#feb25 — Public Fediverse posts

Ruinous Power – EXTREME DANGER: Prototype Weaponry Review

By Kenstrosity

As I get older, I grow ever more tired of labels. Yes, it’s helpful to have a baseline frame of reference for what something is, but lately, I find myself abandoning these kinds of single-use terms in favor of something more substantial and descriptive. So, when Canada’s Ruinous Power entered my review rotation, I allowed myself more room than ever before to interpret what they craft outside of the multitudinous boxes in which they could fit. A newer outfit comprised by members of Egregore and Mitochondrion (among many other bands) in 2021, Ruinous Power incubated their debut record EXTREME DANGER: Prototype Weaponry until its inevitable escape from the confines of twisted minds into meatspace, where it corrupts all who would encounter it.

Based on the lore and aesthetics of the Warhammer 40k franchise, Prototype Weaponry takes what on the surface sounds like blackened death metal, endows it with a raucous thrall of thrash, and imbues within it an eerie, synth-woven atmosphere. Comparisons to both Mitochondrion and Egregore are apt, placing Ruinous Power comfortably inside that family tree of skronked-up up blackened death pedigree. However, that extra dose of mutated thrash allows a twist of The Outer Limits Voivod to pulse beneath the skin, while Ulthar‘s unearthly, necrotic limb hovers just over Ruinous Power’s writhing flesh. Juggling long-form excursions into the murky abyss with violent expulsions of a much more expeditious nature, Ruinous Power embodies Prototype Weaponry with a restless, anxious energy and equips it with lethal armaments liable to destroy us all.

Prototype Weaponry wields those armaments with aplomb despite its unpredictable nature, expertly balancing impenetrable discordance with highly accessible rhythms and infectious repetition. Ten-minute opening epic “But What of Sacred Mars?” takes tumbling, scraping riffs in stride, sticking the landing with a proggy companion motif that ripples with lean power. Pumping that momentum for five minutes, this track takes its rest and allows a bass-led, Mare Cognitum-esque second act to immerse the listener with lush instrumental developments. In doing this, Ruinous Power prepare the listener for what’s to come, and what’s to come is unchecked destruction. “The Long Game,” “Kneel,” and album highlight “+++ Engine Kill +++” represent Prototype Weaponry’s most vicious salvos. All three toss the listener clear across a dystopian battlefield with tearing leads evoking a sooty and scrawled Portal-ish visage (“The Long Game”), relentless riffs that refuse to adhere to either death metal or thrash metal conventions while still inheriting many of their physical traits (“Kneel,” “+++ Engine Kill +++”), and an uncanny sense of melody that defies Ruinous Power’s inhuman lust for aural obliteration (“The Long Game”). So as to not deprive the listener of a cohesive experience, Ruinous Power stitches these divergent anatomies together with strange, but never unfamiliar, connective tissue in such a way that transitions between seemingly incompatible segments provide the context necessary to justify their positioning at every joint.

In this way, Prototype Weaponry proves that Ruinous Power’s experience with the weird and wild pays dividends even when crafting more straightforward material than their more notable main projects. However, a few nagging concerns remain. Though its myriad riffs and motifs feel fresh and vital in the context of the greater metalverse, Protoype Weaponry also toys with self-plagiarism a little too closely in its album-wide microcosm. “The Descent of the Host” inherits an assortment of its constituent building blocks from the motifs introduced by “But What of Sacred Mars?” and “+++ Engine Kill +++,” and some of the arpeggiated wiggles and runs featured on “Cerebrum Malefice” feel all too familiar to those on earlier cuts like “Kneel.” On a separate note, with an album as tight as Prototype Weaponry—a mere thirty-one minutes, rounding up—instrumental interludes like the title track provide very little outside of superficial atmosphere, taking away from the whole rather than bolstering it.

As the dust clears and the bodies are counted, Prototype Weaponry stands strong and victorious, but the battle left a few weak points exposed. Not to be deterred by mere flesh wounds, Ruinous Power used their extensive past experience crafting dense, oppressive extreme metal to make a bold statement inside a more accessible framework. Thus, Prototype Weaponry earns my overall recommendation. Its riffs break necks as easily as they invite spirited imagination. Its dynamic structures immerse as readily as they immolate. Its presence enthralls as deeply as it terrifies. If that entices you even in the slightest, and you crave EXTREME DANGER, secure yourself some Prototype Weaponry today!

Rating: Very Good
DR: 8 | Format Reviewed: 192 kbps mp3
Label: I, Voidhanger Records
Website: Too Kvlt for Webz
Releases Worldwide: February 28th, 2025

#2025 #35 #BlackMetal #CanadianMetal #DeathMetal #DissonantBlackMetal #DissonantDeathMetal #Egregore #EXTREMEDANGERPrototypeWeaponry #Feb25 #I #MareCognitum #Mitochondrion #Portal #Review #Reviews #RuinousPower #ThrashMetal #Ulthar #VoidhangerRecords #Voivod

Ruinous Power – EXTREME DANGER: Prototype Weaponry Review

By Kenstrosity

As I get older, I grow ever more tired of labels. Yes, it’s helpful to have a baseline frame of reference for what something is, but lately, I find myself abandoning these kinds of single-use terms in favor of something more substantial and descriptive. So, when Canada’s Ruinous Power entered my review rotation, I allowed myself more room than ever before to interpret what they craft outside of the multitudinous boxes in which they could fit. A newer outfit comprised by members of Egregore and Mitochondrion (among many other bands) in 2021, Ruinous Power incubated their debut record EXTREME DANGER: Prototype Weaponry until its inevitable escape from the confines of twisted minds into meatspace, where it corrupts all who would encounter it.

Based on the lore and aesthetics of the Warhammer 40k franchise, Prototype Weaponry takes what on the surface sounds like blackened death metal, endows it with a raucous thrall of thrash, and imbues within it an eerie, synth-woven atmosphere. Comparisons to both Mitochondrion and Egregore are apt, placing Ruinous Power comfortably inside that family tree of skronked-up up blackened death pedigree. However, that extra dose of mutated thrash allows a twist of The Outer Limits Voivod to pulse beneath the skin, while Ulthar‘s unearthly, necrotic limb hovers just over Ruinous Power’s writhing flesh. Juggling long-form excursions into the murky abyss with violent expulsions of a much more expeditious nature, Ruinous Power embodies Prototype Weaponry with a restless, anxious energy and equips it with lethal armaments liable to destroy us all.

Prototype Weaponry wields those armaments with aplomb despite its unpredictable nature, expertly balancing impenetrable discordance with highly accessible rhythms and infectious repetition. Ten-minute opening epic “But What of Sacred Mars?” takes tumbling, scraping riffs in stride, sticking the landing with a proggy companion motif that ripples with lean power. Pumping that momentum for five minutes, this track takes its rest and allows a bass-led, Mare Cognitum-esque second act to immerse the listener with lush instrumental developments. In doing this, Ruinous Power prepare the listener for what’s to come, and what’s to come is unchecked destruction. “The Long Game,” “Kneel,” and album highlight “+++ Engine Kill +++” represent Prototype Weaponry’s most vicious salvos. All three toss the listener clear across a dystopian battlefield with tearing leads evoking a sooty and scrawled Portal-ish visage (“The Long Game”), relentless riffs that refuse to adhere to either death metal or thrash metal conventions while still inheriting many of their physical traits (“Kneel,” “+++ Engine Kill +++”), and an uncanny sense of melody that defies Ruinous Power’s inhuman lust for aural obliteration (“The Long Game”). So as to not deprive the listener of a cohesive experience, Ruinous Power stitches these divergent anatomies together with strange, but never unfamiliar, connective tissue in such a way that transitions between seemingly incompatible segments provide the context necessary to justify their positioning at every joint.

In this way, Prototype Weaponry proves that Ruinous Power’s experience with the weird and wild pays dividends even when crafting more straightforward material than their more notable main projects. However, a few nagging concerns remain. Though its myriad riffs and motifs feel fresh and vital in the context of the greater metalverse, Protoype Weaponry also toys with self-plagiarism a little too closely in its album-wide microcosm. “The Descent of the Host” inherits an assortment of its constituent building blocks from the motifs introduced by “But What of Sacred Mars?” and “+++ Engine Kill +++,” and some of the arpeggiated wiggles and runs featured on “Cerebrum Malefice” feel all too familiar to those on earlier cuts like “Kneel.” On a separate note, with an album as tight as Prototype Weaponry—a mere thirty-one minutes, rounding up—instrumental interludes like the title track provide very little outside of superficial atmosphere, taking away from the whole rather than bolstering it.

As the dust clears and the bodies are counted, Prototype Weaponry stands strong and victorious, but the battle left a few weak points exposed. Not to be deterred by mere flesh wounds, Ruinous Power used their extensive past experience crafting dense, oppressive extreme metal to make a bold statement inside a more accessible framework. Thus, Prototype Weaponry earns my overall recommendation. Its riffs break necks as easily as they invite spirited imagination. Its dynamic structures immerse as readily as they immolate. Its presence enthralls as deeply as it terrifies. If that entices you even in the slightest, and you crave EXTREME DANGER, secure yourself some Prototype Weaponry today!

Rating: Very Good
DR: 8 | Format Reviewed: 192 kbps mp3
Label: I, Voidhanger Records
Website: Too Kvlt for Webz
Releases Worldwide: February 28th, 2025

#2025 #35 #BlackMetal #CanadianMetal #DeathMetal #DissonantBlackMetal #DissonantDeathMetal #Egregore #EXTREMEDANGERPrototypeWeaponry #Feb25 #I #MareCognitum #Mitochondrion #Portal #Review #Reviews #RuinousPower #ThrashMetal #Ulthar #VoidhangerRecords #Voivod

Ruinous Power – EXTREME DANGER: Prototype Weaponry Review

By Kenstrosity

As I get older, I grow ever more tired of labels. Yes, it’s helpful to have a baseline frame of reference for what something is, but lately, I find myself abandoning these kinds of single-use terms in favor of something more substantial and descriptive. So, when Canada’s Ruinous Power entered my review rotation, I allowed myself more room than ever before to interpret what they craft outside of the multitudinous boxes in which they could fit. A newer outfit comprised by members of Egregore and Mitochondrion (among many other bands) in 2021, Ruinous Power incubated their debut record EXTREME DANGER: Prototype Weaponry until its inevitable escape from the confines of twisted minds into meatspace, where it corrupts all who would encounter it.

Based on the lore and aesthetics of the Warhammer 40k franchise, Prototype Weaponry takes what on the surface sounds like blackened death metal, endows it with a raucous thrall of thrash, and imbues within it an eerie, synth-woven atmosphere. Comparisons to both Mitochondrion and Egregore are apt, placing Ruinous Power comfortably inside that family tree of skronked-up up blackened death pedigree. However, that extra dose of mutated thrash allows a twist of The Outer Limits Voivod to pulse beneath the skin, while Ulthar‘s unearthly, necrotic limb hovers just over Ruinous Power’s writhing flesh. Juggling long-form excursions into the murky abyss with violent expulsions of a much more expeditious nature, Ruinous Power embodies Prototype Weaponry with a restless, anxious energy and equips it with lethal armaments liable to destroy us all.

Prototype Weaponry wields those armaments with aplomb despite its unpredictable nature, expertly balancing impenetrable discordance with highly accessible rhythms and infectious repetition. Ten-minute opening epic “But What of Sacred Mars?” takes tumbling, scraping riffs in stride, sticking the landing with a proggy companion motif that ripples with lean power. Pumping that momentum for five minutes, this track takes its rest and allows a bass-led, Mare Cognitum-esque second act to immerse the listener with lush instrumental developments. In doing this, Ruinous Power prepare the listener for what’s to come, and what’s to come is unchecked destruction. “The Long Game,” “Kneel,” and album highlight “+++ Engine Kill +++” represent Prototype Weaponry’s most vicious salvos. All three toss the listener clear across a dystopian battlefield with tearing leads evoking a sooty and scrawled Portal-ish visage (“The Long Game”), relentless riffs that refuse to adhere to either death metal or thrash metal conventions while still inheriting many of their physical traits (“Kneel,” “+++ Engine Kill +++”), and an uncanny sense of melody that defies Ruinous Power’s inhuman lust for aural obliteration (“The Long Game”). So as to not deprive the listener of a cohesive experience, Ruinous Power stitches these divergent anatomies together with strange, but never unfamiliar, connective tissue in such a way that transitions between seemingly incompatible segments provide the context necessary to justify their positioning at every joint.

In this way, Prototype Weaponry proves that Ruinous Power’s experience with the weird and wild pays dividends even when crafting more straightforward material than their more notable main projects. However, a few nagging concerns remain. Though its myriad riffs and motifs feel fresh and vital in the context of the greater metalverse, Protoype Weaponry also toys with self-plagiarism a little too closely in its album-wide microcosm. “The Descent of the Host” inherits an assortment of its constituent building blocks from the motifs introduced by “But What of Sacred Mars?” and “+++ Engine Kill +++,” and some of the arpeggiated wiggles and runs featured on “Cerebrum Malefice” feel all too familiar to those on earlier cuts like “Kneel.” On a separate note, with an album as tight as Prototype Weaponry—a mere thirty-one minutes, rounding up—instrumental interludes like the title track provide very little outside of superficial atmosphere, taking away from the whole rather than bolstering it.

As the dust clears and the bodies are counted, Prototype Weaponry stands strong and victorious, but the battle left a few weak points exposed. Not to be deterred by mere flesh wounds, Ruinous Power used their extensive past experience crafting dense, oppressive extreme metal to make a bold statement inside a more accessible framework. Thus, Prototype Weaponry earns my overall recommendation. Its riffs break necks as easily as they invite spirited imagination. Its dynamic structures immerse as readily as they immolate. Its presence enthralls as deeply as it terrifies. If that entices you even in the slightest, and you crave EXTREME DANGER, secure yourself some Prototype Weaponry today!

Rating: Very Good
DR: 8 | Format Reviewed: 192 kbps mp3
Label: I, Voidhanger Records
Website: Too Kvlt for Webz
Releases Worldwide: February 28th, 2025

#2025 #35 #BlackMetal #CanadianMetal #DeathMetal #DissonantBlackMetal #DissonantDeathMetal #Egregore #EXTREMEDANGERPrototypeWeaponry #Feb25 #I #MareCognitum #Mitochondrion #Portal #Review #Reviews #RuinousPower #ThrashMetal #Ulthar #VoidhangerRecords #Voivod

Ruinous Power – EXTREME DANGER: Prototype Weaponry Review

By Kenstrosity

As I get older, I grow ever more tired of labels. Yes, it’s helpful to have a baseline frame of reference for what something is, but lately, I find myself abandoning these kinds of single-use terms in favor of something more substantial and descriptive. So, when Canada’s Ruinous Power entered my review rotation, I allowed myself more room than ever before to interpret what they craft outside of the multitudinous boxes in which they could fit. A newer outfit comprised by members of Egregore and Mitochondrion (among many other bands) in 2021, Ruinous Power incubated their debut record EXTREME DANGER: Prototype Weaponry until its inevitable escape from the confines of twisted minds into meatspace, where it corrupts all who would encounter it.

Based on the lore and aesthetics of the Warhammer 40k franchise, Prototype Weaponry takes what on the surface sounds like blackened death metal, endows it with a raucous thrall of thrash, and imbues within it an eerie, synth-woven atmosphere. Comparisons to both Mitochondrion and Egregore are apt, placing Ruinous Power comfortably inside that family tree of skronked-up up blackened death pedigree. However, that extra dose of mutated thrash allows a twist of The Outer Limits Voivod to pulse beneath the skin, while Ulthar‘s unearthly, necrotic limb hovers just over Ruinous Power’s writhing flesh. Juggling long-form excursions into the murky abyss with violent expulsions of a much more expeditious nature, Ruinous Power embodies Prototype Weaponry with a restless, anxious energy and equips it with lethal armaments liable to destroy us all.

Prototype Weaponry wields those armaments with aplomb despite its unpredictable nature, expertly balancing impenetrable discordance with highly accessible rhythms and infectious repetition. Ten-minute opening epic “But What of Sacred Mars?” takes tumbling, scraping riffs in stride, sticking the landing with a proggy companion motif that ripples with lean power. Pumping that momentum for five minutes, this track takes its rest and allows a bass-led, Mare Cognitum-esque second act to immerse the listener with lush instrumental developments. In doing this, Ruinous Power prepare the listener for what’s to come, and what’s to come is unchecked destruction. “The Long Game,” “Kneel,” and album highlight “+++ Engine Kill +++” represent Prototype Weaponry’s most vicious salvos. All three toss the listener clear across a dystopian battlefield with tearing leads evoking a sooty and scrawled Portal-ish visage (“The Long Game”), relentless riffs that refuse to adhere to either death metal or thrash metal conventions while still inheriting many of their physical traits (“Kneel,” “+++ Engine Kill +++”), and an uncanny sense of melody that defies Ruinous Power’s inhuman lust for aural obliteration (“The Long Game”). So as to not deprive the listener of a cohesive experience, Ruinous Power stitches these divergent anatomies together with strange, but never unfamiliar, connective tissue in such a way that transitions between seemingly incompatible segments provide the context necessary to justify their positioning at every joint.

In this way, Prototype Weaponry proves that Ruinous Power’s experience with the weird and wild pays dividends even when crafting more straightforward material than their more notable main projects. However, a few nagging concerns remain. Though its myriad riffs and motifs feel fresh and vital in the context of the greater metalverse, Protoype Weaponry also toys with self-plagiarism a little too closely in its album-wide microcosm. “The Descent of the Host” inherits an assortment of its constituent building blocks from the motifs introduced by “But What of Sacred Mars?” and “+++ Engine Kill +++,” and some of the arpeggiated wiggles and runs featured on “Cerebrum Malefice” feel all too familiar to those on earlier cuts like “Kneel.” On a separate note, with an album as tight as Prototype Weaponry—a mere thirty-one minutes, rounding up—instrumental interludes like the title track provide very little outside of superficial atmosphere, taking away from the whole rather than bolstering it.

As the dust clears and the bodies are counted, Prototype Weaponry stands strong and victorious, but the battle left a few weak points exposed. Not to be deterred by mere flesh wounds, Ruinous Power used their extensive past experience crafting dense, oppressive extreme metal to make a bold statement inside a more accessible framework. Thus, Prototype Weaponry earns my overall recommendation. Its riffs break necks as easily as they invite spirited imagination. Its dynamic structures immerse as readily as they immolate. Its presence enthralls as deeply as it terrifies. If that entices you even in the slightest, and you crave EXTREME DANGER, secure yourself some Prototype Weaponry today!

Rating: Very Good
DR: 8 | Format Reviewed: 192 kbps mp3
Label: I, Voidhanger Records
Website: Too Kvlt for Webz
Releases Worldwide: February 28th, 2025

#2025 #35 #BlackMetal #CanadianMetal #DeathMetal #DissonantBlackMetal #DissonantDeathMetal #Egregore #EXTREMEDANGERPrototypeWeaponry #Feb25 #I #MareCognitum #Mitochondrion #Portal #Review #Reviews #RuinousPower #ThrashMetal #Ulthar #VoidhangerRecords #Voivod

Retromorphosis – Psalmus Mortis Review

By Saunders

When Sweden’s Spawn of Possession drew curtains on their distinguished career in 2017, it spelled the end of one of modern tech death’s finest acts. Bands across the globe flooded the scene in the intervening years, saturating the market to varying degrees of success. Emerging like fresh shoots from the earth in which Spawn of Possession were laid to rest, Retromorphosis features the gold plated pedigree of former Spawn of Possession mainstays Dennis Röndum (vocals), Jonas Bryssling (guitars) and Erlend Caspersen (bass), joining forces with another former SoP member and legendary shredder Christian Muenzner (Necrophagist, Obscura, Alkaloid), and classy, octopus-limbed drummer KC Howard (ex-Decrepit Birth, Odious Mortem). Boasting a bulletproof cast of esteemed metal musicians at their disposal, Retromorphosis appear hellbent on adding their own fresh perspective on the knotty tech death formula SoP made their own throughout their influential career. Debut album Psalmus Mortis naturally comes with lofty expectations and a line-up to salivate over.

Right away, it’s difficult to completely separate Retromorphosis from the SoP legacy. Beyond the obviously strong band DNA comes the fact that Retromorphosis share many of the same musical and songwriting traits. That said, it does a disservice to purely pin them as Spawn of Possession 2.0. This new incarnation has some tricks up their collective sleeves, unleashing an intricately constructed storm of cyclonic riffs, technical wizardry, rapid-fire blasts, and complex drum patterns. Similarities aside, Psalmus Mortis contains its own mutated characteristics and is not simply a rehashing of recycled ideas. The songwriting is exciting and inspired. There’s a little more flashy pizzazz in the solo department and more pronounced use of keys and synths adds a touch of epic bombast and sinister atmosphere to otherwise meaty, twisty compositions. However, the technicality does not compromise memorable, song-based writing.

Drenched in killer atmosphere and slow-building tension, opening instrumental “Obscure Exordium” crams loads of free-flowing ideas, orchestral touches, and good old-fashioned blasting into its short timeframe. The segue into the aggressive “Vanished” is smoothly executed, shifting gears from a brooding atmosphere to rugged, speedy attacks and whirlwind tempo shifts that define the track. Best absorbed in its entirety, the eight juggernauts boast dynamic variations, remarkable fluidity, and individual character. Robust, progressive-leaning shifts of “The Tree” navigates maze-like complexities through multiple moving parts, deftly maintaining fluency and memorability. Complex, thrashy, and aggressively riffy monster jams “Aunt Christie’s Will” and “Retromorphosis” represent ripping examples of the album’s strengths, exhibited through warped harmonies, lightspeed tempos, headbangable grooves, and grippingly infectious dual axework. “Machine” plunders and steamrolls through nine minutes of chugging riffage, brooding atmospheres, whip-smart tempo shifts, and proggy transitions, making every moment count. Only a couple of tracks fall marginally short of the overall pristine standards, though it’s a consistently gripping front-to-back listen.

Whereas some tech death bands fall victim to overindulgence, resulting in the deathly elements becoming afterthoughts, Retromorphosis avoid this pitfall. Thunderous kicks, machine gunning blasts, Röndum’s impactful growls, and the malevolent, sick old school grooves erupting from the labyrinthine arrangements offer resoundingly beefy, aggressive oomph to proceedings. Freakishly skilled talents abound, the musicianship is next-level awesome. Bryssling and Muenzner are a formidable force in the tech realms, delivering a masterclass of staggering technical mindfuckery, bamboozling solos, and an array of striking harmonies, otherworldly melodies, and intricate, catchy tech death riffs. The underrated vox and spitfire growls of Röndum (ex-Visceral Bleeding) lend the album a brutal, old-school edge, while Howard and Caspersen refuse to be overshadowed. The former’s blisteringly intense performance is perfectly matched to the complexity and dynamics of the material. Casperson makes his presence felt at key moments, offering a notable melodic counterpoint and presence. The sharp, punchy sound is polished but contains ample warmth and heft, the breathable master a big plus.

Featuring the bulk of the Incurso line-up, Psalmus Mortis is something of a spiritual successor, albeit a sleeker, polished counterpart. While it can’t quite match that modern classic, it’s an immense, dizzying tech-death debut of serious fucking proportions and exemplary musical chops. Retromorphosis more than live up to the dreaded supergroup tag. carrying on and reimagining the legacy of the legendary band in which they spawned. Retromorphosis raise the bar and put the tech death scene on notice in 2025. It’s an exciting prospect to see how Retromorphosis develops and evolves from here. All that’s missing is a Chalky guest spot.

Rating: 4.0/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Season of Mist
Websites: retromorphosisofficial.bandcamp.com | facebook.com/retromorphosis.swe
Releases Worldwide: February 21st, 2025

Maddog

The 2012 release of Spawn of Possession’s Incurso is Sharpied into my memory. At the time, I had devoured Cabinet and dabbled in Noctambulant but was no expert. Then, a now-defunct review on Heavy Blog is Heavy awarded Incurso a perfect score, arguing that it was the greatest tech-death album ever. Flabbergasted, I gave Incurso a listen. Spawn of Possession’s swansong ratcheted up the band’s technicality while trimming the band’s “Jonas” count from three to one. New guitarist Christian Muenzner (ex-Necrophagist, ex-Obscura, every other band) decorated the album with gorgeous leads. Meanwhile, Erlend Caspersen’s hyperactive bass lines balanced wizardry with finesse followed up with the coolest bass playthrough ever (“The Evangelist”). I grew to adore Spawn of Possession, and their subsequent fizzle-out was heartbreaking. Retromorphosis’ recent inception was equally thrilling. Retromorphosis’ debut Psalmus Mortis aims to resurrect SoP’s legacy and boasts four of the five members of the Incurso line-up. My expectations started out sky-high.

BOOM, BANG boom, weedle-weedle skree, BOOM, BANG boom, weedle-weedle-weedle weedle-DOO, BOOM, WEE-bang-DLE-doo—yes, they’re back. Spawn of Possession’s signature sprawls across Psalmus Mortis, and the universe is better off for it. Guitarists Jonas Bryssling and Christian Muenzner offer neither a Viraemian noodle fest nor a monotony of has-been death metal. Rather, their hybrid approach is at once acrobatic, shamelessly melodic, and more riff-centric than Incurso. Retromorphosis’ neoclassical melodies flail and interweave, evoking Necrophagist while wielding both heft and beauty. On the other hand, Psalmus Mortis’ chunky riffs flirt with old-school death metal and even death-doom (“Obscure Exordium,” “Vanished”). Similarly, new drummer KC Howard (Odious Mortem, ex-Decrepit Birth) bludgeons his kit with both class and frenzy, guiding the music through bewildering rhythms. Dennis Röndum’s vocals take a manic Archspiresque approach without sacrificing clarity. Like Spawn of Possession, Retromorphosis uses backing synths and foreboding guitar melodies to set the scene. Landing between Noctambulant and Incurso, Psalmus Mortis’ style feels familiar but fresh.

When Psalmus Mortis delivers, it’s a thrill. The album grabs the listener with both its technical gymnastics and its MMA maneuvers. The closer “Exalted Splendour” showcases trapezing Obscura-style leads that balance grandeur and fun, while “Vanished” remains headbangable even through its spastic rhythm changes. Even when Psalmus Mortis resorts to unrestrained noodling, it uses its melodic backbone to avoid getting soggy (“Retromorphosis”). Conversely, the straightforward six-note tremolo riff that underpins “Aunt Christie’s Will” is the record’s most memorable snippet, while the midsection of “Retromorphosis” is tinged with Immolation’s Unholy Cult. Still, Psalmus Mortis’ 42 minutes aren’t consistently engaging. This is partly because of bloat, like the sleepy first half of the nine-minute “Machine.” It’s partly because of a frustratingly muted bass presence from the phenomenal Caspersen. And it’s partly just because certain riffs lack power (“Never to Awake”). Psalmus Mortis is a strong outing, but it sometimes feels more like a purely intellectual exercise than an exciting ride.

However, Incurso’s narrative quality remains Psalmus Mortis’ greatest asset. Psalmus Mortis feels like a collection of Poe stories. Retromorphosis’ smooth but dogged plot development defines “The Tree,” a tale of environmental neglect where the protagonist’s escalating missteps are accompanied by escalating musical urgency. Throughout the record, guitar melodies summon suffocating atmospheres, wrenching the mood from awe to terror and back again. Plot twists and masterful storytelling culminate in colossal climaxes, like the dramatic melody that accompanies the narrator’s revelation in “Retromorphosis.” Even as they evolve, Psalmus Mortis’ songs stay tethered to recognizable themes, like the main melody and lyrical refrain that anchor “Aunt Christie’s Will.” Psalmus Mortis’ narrative flow stands unmatched by any genre-mates other than Gorod and Spawn of Possession themselves.

Psalmus Mortis isn’t a modern classic, but it’s better than we deserve. Spawn of Possession’s take on death metal has proven to be both immortal and peerless. Retromorphosis’ debut offers an unforeseen glimpse at a style that had seemingly faded into the realm of archaeology. Dips in quality and underuse of Caspersen’s bass prowess hold it back from excellence. But Psalmus Mortis’ blend of XXXXL death metal riffs, dizzying rhythms, and blistering technicality is highly combustible. Most of all, the record’s approach to storytelling stands apart. The last decade taught me that while Spawn of Possession hits hard at first, it improves with age. Come 2030, I may regret underrating this album.

Rating: Very Good

#2025 #35 #40 #Alkaloid #Archspire #DeathMetal #DecrepitBirth #Feb25 #Gorod #Immolation #Necrophagist #Obscura #OdiousMortem #PsalmusMortis #Retromorphosis #Review #Reviews #SeasonOfMist #SeasonOfMistRecords #SpawnOfPossession #SwedishMetal #TechnicalDeathMetal #Viraemia #VisceralBleeding

The 7th Guild – Triumviro Review

By Kenstrosity

To compare your band to The Three Tenors is a bold move, to say the least. By making this connection, you inherently pit yourself against three of the greatest opera singers of their time (at the very least three of the most well-known). Yet, this is exactly how SkeleToon‘s Tomi Fooler describes his freshly minted supergroup, The 7th Guild, in anticipation of their debut full-length Triumviro. Boasting his own voice in tandem with Giacomo Voli (Rhapsody of Fire) and Ivan Giannini (Vision Divine, Derdian), Tomi’s latest project attempts a symphonic power metal triple threat of the same legendary caliber as the aforementioned Tenors. It takes gumption to attempt that feat. Can The 7th Guild win over the Kendom?

The short answer is no. With nothing substantial to distinguish this project from the pool of power from which it draws deep, Triumviro proffers a particularly earnest and passionate form of overblown, hyper-melodic symphocheese. Positivity and bleeding heart melodramatics abound, surrounded by a blunderbuss of horns, keys, strings, and a too-thin layer of guitars hell-bent on proselytizing the virtues of the power chord. Unlike equally opulent acts like Twilight Force and Fellowship, The 7th Guild epitomizes the generic at every stage, so much so that at times, it is difficult even to distinguish any of the three vocalists from each other (save for one member who possesses an especially nasal, though not altogether unpleasant, tone). Nonetheless, it’s a formula that works and has worked for decades, which means that despite myself, Triumviro thrust a few of its best moments deep in my brain.

The 7th Guild are at their best when singing in their native Italian. Lush as the most richly layered Fleshgod Apocalypse magnum opus, “La Promessa Cremisi” revels in decadent vocal layers, a million heavily rolled ‘r’s, cinematic orchestrations, and a sky-high soaring chorus riding on the rippling back muscles of a classic power metal gallop. Insertions of Italian scattered throughout the excessive “Glorious” help offset its cringe-inducing, but sticky “YOU’RE MAKIN’ ME GLOOOOOOOOOORRRRIIOOOOUS” refrain. “In Nomine Patris” exudes regality in its fanfare, marching forth with an operatic pre-chorus followed immediately by a triumphant chorus that would be right at home on any Twilight Force epic. As if this wasn’t enough, a delightful high-octane guitar solo launches the final third in dramatic fashion, giving the final chorus the momentum it needed to justify its inclusion in the song’s six-plus-minute span. It is moments like these, among a few others spotting this forty-eight-minute runtime, that make Triumviro enjoyable and fun, at least for a moment.

Unfortunately, the overwhelming majority of Triumviro’s successes are ephemeral, too easily overshadowed by lackluster power metal sullied further by saccharine writing and unchecked vocal exhibitions. Ballad “Time” is delicate and fluffy, but having three singers of functionally identical tone and range wailing in concert with the soaring lead guitar flattens the entire piece to the point of collapse. A total lack of tonal and textural depth persists throughout the back half of the record, continually fumbling moves that could’ve made a lasting impression. “Guardians of Eternity” borders on annoying, its vocal layering creating cacophony as one singer chooses to hold notes longer than the rest at arbitrary points, while another comes in a fraction too late to line up properly in the arrangement. Later on, one of the vocalists makes an unhinged choice attempting an operatic run in the style of Tarja Turunen. Not only does this moment clash against already tepid songwriting with its poor execution, but it also illustrates the competitive, rather than cooperative, nature of The 7th Guild’s vocal performances. Furthermore, this egregious showboating behavior puts a spotlight on the oversimplified, underutilized metallic instrumentation in the background, as demonstrated by the overwrought “The Metal Charade.” Closer “Fairy Tale” doesn’t fare much better as the over-performed, nasal balladry dominates the soundscape with questionable choices and strained reaches, all in the name of bombast.

The most damning aspect of The 7th Guild’s troubled debut is the impression it leaves with this listener. After the dust settles and I lay Triumviro to rest, I breathe a heavy sigh of relief. Its first five songs aren’t that bad, and two of those are arguably good. But even those can’t escape the problems pervading the entire record. Moreover, its second half is a clinic on what not to do, from writing to performance, on a symphonic power metal record. In short, right now The 7th Guild are closer to The Three Tricksters than The Three Tenors.

Rating: Bad
DR: 8 | Format Reviewed: 160 kbps mp3
Label: Scarlet Records
Website: facebook.com/the7thguild
Releases Worldwide: February 21st, 2025

#15 #2025 #Derdian #Feb25 #Fellowship #ItalianMetalMetal #PowerMetal #Review #Reviews #RhapsodyOfFire #ScarletRecords #Skeletoon #SymphonicMetal #The7thGuild #TheThreeTenors #Triumviro #TwilightForce #VisionDivine

The 7th Guild – Triumviro Review

By Kenstrosity

To compare your band to The Three Tenors is a bold move, to say the least. By making this connection, you inherently pit yourself against three of the greatest opera singers of their time (at the very least three of the most well-known). Yet, this is exactly how SkeleToon‘s Tomi Fooler describes his freshly minted supergroup, The 7th Guild, in anticipation of their debut full-length Triumviro. Boasting his own voice in tandem with Giacomo Voli (Rhapsody of Fire) and Ivan Giannini (Vision Divine, Derdian), Tomi’s latest project attempts a symphonic power metal triple threat of the same legendary caliber as the aforementioned Tenors. It takes gumption to attempt that feat. Can The 7th Guild win over the Kendom?

The short answer is no. With nothing substantial to distinguish this project from the pool of power from which it draws deep, Triumviro proffers a particularly earnest and passionate form of overblown, hyper-melodic symphocheese. Positivity and bleeding heart melodramatics abound, surrounded by a blunderbuss of horns, keys, strings, and a too-thin layer of guitars hell-bent on proselytizing the virtues of the power chord. Unlike equally opulent acts like Twilight Force and Fellowship, The 7th Guild epitomizes the generic at every stage, so much so that at times, it is difficult even to distinguish any of the three vocalists from each other (save for one member who possesses an especially nasal, though not altogether unpleasant, tone). Nonetheless, it’s a formula that works and has worked for decades, which means that despite myself, Triumviro thrust a few of its best moments deep in my brain.

The 7th Guild are at their best when singing in their native Italian. Lush as the most richly layered Fleshgod Apocalypse magnum opus, “La Promessa Cremisi” revels in decadent vocal layers, a million heavily rolled ‘r’s, cinematic orchestrations, and a sky-high soaring chorus riding on the rippling back muscles of a classic power metal gallop. Insertions of Italian scattered throughout the excessive “Glorious” help offset its cringe-inducing, but sticky “YOU’RE MAKIN’ ME GLOOOOOOOOOORRRRIIOOOOUS” refrain. “In Nomine Patris” exudes regality in its fanfare, marching forth with an operatic pre-chorus followed immediately by a triumphant chorus that would be right at home on any Twilight Force epic. As if this wasn’t enough, a delightful high-octane guitar solo launches the final third in dramatic fashion, giving the final chorus the momentum it needed to justify its inclusion in the song’s six-plus-minute span. It is moments like these, among a few others spotting this forty-eight-minute runtime, that make Triumviro enjoyable and fun, at least for a moment.

Unfortunately, the overwhelming majority of Triumviro’s successes are ephemeral, too easily overshadowed by lackluster power metal sullied further by saccharine writing and unchecked vocal exhibitions. Ballad “Time” is delicate and fluffy, but having three singers of functionally identical tone and range wailing in concert with the soaring lead guitar flattens the entire piece to the point of collapse. A total lack of tonal and textural depth persists throughout the back half of the record, continually fumbling moves that could’ve made a lasting impression. “Guardians of Eternity” borders on annoying, its vocal layering creating cacophony as one singer chooses to hold notes longer than the rest at arbitrary points, while another comes in a fraction too late to line up properly in the arrangement. Later on, one of the vocalists makes an unhinged choice attempting an operatic run in the style of Tarja Turunen. Not only does this moment clash against already tepid songwriting with its poor execution, but it also illustrates the competitive, rather than cooperative, nature of The 7th Guild’s vocal performances. Furthermore, this egregious showboating behavior puts a spotlight on the oversimplified, underutilized metallic instrumentation in the background, as demonstrated by the overwrought “The Metal Charade.” Closer “Fairy Tale” doesn’t fare much better as the over-performed, nasal balladry dominates the soundscape with questionable choices and strained reaches, all in the name of bombast.

The most damning aspect of The 7th Guild’s troubled debut is the impression it leaves with this listener. After the dust settles and I lay Triumviro to rest, I breathe a heavy sigh of relief. Its first five songs aren’t that bad, and two of those are arguably good. But even those can’t escape the problems pervading the entire record. Moreover, its second half is a clinic on what not to do, from writing to performance, on a symphonic power metal record. In short, right now The 7th Guild are closer to The Three Tricksters than The Three Tenors.

Rating: Bad
DR: 8 | Format Reviewed: 160 kbps mp3
Label: Scarlet Records
Website: facebook.com/the7thguild
Releases Worldwide: February 21st, 2025

#15 #2025 #Derdian #Feb25 #Fellowship #ItalianMetalMetal #PowerMetal #Review #Reviews #RhapsodyOfFire #ScarletRecords #Skeletoon #SymphonicMetal #The7thGuild #TheThreeTenors #Triumviro #TwilightForce #VisionDivine

The 7th Guild – Triumviro Review

By Kenstrosity

To compare your band to The Three Tenors is a bold move, to say the least. By making this connection, you inherently pit yourself against three of the greatest opera singers of their time (at the very least three of the most well-known). Yet, this is exactly how SkeleToon‘s Tomi Fooler describes his freshly minted supergroup, The 7th Guild, in anticipation of their debut full-length Triumviro. Boasting his own voice in tandem with Giacomo Voli (Rhapsody of Fire) and Ivan Giannini (Vision Divine, Derdian), Tomi’s latest project attempts a symphonic power metal triple threat of the same legendary caliber as the aforementioned Tenors. It takes gumption to attempt that feat. Can The 7th Guild win over the Kendom?

The short answer is no. With nothing substantial to distinguish this project from the pool of power from which it draws deep, Triumviro proffers a particularly earnest and passionate form of overblown, hyper-melodic symphocheese. Positivity and bleeding heart melodramatics abound, surrounded by a blunderbuss of horns, keys, strings, and a too-thin layer of guitars hell-bent on proselytizing the virtues of the power chord. Unlike equally opulent acts like Twilight Force and Fellowship, The 7th Guild epitomizes the generic at every stage, so much so that at times, it is difficult even to distinguish any of the three vocalists from each other (save for one member who possesses an especially nasal, though not altogether unpleasant, tone). Nonetheless, it’s a formula that works and has worked for decades, which means that despite myself, Triumviro thrust a few of its best moments deep in my brain.

The 7th Guild are at their best when singing in their native Italian. Lush as the most richly layered Fleshgod Apocalypse magnum opus, “La Promessa Cremisi” revels in decadent vocal layers, a million heavily rolled ‘r’s, cinematic orchestrations, and a sky-high soaring chorus riding on the rippling back muscles of a classic power metal gallop. Insertions of Italian scattered throughout the excessive “Glorious” help offset its cringe-inducing, but sticky “YOU’RE MAKIN’ ME GLOOOOOOOOOORRRRIIOOOOUS” refrain. “In Nomine Patris” exudes regality in its fanfare, marching forth with an operatic pre-chorus followed immediately by a triumphant chorus that would be right at home on any Twilight Force epic. As if this wasn’t enough, a delightful high-octane guitar solo launches the final third in dramatic fashion, giving the final chorus the momentum it needed to justify its inclusion in the song’s six-plus-minute span. It is moments like these, among a few others spotting this forty-eight-minute runtime, that make Triumviro enjoyable and fun, at least for a moment.

Unfortunately, the overwhelming majority of Triumviro’s successes are ephemeral, too easily overshadowed by lackluster power metal sullied further by saccharine writing and unchecked vocal exhibitions. Ballad “Time” is delicate and fluffy, but having three singers of functionally identical tone and range wailing in concert with the soaring lead guitar flattens the entire piece to the point of collapse. A total lack of tonal and textural depth persists throughout the back half of the record, continually fumbling moves that could’ve made a lasting impression. “Guardians of Eternity” borders on annoying, its vocal layering creating cacophony as one singer chooses to hold notes longer than the rest at arbitrary points, while another comes in a fraction too late to line up properly in the arrangement. Later on, one of the vocalists makes an unhinged choice attempting an operatic run in the style of Tarja Turunen. Not only does this moment clash against already tepid songwriting with its poor execution, but it also illustrates the competitive, rather than cooperative, nature of The 7th Guild’s vocal performances. Furthermore, this egregious showboating behavior puts a spotlight on the oversimplified, underutilized metallic instrumentation in the background, as demonstrated by the overwrought “The Metal Charade.” Closer “Fairy Tale” doesn’t fare much better as the over-performed, nasal balladry dominates the soundscape with questionable choices and strained reaches, all in the name of bombast.

The most damning aspect of The 7th Guild’s troubled debut is the impression it leaves with this listener. After the dust settles and I lay Triumviro to rest, I breathe a heavy sigh of relief. Its first five songs aren’t that bad, and two of those are arguably good. But even those can’t escape the problems pervading the entire record. Moreover, its second half is a clinic on what not to do, from writing to performance, on a symphonic power metal record. In short, right now The 7th Guild are closer to The Three Tricksters than The Three Tenors.

Rating: Bad
DR: 8 | Format Reviewed: 160 kbps mp3
Label: Scarlet Records
Website: facebook.com/the7thguild
Releases Worldwide: February 21st, 2025

#15 #2025 #Derdian #Feb25 #Fellowship #ItalianMetalMetal #PowerMetal #Review #Reviews #RhapsodyOfFire #ScarletRecords #Skeletoon #SymphonicMetal #The7thGuild #TheThreeTenors #Triumviro #TwilightForce #VisionDivine

The 7th Guild – Triumviro Review

By Kenstrosity

To compare your band to The Three Tenors is a bold move, to say the least. By making this connection, you inherently pit yourself against three of the greatest opera singers of their time (at the very least three of the most well-known). Yet, this is exactly how SkeleToon‘s Tomi Fooler describes his freshly minted supergroup, The 7th Guild, in anticipation of their debut full-length Triumviro. Boasting his own voice in tandem with Giacomo Voli (Rhapsody of Fire) and Ivan Giannini (Vision Divine, Derdian), Tomi’s latest project attempts a symphonic power metal triple threat of the same legendary caliber as the aforementioned Tenors. It takes gumption to attempt that feat. Can The 7th Guild win over the Kendom?

The short answer is no. With nothing substantial to distinguish this project from the pool of power from which it draws deep, Triumviro proffers a particularly earnest and passionate form of overblown, hyper-melodic symphocheese. Positivity and bleeding heart melodramatics abound, surrounded by a blunderbuss of horns, keys, strings, and a too-thin layer of guitars hell-bent on proselytizing the virtues of the power chord. Unlike equally opulent acts like Twilight Force and Fellowship, The 7th Guild epitomizes the generic at every stage, so much so that at times, it is difficult even to distinguish any of the three vocalists from each other (save for one member who possesses an especially nasal, though not altogether unpleasant, tone). Nonetheless, it’s a formula that works and has worked for decades, which means that despite myself, Triumviro thrust a few of its best moments deep in my brain.

The 7th Guild are at their best when singing in their native Italian. Lush as the most richly layered Fleshgod Apocalypse magnum opus, “La Promessa Cremisi” revels in decadent vocal layers, a million heavily rolled ‘r’s, cinematic orchestrations, and a sky-high soaring chorus riding on the rippling back muscles of a classic power metal gallop. Insertions of Italian scattered throughout the excessive “Glorious” help offset its cringe-inducing, but sticky “YOU’RE MAKIN’ ME GLOOOOOOOOOORRRRIIOOOOUS” refrain. “In Nomine Patris” exudes regality in its fanfare, marching forth with an operatic pre-chorus followed immediately by a triumphant chorus that would be right at home on any Twilight Force epic. As if this wasn’t enough, a delightful high-octane guitar solo launches the final third in dramatic fashion, giving the final chorus the momentum it needed to justify its inclusion in the song’s six-plus-minute span. It is moments like these, among a few others spotting this forty-eight-minute runtime, that make Triumviro enjoyable and fun, at least for a moment.

Unfortunately, the overwhelming majority of Triumviro’s successes are ephemeral, too easily overshadowed by lackluster power metal sullied further by saccharine writing and unchecked vocal exhibitions. Ballad “Time” is delicate and fluffy, but having three singers of functionally identical tone and range wailing in concert with the soaring lead guitar flattens the entire piece to the point of collapse. A total lack of tonal and textural depth persists throughout the back half of the record, continually fumbling moves that could’ve made a lasting impression. “Guardians of Eternity” borders on annoying, its vocal layering creating cacophony as one singer chooses to hold notes longer than the rest at arbitrary points, while another comes in a fraction too late to line up properly in the arrangement. Later on, one of the vocalists makes an unhinged choice attempting an operatic run in the style of Tarja Turunen. Not only does this moment clash against already tepid songwriting with its poor execution, but it also illustrates the competitive, rather than cooperative, nature of The 7th Guild’s vocal performances. Furthermore, this egregious showboating behavior puts a spotlight on the oversimplified, underutilized metallic instrumentation in the background, as demonstrated by the overwrought “The Metal Charade.” Closer “Fairy Tale” doesn’t fare much better as the over-performed, nasal balladry dominates the soundscape with questionable choices and strained reaches, all in the name of bombast.

The most damning aspect of The 7th Guild’s troubled debut is the impression it leaves with this listener. After the dust settles and I lay Triumviro to rest, I breathe a heavy sigh of relief. Its first five songs aren’t that bad, and two of those are arguably good. But even those can’t escape the problems pervading the entire record. Moreover, its second half is a clinic on what not to do, from writing to performance, on a symphonic power metal record. In short, right now The 7th Guild are closer to The Three Tricksters than The Three Tenors.

Rating: Bad
DR: 8 | Format Reviewed: 160 kbps mp3
Label: Scarlet Records
Website: facebook.com/the7thguild
Releases Worldwide: February 21st, 2025

#15 #2025 #Derdian #Feb25 #Fellowship #ItalianMetalMetal #PowerMetal #Review #Reviews #RhapsodyOfFire #ScarletRecords #Skeletoon #SymphonicMetal #The7thGuild #TheThreeTenors #Triumviro #TwilightForce #VisionDivine

Pathogenic – Crowned in Corpses Review

By Tyme

Lowell, Massachusetts, is the hometown of boxer Mickey Ward, the subject of the excellent 2010 film The Fighter starring Mark Wahlberg, and it’s also the birthplace of progressive death metal quintet Pathogenic. Formed in 2004 and since relocated to The Hub,1 Pathogenic has been slugging it out in the progressive-tech, deathcore scene for nearly 20 years. With only two independently released full-lengths under their belt during this span (2011’s Cyclopean Imagery and 2019’s Pathogenic), these guys seem content to spend a lot of time training between bouts of expression. Now six years removed from their eponymous sophomore album and sporting a new, mutated logo and re-vamped lineup, Pathogenic has signed on with Skepsis Records to once again step in the ring with third album, Crowned in Corpses. Will all the roadwork and sparring pay off and see them move up a class or two, or will they remain middleweights forever?

Crowned in Corpses is by far the heaviest album that Pathogenic has recorded. Since reuniting with original vocalist Jake Burns and adding new drummer Tyler Montaquila in 2022, Pathogenic has shed much of its former progressive frivolity in exchange for brute force. With its Demanufactured riffery, the opening track, “Mass Grave Memory,” is a primary example, opting to strike Fear Factory into the hearts of men rather than broaden their Bring Me the Horizons. And while the roots of this new direction remain planted in deathcore—I don’t find anything Archspirely technical here— there’s way more death at the heart of Crowned in Corpses than there is core. Pathogenic‘s crisp, machine-gun staccato riffs, pinched squeal harmonics, melodic lead and solo work (courtesy of Justin Licht, Chris Gardino and Jake Burns) do draw Thy Art is Murder and The Red Chord comparisons but have replaced the softer jazzuflections predominant on the debut. This new sound may prove somewhat off-putting for fans of Pathogenic‘s earlier material but don’t start that ten count just yet.

Crowned in Corpses makes for a compelling listen by avoiding the more egregious deathcore tropes—primarily piggy vox and incessant beaten-like-a-dead-horse breakdowns—while maintaining flashes of past progressive atmospherics. Mid-album song “Fragments” casts the widest prog net here with its slow, bass-laden melodies, harmonic cleans and swanky solos building to a crescendo of heavy chugs and powerful raspy screams, then fading out in a haze of Stranger Things-worthy synths. With nary a hint of pretension, the song works well here, providing an oasis of respite between the body blows of the beef-heavy “Exiled from the Abyss” and the off-kilter brutality of “Crowned in Corpses.” Add in some effective acoustic work (“Dead But Not at Rest,” “The New Rot”), and Pathogenic has managed to elevate the level of brutality missing from previous releases without abandoning altogether some of the sounds that fans of the band have come to expect. Unfortunately, Pathogenic‘s new sonic direction has swallowed some of those sounds.

Dan Leahy brings a lot of talent to his bass performances, as evidenced on previous outings, but much of his work on Crowned in Corpses gets lost in the mix. Loud as one might expect, the booth work here doesn’t differ, providing little space for the instruments to breathe and, other than the aforementioned “Fragments,” muffling Leahy’s bass. Burns’ vocals, full of satisfying growls and piercing rasps, take center stage alongside the chugging guitars and Montaquila’s skin-beating drum work. Still, this is not entirely bad, as Burns’ return and Montaquila’s addition have upgraded Pathogenic‘s total package. Crowned in Corpses gets points for clocking in at just over forty-two minutes, but cutting two or more minutes from closer “Silicone Regime” would have upped the album’s overall lethality.

Like the dark king on the cover, sitting upon his throne of bones and driving steel through the skull of his final enemy, Pathogenic has made a statement with Crowned in Corpses. They have re-emerged a much leaner and meaner fighter, sporting a bag of tricks not previously displayed. I enjoyed getting to know Pathogenic, and listening to their back catalog has me rooting for Crowned in Corpses all the more for what it does and doesn’t do. Is it still deathcore? Yes. Would it be “wicked smaht” of you to give it a listen? Yes. If Pathogenic can clean up some minor issues holding them back, I could see a title shot in their future.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Skepsis Records
Websites: pathogenic.bandcamp.com | facebook.com/pathogenicmetal
Releases Worldwide: February 7, 2025

#2025 #30 #AmericanMetal #CrownedInCorpses #DeathMetal #Deathcore #FearFactory #Feb25 #Pathogenic #ProgressiveTechnicalDeathMetal #Review #Reviews #SkepsisRecords #TheRedChord #ThyArtIsMurder

Pathogenic – Crowned in Corpses Review

By Tyme

Lowell, Massachusetts, is the hometown of boxer Mickey Ward, the subject of the excellent 2010 film The Fighter starring Mark Wahlberg, and it’s also the birthplace of progressive death metal quintet Pathogenic. Formed in 2004 and since relocated to The Hub,1 Pathogenic has been slugging it out in the progressive-tech, deathcore scene for nearly 20 years. With only two independently released full-lengths under their belt during this span (2011’s Cyclopean Imagery and 2019’s Pathogenic), these guys seem content to spend a lot of time training between bouts of expression. Now six years removed from their eponymous sophomore album and sporting a new, mutated logo and re-vamped lineup, Pathogenic has signed on with Skepsis Records to once again step in the ring with third album, Crowned in Corpses. Will all the roadwork and sparring pay off and see them move up a class or two, or will they remain middleweights forever?

Crowned in Corpses is by far the heaviest album that Pathogenic has recorded. Since reuniting with original vocalist Jake Burns and adding new drummer Tyler Montaquila in 2022, Pathogenic has shed much of its former progressive frivolity in exchange for brute force. With its Demanufactured riffery, the opening track, “Mass Grave Memory,” is a primary example, opting to strike Fear Factory into the hearts of men rather than broaden their Bring Me the Horizons. And while the roots of this new direction remain planted in deathcore—I don’t find anything Archspirely technical here— there’s way more death at the heart of Crowned in Corpses than there is core. Pathogenic‘s crisp, machine-gun staccato riffs, pinched squeal harmonics, melodic lead and solo work (courtesy of Justin Licht, Chris Gardino and Jake Burns) do draw Thy Art is Murder and The Red Chord comparisons but have replaced the softer jazzuflections predominant on the debut. This new sound may prove somewhat off-putting for fans of Pathogenic‘s earlier material but don’t start that ten count just yet.

Crowned in Corpses makes for a compelling listen by avoiding the more egregious deathcore tropes—primarily piggy vox and incessant beaten-like-a-dead-horse breakdowns—while maintaining flashes of past progressive atmospherics. Mid-album song “Fragments” casts the widest prog net here with its slow, bass-laden melodies, harmonic cleans and swanky solos building to a crescendo of heavy chugs and powerful raspy screams, then fading out in a haze of Stranger Things-worthy synths. With nary a hint of pretension, the song works well here, providing an oasis of respite between the body blows of the beef-heavy “Exiled from the Abyss” and the off-kilter brutality of “Crowned in Corpses.” Add in some effective acoustic work (“Dead But Not at Rest,” “The New Rot”), and Pathogenic has managed to elevate the level of brutality missing from previous releases without abandoning altogether some of the sounds that fans of the band have come to expect. Unfortunately, Pathogenic‘s new sonic direction has swallowed some of those sounds.

Dan Leahy brings a lot of talent to his bass performances, as evidenced on previous outings, but much of his work on Crowned in Corpses gets lost in the mix. Loud as one might expect, the booth work here doesn’t differ, providing little space for the instruments to breathe and, other than the aforementioned “Fragments,” muffling Leahy’s bass. Burns’ vocals, full of satisfying growls and piercing rasps, take center stage alongside the chugging guitars and Montaquila’s skin-beating drum work. Still, this is not entirely bad, as Burns’ return and Montaquila’s addition have upgraded Pathogenic‘s total package. Crowned in Corpses gets points for clocking in at just over forty-two minutes, but cutting two or more minutes from closer “Silicone Regime” would have upped the album’s overall lethality.

Like the dark king on the cover, sitting upon his throne of bones and driving steel through the skull of his final enemy, Pathogenic has made a statement with Crowned in Corpses. They have re-emerged a much leaner and meaner fighter, sporting a bag of tricks not previously displayed. I enjoyed getting to know Pathogenic, and listening to their back catalog has me rooting for Crowned in Corpses all the more for what it does and doesn’t do. Is it still deathcore? Yes. Would it be “wicked smaht” of you to give it a listen? Yes. If Pathogenic can clean up some minor issues holding them back, I could see a title shot in their future.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Skepsis Records
Websites: pathogenic.bandcamp.com | facebook.com/pathogenicmetal
Releases Worldwide: February 7, 2025

#2025 #30 #AmericanMetal #CrownedInCorpses #DeathMetal #Deathcore #FearFactory #Feb25 #Pathogenic #ProgressiveTechnicalDeathMetal #Review #Reviews #SkepsisRecords #TheRedChord #ThyArtIsMurder

Pathogenic – Crowned in Corpses Review

By Tyme

Lowell, Massachusetts, is the hometown of boxer Mickey Ward, the subject of the excellent 2010 film The Fighter starring Mark Wahlberg, and it’s also the birthplace of progressive death metal quintet Pathogenic. Formed in 2004 and since relocated to The Hub,1 Pathogenic has been slugging it out in the progressive-tech, deathcore scene for nearly 20 years. With only two independently released full-lengths under their belt during this span (2011’s Cyclopean Imagery and 2019’s Pathogenic), these guys seem content to spend a lot of time training between bouts of expression. Now six years removed from their eponymous sophomore album and sporting a new, mutated logo and re-vamped lineup, Pathogenic has signed on with Skepsis Records to once again step in the ring with third album, Crowned in Corpses. Will all the roadwork and sparring pay off and see them move up a class or two, or will they remain middleweights forever?

Crowned in Corpses is by far the heaviest album that Pathogenic has recorded. Since reuniting with original vocalist Jake Burns and adding new drummer Tyler Montaquila in 2022, Pathogenic has shed much of its former progressive frivolity in exchange for brute force. With its Demanufactured riffery, the opening track, “Mass Grave Memory,” is a primary example, opting to strike Fear Factory into the hearts of men rather than broaden their Bring Me the Horizons. And while the roots of this new direction remain planted in deathcore—I don’t find anything Archspirely technical here— there’s way more death at the heart of Crowned in Corpses than there is core. Pathogenic‘s crisp, machine-gun staccato riffs, pinched squeal harmonics, melodic lead and solo work (courtesy of Justin Licht, Chris Gardino and Jake Burns) do draw Thy Art is Murder and The Red Chord comparisons but have replaced the softer jazzuflections predominant on the debut. This new sound may prove somewhat off-putting for fans of Pathogenic‘s earlier material but don’t start that ten count just yet.

Crowned in Corpses makes for a compelling listen by avoiding the more egregious deathcore tropes—primarily piggy vox and incessant beaten-like-a-dead-horse breakdowns—while maintaining flashes of past progressive atmospherics. Mid-album song “Fragments” casts the widest prog net here with its slow, bass-laden melodies, harmonic cleans and swanky solos building to a crescendo of heavy chugs and powerful raspy screams, then fading out in a haze of Stranger Things-worthy synths. With nary a hint of pretension, the song works well here, providing an oasis of respite between the body blows of the beef-heavy “Exiled from the Abyss” and the off-kilter brutality of “Crowned in Corpses.” Add in some effective acoustic work (“Dead But Not at Rest,” “The New Rot”), and Pathogenic has managed to elevate the level of brutality missing from previous releases without abandoning altogether some of the sounds that fans of the band have come to expect. Unfortunately, Pathogenic‘s new sonic direction has swallowed some of those sounds.

Dan Leahy brings a lot of talent to his bass performances, as evidenced on previous outings, but much of his work on Crowned in Corpses gets lost in the mix. Loud as one might expect, the booth work here doesn’t differ, providing little space for the instruments to breathe and, other than the aforementioned “Fragments,” muffling Leahy’s bass. Burns’ vocals, full of satisfying growls and piercing rasps, take center stage alongside the chugging guitars and Montaquila’s skin-beating drum work. Still, this is not entirely bad, as Burns’ return and Montaquila’s addition have upgraded Pathogenic‘s total package. Crowned in Corpses gets points for clocking in at just over forty-two minutes, but cutting two or more minutes from closer “Silicone Regime” would have upped the album’s overall lethality.

Like the dark king on the cover, sitting upon his throne of bones and driving steel through the skull of his final enemy, Pathogenic has made a statement with Crowned in Corpses. They have re-emerged a much leaner and meaner fighter, sporting a bag of tricks not previously displayed. I enjoyed getting to know Pathogenic, and listening to their back catalog has me rooting for Crowned in Corpses all the more for what it does and doesn’t do. Is it still deathcore? Yes. Would it be “wicked smaht” of you to give it a listen? Yes. If Pathogenic can clean up some minor issues holding them back, I could see a title shot in their future.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Skepsis Records
Websites: pathogenic.bandcamp.com | facebook.com/pathogenicmetal
Releases Worldwide: February 7, 2025

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