorthodox approach. Dissonant bleats, melodic leads, blast beats, and key-heavy interludes create an engaging atmosphere. Yet it takes more than a wide-ranging assortment of sounds and ideas to fashion an album.

With so many ingredients to unite, you may wonder what Defigurement actually sounds like. Gridlink’s Coronet Juniper, Full of Hell’s Coagulated Bliss, and Beaten to Death’s Sunrise over Rigor Mortis provide apt reference points. These albums imbue deceptively melodic hooks into grindcore’s caustic backdrop, a convention perpetuated on Endbryo. Gridlink’s own Takafumi Matsubara even appears on “Wounded Landscape,” imparting gorgeously malicious riffs. In addition to grindcore influences, Defigurement pays homage to System of a Down via the “Suite Pee”-tinged intro of “Shogun of Sorrow” and the Slayer “Rain in Blood” gallop heard in “Wounded Landscape.” Rather than aping these acts, though, Defigurement forges a stank all their own. Chaos is the name of the game, but not all of it is funneled through uniform, full-tilt abuse. Endbryo’s half-hour pumps blood and rhythm through sixteen tracks, featuring constant shifts in tempos and moods that make the music feel alive and unpredictable. The album is jam-packed with so many morsels that even after dozens of listens, I’m still discovering new details.

Conceiving such a diverse and layered soundscape requires heaps of vitality and musicianship, and Defigurement steps up to answer the challenge. From Mike Heller’s (Changeling, Azure Emote, ex-Fear Factory) atom-blasting drums to Kevin Fetus’s snaking leads and D.M.T.’s gritty bass, Endbryo brims with relentless vigor. Heller’s drum performance in particular elevates Defigurement’s character. Juggling blast beats, disco hi-hat frills (“Open Veins, Visceral Tapestry”), and jazzy phrasing (“We Are the Worst”) shouldn’t be this seamless, yet Heller’s nimble work provides the engine for the album’s mélange of styles. Rounding out the rhythm section, D.M.T.’s meaty bass grumbles and grooves in support, and a couple of intros even throw the spotlight on his throaty purr (“Wounded Landscape,” “Godtopsy”). Guitars attack from every direction, utilizing trem-picked blitzes (“Burnt by the Truth”), plaintive wails (“We Are the Worst”), and glossy shredding (“Godtopsy”). Matthias Joyce’s vocals are capable and versatile, sitting far enough back in the mix that they mesh smoothly with the music rather than overpowering it. Besides Matsubara, several other guests pop in, including Brian Hopp (Cephalic Carnage) and Leon Del Muerte (Impaled, ex-Nails). Endbryo boasts a potpourri of talent, and this bouquet reeks of grind beef.

Endbryo sounds great, even though some moments don’t effortlessly converge. Subgenres like grindcore don’t need much auditory contrast to be effective, but Endbryo boasts a DR7 anyway, benefiting the complex structure of its tracks. The finely-tuned mix allows listeners to appreciate the nuances of the performances within, notably the drumming; a lesser production could have obfuscated Heller’s unhinged sticksmanship. My only complaint is that with such a dense album, Defigurement doesn’t quite achieve the cohesion needed to stitch all of Endbryo’s fragments together. Piano-only interlude “Eternal Dusk” is a beautiful instrumental featured about halfway through. It allows you to take a breath before re-entering the maelstrom, but foreshadowing the melody earlier or including piano elsewhere would have strengthened its inclusion. Similarly, “Left in a Cold Rain” contains slowly swirling synths played under a distorted voice-over. Once again, this skillfully navigates the album’s pacing, but without more tethers to other tracks, it feels isolated from its surroundings. Despite these small shortcomings, Endbryo scores a resounding success.

Defigurement pulls no punches on Endbryo, hewing a slab of great experimental deathgrind. Their ferocity is bruising and their vision unyielding, and it’s rare I encounter music that demands so many repeated spins. This platter is captivating, and each time I think I have Endbryo figured out, the next listen corrects that notion. So many ideas loaded into thirty minutes might seem daunting, but Defigurement expertly balances intrigue and digestibility. Assuming Endbryo is only the beginning, I’ll wait on the edge of my seat to hear how the band’s sound develops.

Rating: Great
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Nefarious Industries
Websites: Bandcamp | Facebook
Releases Worldwide: October 17th, 2025

#2025 #40 #BeatenToDeath #DeathGrind #DeathMetal #Deathgrind #Defigurement #Endbryo #ExperimentalDeathMetal #ExperimentalDeathgrind #FullOfHell #Gridlink #Grind #NefariousIndustries #Oct25 #Review #Reviews #Slayer #SystemOfADown #USMetal

FLESHVESSEL (Estats Units) presenta nou single: "Mental Myiasis" #Fleshvessel #ExperimentalDeathMetal #Setembre2025 #EstatsUnits #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

OKSENNUS (Finlàndia) presenta nou EP: "Auringolla ei ole käsiä" #Oksennus #ExperimentalDeathMetal #Juny2025 #Finlàndia #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

OKSENNUS (Finlàndia) presenta nou EP: "Naama ummessa" #Oksennus #ExperimentalDeathMetal #Juny2025 #Finlàndia #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

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Stream TOMB MOLD's First Album In Four Years Right Now
It's very, very good.

https://metalinjection.net/new-music/stream-tomb-molds-first-album-in-four-years-right-now

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