#godflesh — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #godflesh, aggregated by home.social.
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Godflesh - Post Self - 2017
#Music #AlbumSuggestions #NowPlaying #NowListening
#Godflesh #PostSelf -
Godflesh - Post Self - 2017
#Music #AlbumSuggestions #NowPlaying #NowListening
#Godflesh #PostSelf -
For today's #MondayRandom10 I'm going to share the #Doomgaze Primer from #BandCamp - I love me some slow electric guitar goodness and the picks on this playlist are all new to me, so it feels random. (The only artist I'm even tangentially familiar with is jesu but only because I've listened to a little #Godflesh.)
https://daily.bandcamp.com/lists/doomgaze-list -
For today's #MondayRandom10 I'm going to share the #Doomgaze Primer from #BandCamp - I love me some slow electric guitar goodness and the picks on this playlist are all new to me, so it feels random. (The only artist I'm even tangentially familiar with is jesu but only because I've listened to a little #Godflesh.)
https://daily.bandcamp.com/lists/doomgaze-list -
For today's #MondayRandom10 I'm going to share the #Doomgaze Primer from #BandCamp - I love me some slow electric guitar goodness and the picks on this playlist are all new to me, so it feels random. (The only artist I'm even tangentially familiar with is jesu but only because I've listened to a little #Godflesh.)
https://daily.bandcamp.com/lists/doomgaze-list -
OK so you know, the music I’ve been making the last couple of years is definitely #drone based, and in at least that sense I consider it in part a form of #ambient (or even #darkAmbient if you must), as well as in that it’s meant to have certain meditative and immersive qualities
at the same time, I want to emphasize that while it’s experimental, electronic, and minimalistic, I also intend it to be heavy, ritualistic stuff. I track and mix at maximum volume, and my records are meant to be heard that way. I am inspired by artists like #gybe, #sunn_O))), #Neurosis, #MONO, @sigurRos, #Godflesh (Incl #Jesu) and fuckin #Swans. I work with digital software as my primary musical instrument, because it’s what I know best and have ready access to. As part of my workflow/process, some of the sounds are bounced down to analog cassette tape on a 1990s vintage four-track machine, and then back into the laptop/DAW. One way I sometimes try to put it, is I’d like my music to be judged as if it were, say, the electronic ambient #doom solo project of a former black metal drummer – except I skipped the part where I was a drummer in a black metal band. (I did play bass and keyboards in a couple of punk bands long ago.) You’re supposed to feel the bass in your sternum, you dig?
As much as I’d love a chance to get to work in a pro studio, or maybe just to have more hardware equipment at home and I do consider my music a meaningful and serious artistic endeavor, I’m not a pro musician but a suburban computer toucher of a certain age, with a mortgage and kids to get through college, so that’s not in the cards. And I *like* seeing how much of a throbbing racket I can stir up with a DAW and a couple of basic MIDI controllers, which I think turns out to be a lot. Today’s technology makes incredible things possible working entirely in the box. it becomes a trust the process/work within the limitations/constraints thing; something something about surrendering ego to the sound.
Anyway, the point is, I don’t expect the things I make to be everyone’s cup of #noise, and this one is a couple of years old already now (ugh) – but at the risk of sounding braggy I’m pretty proud of it, and I would like for my #fedimusic friends to hear it. And once again, I strongly encourage everyone to PLAY IT LOUD!! 🤘🖤🤘
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OK so you know, the music I’ve been making the last couple of years is definitely #drone based, and in at least that sense I consider it in part a form of #ambient (or even #darkAmbient if you must), as well as in that it’s meant to have certain meditative and immersive qualities
at the same time, I want to emphasize that while it’s experimental, electronic, and minimalistic, I also intend it to be heavy, ritualistic stuff. I track and mix at maximum volume, and my records are meant to be heard that way. I am inspired by artists like #gybe, #sunn_O))), #Neurosis, #MONO, @sigurRos, #Godflesh (Incl #Jesu) and fuckin #Swans. I work with digital software as my primary musical instrument, because it’s what I know best and have ready access to. As part of my workflow/process, some of the sounds are bounced down to analog cassette tape on a 1990s vintage four-track machine, and then back into the laptop/DAW. One way I sometimes try to put it, is I’d like my music to be judged as if it were, say, the electronic ambient #doom solo project of a former black metal drummer – except I skipped the part where I was a drummer in a black metal band. (I did play bass and keyboards in a couple of punk bands long ago.) You’re supposed to feel the bass in your sternum, you dig?
As much as I’d love a chance to get to work in a pro studio, or maybe just to have more hardware equipment at home and I do consider my music a meaningful and serious artistic endeavor, I’m not a pro musician but a suburban computer toucher of a certain age, with a mortgage and kids to get through college, so that’s not in the cards. And I *like* seeing how much of a throbbing racket I can stir up with a DAW and a couple of basic MIDI controllers, which I think turns out to be a lot. Today’s technology makes incredible things possible working entirely in the box. it becomes a trust the process/work within the limitations/constraints thing; something something about surrendering ego to the sound.
Anyway, the point is, I don’t expect the things I make to be everyone’s cup of #noise, and this one is a couple of years old already now (ugh) – but at the risk of sounding braggy I’m pretty proud of it, and I would like for my #fedimusic friends to hear it. And once again, I strongly encourage everyone to PLAY IT LOUD!! 🤘🖤🤘
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OK so you know, the music I’ve been making the last couple of years is definitely #drone based, and in at least that sense I consider it in part a form of #ambient (or even #darkAmbient if you must), as well as in that it’s meant to have certain meditative and immersive qualities
at the same time, I want to emphasize that while it’s experimental, electronic, and minimalistic, I also intend it to be heavy, ritualistic stuff. I track and mix at maximum volume, and my records are meant to be heard that way. I am inspired by artists like #gybe, #sunn_O))), #Neurosis, #MONO, @sigurRos, #Godflesh (Incl #Jesu) and fuckin #Swans. I work with digital software as my primary musical instrument, because it’s what I know best and have ready access to. As part of my workflow/process, some of the sounds are bounced down to analog cassette tape on a 1990s vintage four-track machine, and then back into the laptop/DAW. One way I sometimes try to put it, is I’d like my music to be judged as if it were, say, the electronic ambient #doom solo project of a former black metal drummer – except I skipped the part where I was a drummer in a black metal band. (I did play bass and keyboards in a couple of punk bands long ago.) You’re supposed to feel the bass in your sternum, you dig?
As much as I’d love a chance to get to work in a pro studio, or maybe just to have more hardware equipment at home and I do consider my music a meaningful and serious artistic endeavor, I’m not a pro musician but a suburban computer toucher of a certain age, with a mortgage and kids to get through college, so that’s not in the cards. And I *like* seeing how much of a throbbing racket I can stir up with a DAW and a couple of basic MIDI controllers, which I think turns out to be a lot. Today’s technology makes incredible things possible working entirely in the box. it becomes a trust the process/work within the limitations/constraints thing; something something about surrendering ego to the sound.
Anyway, the point is, I don’t expect the things I make to be everyone’s cup of #noise, and this one is a couple of years old already now (ugh) – but at the risk of sounding braggy I’m pretty proud of it, and I would like for my #fedimusic friends to hear it. And once again, I strongly encourage everyone to PLAY IT LOUD!! 🤘🖤🤘
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Das ist eine .44er Magnum, die stärkste Handfeuerwaffe der Welt; sie bläst dir das Gehirn aus dem Schädel! #MagnumForce #Sielwolf Somewhere within the same spectrum as #EinstürzendeNeubauten and #Godflesh lies this musical dream made flesh. Live, they were simply brutal! #music #industrial
Magnum Force -
Das ist eine .44er Magnum, die stärkste Handfeuerwaffe der Welt; sie bläst dir das Gehirn aus dem Schädel! #MagnumForce #Sielwolf Somewhere within the same spectrum as #EinstürzendeNeubauten and #Godflesh lies this musical dream made flesh. Live, they were simply brutal! #music #industrial
Magnum Force -
Das ist eine .44er Magnum, die stärkste Handfeuerwaffe der Welt; sie bläst dir das Gehirn aus dem Schädel! #MagnumForce #Sielwolf Somewhere within the same spectrum as #EinstürzendeNeubauten and #Godflesh lies this musical dream made flesh. Live, they were simply brutal! #music #industrial
Magnum Force -
🔴 LIVE NOW ON VORTEX
📻 Vortex Night ⛓️ (Industrial metal)
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🎵 Godflesh - Crush My Soul▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net💬 Join us on Discord:
https://discord.gg/d82hJZBeDE -
🔴 LIVE NOW ON VORTEX
📻 Vortex Night ⛓️ (Industrial metal)
──────────────
🎵 Godflesh - Crush My Soul▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net💬 Join us on Discord:
https://discord.gg/d82hJZBeDE -
Sundays are a good day to relax.
Lawns and grocery shopping completed this morning. Dinner is in the oven slow cooking for serving later this evening.
I have a nice cold glass of Guinness and Godflesh playing on the headphones.
I think I'm going to do some tweaking to the desktop.
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Sundays are a good day to relax.
Lawns and grocery shopping completed this morning. Dinner is in the oven slow cooking for serving later this evening.
I have a nice cold glass of Guinness and Godflesh playing on the headphones.
I think I'm going to do some tweaking to the desktop.
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When #Scotland last beat #France, trophy, referee, #TV
https://kensbookinfo.blogspot.com/p/uk.html#scotsmanDo the Nuggets have a #NikolaJokić-Cam Johnson connection
https://kensbookinfo.blogspot.com/p/sports.html#25#Zelensky issues military threat against #EU
https://kensbookinfo.blogspot.com/p/markets.html#2#UAE Warriors books doubleheader amid #MiddleEast turmoil
https://kensbookinfo.blogspot.com/p/sports.html#25#Taxpayer dollars flood pregnancy centers Oversight
https://kensbookinfo.blogspot.com/p/etc-states.html#6Justin K Broadrick Outlines End Of #Godflesh Following
https://kensbookinfo.blogspot.com/p/media.html#13 -
When #Scotland last beat #France, trophy, referee, #TV
https://kensbookinfo.blogspot.com/p/uk.html#scotsmanDo the Nuggets have a #NikolaJokić-Cam Johnson connection
https://kensbookinfo.blogspot.com/p/sports.html#25#Zelensky issues military threat against #EU
https://kensbookinfo.blogspot.com/p/markets.html#2#UAE Warriors books doubleheader amid #MiddleEast turmoil
https://kensbookinfo.blogspot.com/p/sports.html#25#Taxpayer dollars flood pregnancy centers Oversight
https://kensbookinfo.blogspot.com/p/etc-states.html#6Justin K Broadrick Outlines End Of #Godflesh Following
https://kensbookinfo.blogspot.com/p/media.html#13 -
When #Scotland last beat #France, trophy, referee, #TV
https://kensbookinfo.blogspot.com/p/uk.html#scotsmanDo the Nuggets have a #NikolaJokić-Cam Johnson connection
https://kensbookinfo.blogspot.com/p/sports.html#25#Zelensky issues military threat against #EU
https://kensbookinfo.blogspot.com/p/markets.html#2#UAE Warriors books doubleheader amid #MiddleEast turmoil
https://kensbookinfo.blogspot.com/p/sports.html#25#Taxpayer dollars flood pregnancy centers Oversight
https://kensbookinfo.blogspot.com/p/etc-states.html#6Justin K Broadrick Outlines End Of #Godflesh Following
https://kensbookinfo.blogspot.com/p/media.html#13 -
Justin K. Broadrick Halts Godflesh Live Shows Following Abdominal Surgery
https://thequietus.com/news/justin-k-broadrick-halts-godflesh-live-shows-following-abdominal-surgery/?utm_source=rss&utm_medium=rss&utm_campaign=justin-k-broadrick-halts-godflesh-live-shows-following-abdominal-surgery#thequietus #News #Godflesh #jesu #JK_Flesh #Justin_K_Broadrick
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Justin K. Broadrick Halts Godflesh Live Shows Following Abdominal Surgery
https://thequietus.com/news/justin-k-broadrick-halts-godflesh-live-shows-following-abdominal-surgery/?utm_source=rss&utm_medium=rss&utm_campaign=justin-k-broadrick-halts-godflesh-live-shows-following-abdominal-surgery#thequietus #News #Godflesh #jesu #JK_Flesh #Justin_K_Broadrick
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Justin K. Broadrick Halts Godflesh Live Shows Following Abdominal Surgery
https://thequietus.com/news/justin-k-broadrick-halts-godflesh-live-shows-following-abdominal-surgery/?utm_source=rss&utm_medium=rss&utm_campaign=justin-k-broadrick-halts-godflesh-live-shows-following-abdominal-surgery#thequietus #News #Godflesh #jesu #JK_Flesh #Justin_K_Broadrick
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So sad to hear about Justin Broadrick's health issues. He's an absolute legend and I'll be forever grateful for his music and the two times I had the chance to see #Godflesh live.
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So sad to hear about Justin Broadrick's health issues. He's an absolute legend and I'll be forever grateful for his music and the two times I had the chance to see #Godflesh live.
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Justin K. Broadrick retires from touring with Godflesh after surgery:
Link: https://metalinsider.net/news/justin-k-broadrick-retires-from-touring-with-godflesh-after-surgery
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Justin K. Broadrick Forced To Retire From Touring With Godflesh Following Recent Abdominal Surgery
Godflesh vocalist, guitarist, etc. Justin K. Broadrick has announced that his live days with the pioneering industrial metal…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #Entertainment #Godflesh #JustinKBroadrick
https://www.newsbeep.com/us/504452/ -
This sucks.
I would have loved to have had the chance to see Godflesh live.
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This sucks.
I would have loved to have had the chance to see Godflesh live.
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If you like old Godflesh, very old Pitch shifter, Old Ministry, M-pheral
Check out PEASANT GOD from Sweden:
https://www.youtube.com/watch?v=CGeoVuwHHIo -
If you like old Godflesh, very old Pitch shifter, Old Ministry, M-pheral
Check out PEASANT GOD from Sweden:
https://www.youtube.com/watch?v=CGeoVuwHHIo -
If you like old Godflesh, very old Pitch shifter, Old Ministry, M-pheral
Check out PEASANT GOD from Sweden:
https://www.youtube.com/watch?v=CGeoVuwHHIo -
Next release ?
I’m working on a forthcoming release, musically the words « doom » and « industrial » will fit the description… Something in the spirit of ooold Godflesh.
I will come back to the tape format, after a year and a half of CDs.
SUPPORT ANALOG RESISTANCE -
Next release ?
I’m working on a forthcoming release, musically the words « doom » and « industrial » will fit the description… Something in the spirit of ooold Godflesh.
I will come back to the tape format, after a year and a half of CDs.
SUPPORT ANALOG RESISTANCE -
Next release ?
I’m working on a forthcoming release, musically the words « doom » and « industrial » will fit the description… Something in the spirit of ooold Godflesh.
I will come back to the tape format, after a year and a half of CDs.
SUPPORT ANALOG RESISTANCE -
#Godflesh artwork sources - mostly films, mostly experimental. For fans of Godflesh and exp films, and also nice example from the good old times when internet was interesting, full of enthusiasm and, er, selfless.
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#Godflesh artwork sources - mostly films, mostly experimental. For fans of Godflesh and exp films, and also nice example from the good old times when internet was interesting, full of enthusiasm and, er, selfless.
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#nowplaying #godflesh #legend #sundaybeers&sundaymetal
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Sanguisugabogg – Hideous Aftermath Review
By Owlswald
This review almost didn’t happen. As the recently demoted were scraping the last bit of slime off the bottom of the skull pit to prepare for the new haul of Fall promo, we inadvertently found Sanguisugabogg’s third full-length, Hideous Aftermath, submerged in the sludgy remains of two ex-n00bs. Mistakes were made for which we do do not apologize. These Ohio-based purveyors of grimy, gore-inspired brutal death may have a name worthy of the national Spelling Bee and a logo that looks like blood-soaked, tangled string, but these chaps know how to dish out the goods. Spawning from Maggot Stomping grounds in 2019, Sanguisugabogg’s tongue-in-cheek brutality has raised them up to the forefront of this fetid genre. After a debut EP built considerable buzz, Diabolus and Felagund found follow-up LPs Tortured Whole and Homicidal Ecstasy to be forthright and fun slabs of brutal death. Hideous Aftermath now signals a shift, honing their caveman chugs to embrace more expansive horizons, but in the end, it’s still big gory, dumb fun.
On Hideous Aftermath, Sanguisugabogg sheds the muddy textures of 90s death for a significantly sharper and more organic sound. This is largely thanks to stellar production by Kurt Ballou (Converge, Nails). After long self-producing, Sanguisugabogg trusted Ballou’s expertise1 to elevate their sound, ditching the split low-end signal of the guitar in favor of real bass (played by guitarists Cedrik Davis and Drew Arnold) to add a clearer, punchier low-end. The result is a loud, full mix that still allows every nuance of the instrumentation to shine through. From Davis and Arnold’s chunky, downtuned guitar grooves, to Devin Swank’s stomach-churning gutturals, to Cody Davidson’s flashy, intricate kit work (including the trademark snare ping), everything hits like a fucking tank. Tracks like “Erotic Beheading,” “Abhorrent Contraception” and “Rotted Entanglement” Vomit Forth a platter of the ‘Bogg’s familiar chugs and slams, while facets of Vile Rites progressiveness (“Sanctified Defilement”), Godflesh-tinged industrial (“Replusive Demise”), sludgy drawls (“Paid in Flesh”) and laser blasts (“Semi Automatic Facial Reconstruction”) show the foursome at their boldest and most creative. Despite this internal split, Hideous Aftermath is a welcome evolution for Sanguisugabogg and a good time to boot.
Let’s curb any potential misconceptions: while Hideous Aftermath finds Sanguisugabogg exploring new sonic territory, it’s first and foremost the same ugly, blood-thirsty, brutal death that existing fans know and love. Across ten songs, the ‘Bogg bludgeons the listener with an unrelenting assault of riffs, blasts, breakdowns and half-time stomps. Moments of respite are few before the artillery fire of Davidson’s brilliant, anchoring rhythms resumes the barrage. Davidson’s drumming remains the top highlight, elevating Sanguisugabogg’s songwriting with technical aggression through flawless double bass runs, Bran Dailor-esque (Mastodon) snare rolls and violence-inducing bell work. Standout front-half tracks like “Abhorrent Contraception,” “Rotted Entanglement” and “Ritual of Autophagia” showcase the group’s strongest material to date. Here, pummeling brutality meets discordant melodies (“Ritual of Autophagia”), swirling arpeggiations (“Rotted Entanglement”) and djenty gallops (“Felony Abuse of a Corpse”). Coupled with the injection of high-caliber guests,2 these new twists and turns give Hideous Aftermath’s material a different, fresh feel and I’m here for it.
While the first half of Hideous Aftermath proves Sanguisugabogg is capable of taking calculated steps forward, the record’s overall impact is weakened by its excessive 47-minute length and hesitant execution in the final stretch. The record feels front-loaded, with later tracks “Erotic Beheading,” “Semi Automatic Facial Reconstruction,” and “Sanctified Defilement” hindered by conventionality, lacking the strength and progressiveness of the album’s stronger material. Accordingly, Hideous Aftermath would have benefited from trimming two or three tracks to distill its best ideas. The ambitious industrial interlude “Repulsive Demise,” for example, feels awkward and out of place, while the sludgy ending to the otherwise solid “Pain of Flesh” drones on unnecessarily for four minutes, further underscoring the pacing issue.
But make no mistake—Hideous Aftermath is the best material Sanguisugabogg has released to date, largely succeeding in balancing evolution with tradition. The album confidently delivers the ‘Bogg’s trademark slams and neck-snapping grooves that longtime fans expect, while integrating new twists and turns that showcase a newfound artistic confidence. Though the final stretch wades too far into the deep end and keeps me from awarding Hideous Aftermath a higher score, the record sets a clear path for future greatness. It’s no longer a question of if Sanguisugabogg will ascend, but when.
Rating: Good!
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Century Media
Websites: sanguisugabogg.bandcamp.com | sanguisugabogg.com | facebook.com/sanguisugabogg
Releases Worldwide: October 10th, 2025#2025 #30 #AmericanMetal #CattleDecapitation #CenturyMedia #Converge #DeathMetal #DefeatedSanity #FullOfHell #Godflesh #HideousAftermath #Mastodon #Nails #Oct25 #PeelingFlesh #Review #Reviews #Sanguisugabogg #VileRites #VomitForth
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Sanguisugabogg – Hideous Aftermath Review
By Owlswald
This review almost didn’t happen. As the recently demoted were scraping the last bit of slime off the bottom of the skull pit to prepare for the new haul of Fall promo, we inadvertently found Sanguisugabogg’s third full-length, Hideous Aftermath, submerged in the sludgy remains of two ex-n00bs. Mistakes were made for which we do do not apologize. These Ohio-based purveyors of grimy, gore-inspired brutal death may have a name worthy of the national Spelling Bee and a logo that looks like blood-soaked, tangled string, but these chaps know how to dish out the goods. Spawning from Maggot Stomping grounds in 2019, Sanguisugabogg’s tongue-in-cheek brutality has raised them up to the forefront of this fetid genre. After a debut EP built considerable buzz, Diabolus and Felagund found follow-up LPs Tortured Whole and Homicidal Ecstasy to be forthright and fun slabs of brutal death. Hideous Aftermath now signals a shift, honing their caveman chugs to embrace more expansive horizons, but in the end, it’s still big gory, dumb fun.
On Hideous Aftermath, Sanguisugabogg sheds the muddy textures of 90s death for a significantly sharper and more organic sound. This is largely thanks to stellar production by Kurt Ballou (Converge, Nails). After long self-producing, Sanguisugabogg trusted Ballou’s expertise1 to elevate their sound, ditching the split low-end signal of the guitar in favor of real bass (played by guitarists Cedrik Davis and Drew Arnold) to add a clearer, punchier low-end. The result is a loud, full mix that still allows every nuance of the instrumentation to shine through. From Davis and Arnold’s chunky, downtuned guitar grooves, to Devin Swank’s stomach-churning gutturals, to Cody Davidson’s flashy, intricate kit work (including the trademark snare ping), everything hits like a fucking tank. Tracks like “Erotic Beheading,” “Abhorrent Contraception” and “Rotted Entanglement” Vomit Forth a platter of the ‘Bogg’s familiar chugs and slams, while facets of Vile Rites progressiveness (“Sanctified Defilement”), Godflesh-tinged industrial (“Replusive Demise”), sludgy drawls (“Paid in Flesh”) and laser blasts (“Semi Automatic Facial Reconstruction”) show the foursome at their boldest and most creative. Despite this internal split, Hideous Aftermath is a welcome evolution for Sanguisugabogg and a good time to boot.
Let’s curb any potential misconceptions: while Hideous Aftermath finds Sanguisugabogg exploring new sonic territory, it’s first and foremost the same ugly, blood-thirsty, brutal death that existing fans know and love. Across ten songs, the ‘Bogg bludgeons the listener with an unrelenting assault of riffs, blasts, breakdowns and half-time stomps. Moments of respite are few before the artillery fire of Davidson’s brilliant, anchoring rhythms resumes the barrage. Davidson’s drumming remains the top highlight, elevating Sanguisugabogg’s songwriting with technical aggression through flawless double bass runs, Bran Dailor-esque (Mastodon) snare rolls and violence-inducing bell work. Standout front-half tracks like “Abhorrent Contraception,” “Rotted Entanglement” and “Ritual of Autophagia” showcase the group’s strongest material to date. Here, pummeling brutality meets discordant melodies (“Ritual of Autophagia”), swirling arpeggiations (“Rotted Entanglement”) and djenty gallops (“Felony Abuse of a Corpse”). Coupled with the injection of high-caliber guests,2 these new twists and turns give Hideous Aftermath’s material a different, fresh feel and I’m here for it.
While the first half of Hideous Aftermath proves Sanguisugabogg is capable of taking calculated steps forward, the record’s overall impact is weakened by its excessive 47-minute length and hesitant execution in the final stretch. The record feels front-loaded, with later tracks “Erotic Beheading,” “Semi Automatic Facial Reconstruction,” and “Sanctified Defilement” hindered by conventionality, lacking the strength and progressiveness of the album’s stronger material. Accordingly, Hideous Aftermath would have benefited from trimming two or three tracks to distill its best ideas. The ambitious industrial interlude “Repulsive Demise,” for example, feels awkward and out of place, while the sludgy ending to the otherwise solid “Pain of Flesh” drones on unnecessarily for four minutes, further underscoring the pacing issue.
But make no mistake—Hideous Aftermath is the best material Sanguisugabogg has released to date, largely succeeding in balancing evolution with tradition. The album confidently delivers the ‘Bogg’s trademark slams and neck-snapping grooves that longtime fans expect, while integrating new twists and turns that showcase a newfound artistic confidence. Though the final stretch wades too far into the deep end and keeps me from awarding Hideous Aftermath a higher score, the record sets a clear path for future greatness. It’s no longer a question of if Sanguisugabogg will ascend, but when.
Rating: Good!
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Century Media
Websites: sanguisugabogg.bandcamp.com | sanguisugabogg.com | facebook.com/sanguisugabogg
Releases Worldwide: October 10th, 2025#2025 #30 #AmericanMetal #CattleDecapitation #CenturyMedia #Converge #DeathMetal #DefeatedSanity #FullOfHell #Godflesh #HideousAftermath #Mastodon #Nails #Oct25 #PeelingFlesh #Review #Reviews #Sanguisugabogg #VileRites #VomitForth
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Sanguisugabogg – Hideous Aftermath Review
By Owlswald
This review almost didn’t happen. As the recently demoted were scraping the last bit of slime off the bottom of the skull pit to prepare for the new haul of Fall promo, we inadvertently found Sanguisugabogg’s third full-length, Hideous Aftermath, submerged in the sludgy remains of two ex-n00bs. Mistakes were made for which we do do not apologize. These Ohio-based purveyors of grimy, gore-inspired brutal death may have a name worthy of the national Spelling Bee and a logo that looks like blood-soaked, tangled string, but these chaps know how to dish out the goods. Spawning from Maggot Stomping grounds in 2019, Sanguisugabogg’s tongue-in-cheek brutality has raised them up to the forefront of this fetid genre. After a debut EP built considerable buzz, Diabolus and Felagund found follow-up LPs Tortured Whole and Homicidal Ecstasy to be forthright and fun slabs of brutal death. Hideous Aftermath now signals a shift, honing their caveman chugs to embrace more expansive horizons, but in the end, it’s still big gory, dumb fun.
On Hideous Aftermath, Sanguisugabogg sheds the muddy textures of 90s death for a significantly sharper and more organic sound. This is largely thanks to stellar production by Kurt Ballou (Converge, Nails). After long self-producing, Sanguisugabogg trusted Ballou’s expertise1 to elevate their sound, ditching the split low-end signal of the guitar in favor of real bass (played by guitarists Cedrik Davis and Drew Arnold) to add a clearer, punchier low-end. The result is a loud, full mix that still allows every nuance of the instrumentation to shine through. From Davis and Arnold’s chunky, downtuned guitar grooves, to Devin Swank’s stomach-churning gutturals, to Cody Davidson’s flashy, intricate kit work (including the trademark snare ping), everything hits like a fucking tank. Tracks like “Erotic Beheading,” “Abhorrent Contraception” and “Rotted Entanglement” Vomit Forth a platter of the ‘Bogg’s familiar chugs and slams, while facets of Vile Rites progressiveness (“Sanctified Defilement”), Godflesh-tinged industrial (“Replusive Demise”), sludgy drawls (“Paid in Flesh”) and laser blasts (“Semi Automatic Facial Reconstruction”) show the foursome at their boldest and most creative. Despite this internal split, Hideous Aftermath is a welcome evolution for Sanguisugabogg and a good time to boot.
Let’s curb any potential misconceptions: while Hideous Aftermath finds Sanguisugabogg exploring new sonic territory, it’s first and foremost the same ugly, blood-thirsty, brutal death that existing fans know and love. Across ten songs, the ‘Bogg bludgeons the listener with an unrelenting assault of riffs, blasts, breakdowns and half-time stomps. Moments of respite are few before the artillery fire of Davidson’s brilliant, anchoring rhythms resumes the barrage. Davidson’s drumming remains the top highlight, elevating Sanguisugabogg’s songwriting with technical aggression through flawless double bass runs, Bran Dailor-esque (Mastodon) snare rolls and violence-inducing bell work. Standout front-half tracks like “Abhorrent Contraception,” “Rotted Entanglement” and “Ritual of Autophagia” showcase the group’s strongest material to date. Here, pummeling brutality meets discordant melodies (“Ritual of Autophagia”), swirling arpeggiations (“Rotted Entanglement”) and djenty gallops (“Felony Abuse of a Corpse”). Coupled with the injection of high-caliber guests,2 these new twists and turns give Hideous Aftermath’s material a different, fresh feel and I’m here for it.
While the first half of Hideous Aftermath proves Sanguisugabogg is capable of taking calculated steps forward, the record’s overall impact is weakened by its excessive 47-minute length and hesitant execution in the final stretch. The record feels front-loaded, with later tracks “Erotic Beheading,” “Semi Automatic Facial Reconstruction,” and “Sanctified Defilement” hindered by conventionality, lacking the strength and progressiveness of the album’s stronger material. Accordingly, Hideous Aftermath would have benefited from trimming two or three tracks to distill its best ideas. The ambitious industrial interlude “Repulsive Demise,” for example, feels awkward and out of place, while the sludgy ending to the otherwise solid “Pain of Flesh” drones on unnecessarily for four minutes, further underscoring the pacing issue.
But make no mistake—Hideous Aftermath is the best material Sanguisugabogg has released to date, largely succeeding in balancing evolution with tradition. The album confidently delivers the ‘Bogg’s trademark slams and neck-snapping grooves that longtime fans expect, while integrating new twists and turns that showcase a newfound artistic confidence. Though the final stretch wades too far into the deep end and keeps me from awarding Hideous Aftermath a higher score, the record sets a clear path for future greatness. It’s no longer a question of if Sanguisugabogg will ascend, but when.
Rating: Good!
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Century Media
Websites: sanguisugabogg.bandcamp.com | sanguisugabogg.com | facebook.com/sanguisugabogg
Releases Worldwide: October 10th, 2025#2025 #30 #AmericanMetal #CattleDecapitation #CenturyMedia #Converge #DeathMetal #DefeatedSanity #FullOfHell #Godflesh #HideousAftermath #Mastodon #Nails #Oct25 #PeelingFlesh #Review #Reviews #Sanguisugabogg #VileRites #VomitForth
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Right now, listening to #Godflesh – Our fathers in heaven
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Author & Punisher – Nocturnal Birding Review
By Dear Hollow
Contrary to the plethora of one-man metal projects out there, Author & Punisher’s mastermind Tristan Shone, has always stayed on this side of innovative, consistently riding the line between apocalyptic/dystopian atmospheres and the heaviest electronics since Godflesh. Much like Igorrr’s Gautiere Serre, Shone’s genius has been just as much in song construction as instrument construction, having put his experience as a mechanical engineer to the configuration of his “drone machines” and “dub machines.” This skill has allowed Shone a flexibility in his compositions, with albums like Ursus Americanus and Beastland boasting formidable anthemic brutality, while the more subdued Melk en Honig and Krüller rely on sprawling atmospheres that feel as fiery as they are dense. Nocturnal Birding takes a unique concept and spins it for a trip down Riff Lane.
A leaner and more concise album than even Beastland, Nocturnal Birding is another step from the transhumanism of Author & Punisher’s pedigree into more organic territory – although undoubtedly owing its success to its history. It steps outside Shone’s comfort zone, the composition of Nocturnal Birding revolving around the literal birdsongs of the tracks’ respective namesakes – in a metaphorical homage to the migrants crossing from Mexico to the US and the dangers they face. The album sees Krüller contributor and A Life Once Lost alum Doug Sabolick inducted as full-time guitarist, offering riffs and humanity alike throughout the album’s thirty-four-minute runtime. Revolving around a unique concept that never overstays its welcome, Nocturnal Birding is a romp through everything that makes Author & Punisher unique – and more.
Shone’s dynamics have always been a force to be reckoned with, elevating his already crushing drone/doom/industrial attack to colossal proportions, and Nocturnal Birding is no exception. The introduction of the birdsong adds an intriguing texture to this dynamic, quirky melodics morphing into devastating waves of noise. Author & Punisher offers some of its most accessible content since Ursus Americanus, mammoth dub techno beats guiding the movement between these two extremes. Lulling listeners into a false sense of surreal melody only to blast out the speakers with intense sound, punishing tracks will get your head moving in slow motion weight (“Titanis,” “Black Storm Petrel”), more thoughtful compositions bathe you in off-kilter rhythms and reverb-laden pulses (“Titmouse,” “Titmice”), and crawling brooding flocks offer eerie environs of darkness with Shone’s Reznor- and Peter Steele-influenced cleans (“Meadowlark,” “Mute Swans,” “Thrush”).
It would be tempting to say that if you’ve heard an Author & Punisher album before, you’ve probably heard what Nocturnal Birding has to offer – but 2025 finds the act sounding the most human they’ve ever been. While he exists as mainly supplemental, an added layer to the textured weight of the electronics, Doug Sabolick’s guitar shines as a razor-sharp counterweight to the sludgy downtuned electronic pulses (“Titmouse,” “Rook”) as well as a riffy force to be reckoned with (“Meadowlark,” “Thrush”). Furthermore, the live drums and simmering samples of Indonesian noise artist Kuntari in “Titanis” inject energy, the spoken word of Couch Slut’s Megan Oztrosits takes the creepy mood to haunting lows in “Mute Swans,” and the appearance of French industrial/sludge/death metal band Fange makes “Black Storm Petrel” one of the densest and most brutal tracks. Ultimately, while the synthetic and mechanical hallmarks are very much intact, the inclusion of live instruments adds a genuine feel to the proceedings – a trend that has likewise benefited Igorrr’s latest as the emphasis on solo machine-mongering has faltered.
In his review for Krüller, the illustrious Kronos observed that Author & Punisher albums seem to alternate between anthemic and ambitious. Aside from the foundational birdsong incorporation, Nocturnal Birding finds Shone and company firmly embracing the former – but with a uniquely human touch. This album will mercilessly crush you in the same way Beastland and Ursus Americanus did, as well as the likes of influences Godflesh, Neurosis, and Nine Inch Nails have done for years, and in a way that proposes new avenues for Shone and Sabolick moving forward. Nocturnal Birding is a fist raised to the sky, a poetic eye cast to the wings above, and one hell of a statement.
Rating: 4.0/5.0
DR: N/A | Format Reviewed: STREAM
Label: Relapse Records
Websites: authorandpunisher.bandcamp.com | authorandpunisher.com | facebook.com/authorandpunisher
Releases Worldwide: October 3rd, 2025#2025 #40 #ALifeOnceLost #AmericanMetal #AuthorPunisher #CouchSlut #DoomMetal #Drone #ElectronicMetal #Fange #Godflesh #Igorrr #IndustrialMetal #Kuntari #Neurosis #NineInchNails #NocturnalBirding #Noise #Oct25 #RelapseRecords #Review #Reviews #TypeONegative
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Author & Punisher – Nocturnal Birding Review
By Dear Hollow
Contrary to the plethora of one-man metal projects out there, Author & Punisher’s mastermind Tristan Shone, has always stayed on this side of innovative, consistently riding the line between apocalyptic/dystopian atmospheres and the heaviest electronics since Godflesh. Much like Igorrr’s Gautiere Serre, Shone’s genius has been just as much in song construction as instrument construction, having put his experience as a mechanical engineer to the configuration of his “drone machines” and “dub machines.” This skill has allowed Shone a flexibility in his compositions, with albums like Ursus Americanus and Beastland boasting formidable anthemic brutality, while the more subdued Melk en Honig and Krüller rely on sprawling atmospheres that feel as fiery as they are dense. Nocturnal Birding takes a unique concept and spins it for a trip down Riff Lane.
A leaner and more concise album than even Beastland, Nocturnal Birding is another step from the transhumanism of Author & Punisher’s pedigree into more organic territory – although undoubtedly owing its success to its history. It steps outside Shone’s comfort zone, the composition of Nocturnal Birding revolving around the literal birdsongs of the tracks’ respective namesakes – in a metaphorical homage to the migrants crossing from Mexico to the US and the dangers they face. The album sees Krüller contributor and A Life Once Lost alum Doug Sabolick inducted as full-time guitarist, offering riffs and humanity alike throughout the album’s thirty-four-minute runtime. Revolving around a unique concept that never overstays its welcome, Nocturnal Birding is a romp through everything that makes Author & Punisher unique – and more.
Shone’s dynamics have always been a force to be reckoned with, elevating his already crushing drone/doom/industrial attack to colossal proportions, and Nocturnal Birding is no exception. The introduction of the birdsong adds an intriguing texture to this dynamic, quirky melodics morphing into devastating waves of noise. Author & Punisher offers some of its most accessible content since Ursus Americanus, mammoth dub techno beats guiding the movement between these two extremes. Lulling listeners into a false sense of surreal melody only to blast out the speakers with intense sound, punishing tracks will get your head moving in slow motion weight (“Titanis,” “Black Storm Petrel”), more thoughtful compositions bathe you in off-kilter rhythms and reverb-laden pulses (“Titmouse,” “Titmice”), and crawling brooding flocks offer eerie environs of darkness with Shone’s Reznor- and Peter Steele-influenced cleans (“Meadowlark,” “Mute Swans,” “Thrush”).
It would be tempting to say that if you’ve heard an Author & Punisher album before, you’ve probably heard what Nocturnal Birding has to offer – but 2025 finds the act sounding the most human they’ve ever been. While he exists as mainly supplemental, an added layer to the textured weight of the electronics, Doug Sabolick’s guitar shines as a razor-sharp counterweight to the sludgy downtuned electronic pulses (“Titmouse,” “Rook”) as well as a riffy force to be reckoned with (“Meadowlark,” “Thrush”). Furthermore, the live drums and simmering samples of Indonesian noise artist Kuntari in “Titanis” inject energy, the spoken word of Couch Slut’s Megan Oztrosits takes the creepy mood to haunting lows in “Mute Swans,” and the appearance of French industrial/sludge/death metal band Fange makes “Black Storm Petrel” one of the densest and most brutal tracks. Ultimately, while the synthetic and mechanical hallmarks are very much intact, the inclusion of live instruments adds a genuine feel to the proceedings – a trend that has likewise benefited Igorrr’s latest as the emphasis on solo machine-mongering has faltered.
In his review for Krüller, the illustrious Kronos observed that Author & Punisher albums seem to alternate between anthemic and ambitious. Aside from the foundational birdsong incorporation, Nocturnal Birding finds Shone and company firmly embracing the former – but with a uniquely human touch. This album will mercilessly crush you in the same way Beastland and Ursus Americanus did, as well as the likes of influences Godflesh, Neurosis, and Nine Inch Nails have done for years, and in a way that proposes new avenues for Shone and Sabolick moving forward. Nocturnal Birding is a fist raised to the sky, a poetic eye cast to the wings above, and one hell of a statement.
Rating: 4.0/5.0
DR: N/A | Format Reviewed: STREAM
Label: Relapse Records
Websites: authorandpunisher.bandcamp.com | authorandpunisher.com | facebook.com/authorandpunisher
Releases Worldwide: October 3rd, 2025#2025 #40 #ALifeOnceLost #AmericanMetal #AuthorPunisher #CouchSlut #DoomMetal #Drone #ElectronicMetal #Fange #Godflesh #Igorrr #IndustrialMetal #Kuntari #Neurosis #NineInchNails #NocturnalBirding #Noise #Oct25 #RelapseRecords #Review #Reviews #TypeONegative
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Author & Punisher – Nocturnal Birding Review
By Dear Hollow
Contrary to the plethora of one-man metal projects out there, Author & Punisher’s mastermind Tristan Shone, has always stayed on this side of innovative, consistently riding the line between apocalyptic/dystopian atmospheres and the heaviest electronics since Godflesh. Much like Igorrr’s Gautiere Serre, Shone’s genius has been just as much in song construction as instrument construction, having put his experience as a mechanical engineer to the configuration of his “drone machines” and “dub machines.” This skill has allowed Shone a flexibility in his compositions, with albums like Ursus Americanus and Beastland boasting formidable anthemic brutality, while the more subdued Melk en Honig and Krüller rely on sprawling atmospheres that feel as fiery as they are dense. Nocturnal Birding takes a unique concept and spins it for a trip down Riff Lane.
A leaner and more concise album than even Beastland, Nocturnal Birding is another step from the transhumanism of Author & Punisher’s pedigree into more organic territory – although undoubtedly owing its success to its history. It steps outside Shone’s comfort zone, the composition of Nocturnal Birding revolving around the literal birdsongs of the tracks’ respective namesakes – in a metaphorical homage to the migrants crossing from Mexico to the US and the dangers they face. The album sees Krüller contributor and A Life Once Lost alum Doug Sabolick inducted as full-time guitarist, offering riffs and humanity alike throughout the album’s thirty-four-minute runtime. Revolving around a unique concept that never overstays its welcome, Nocturnal Birding is a romp through everything that makes Author & Punisher unique – and more.
Shone’s dynamics have always been a force to be reckoned with, elevating his already crushing drone/doom/industrial attack to colossal proportions, and Nocturnal Birding is no exception. The introduction of the birdsong adds an intriguing texture to this dynamic, quirky melodics morphing into devastating waves of noise. Author & Punisher offers some of its most accessible content since Ursus Americanus, mammoth dub techno beats guiding the movement between these two extremes. Lulling listeners into a false sense of surreal melody only to blast out the speakers with intense sound, punishing tracks will get your head moving in slow motion weight (“Titanis,” “Black Storm Petrel”), more thoughtful compositions bathe you in off-kilter rhythms and reverb-laden pulses (“Titmouse,” “Titmice”), and crawling brooding flocks offer eerie environs of darkness with Shone’s Reznor- and Peter Steele-influenced cleans (“Meadowlark,” “Mute Swans,” “Thrush”).
It would be tempting to say that if you’ve heard an Author & Punisher album before, you’ve probably heard what Nocturnal Birding has to offer – but 2025 finds the act sounding the most human they’ve ever been. While he exists as mainly supplemental, an added layer to the textured weight of the electronics, Doug Sabolick’s guitar shines as a razor-sharp counterweight to the sludgy downtuned electronic pulses (“Titmouse,” “Rook”) as well as a riffy force to be reckoned with (“Meadowlark,” “Thrush”). Furthermore, the live drums and simmering samples of Indonesian noise artist Kuntari in “Titanis” inject energy, the spoken word of Couch Slut’s Megan Oztrosits takes the creepy mood to haunting lows in “Mute Swans,” and the appearance of French industrial/sludge/death metal band Fange makes “Black Storm Petrel” one of the densest and most brutal tracks. Ultimately, while the synthetic and mechanical hallmarks are very much intact, the inclusion of live instruments adds a genuine feel to the proceedings – a trend that has likewise benefited Igorrr’s latest as the emphasis on solo machine-mongering has faltered.
In his review for Krüller, the illustrious Kronos observed that Author & Punisher albums seem to alternate between anthemic and ambitious. Aside from the foundational birdsong incorporation, Nocturnal Birding finds Shone and company firmly embracing the former – but with a uniquely human touch. This album will mercilessly crush you in the same way Beastland and Ursus Americanus did, as well as the likes of influences Godflesh, Neurosis, and Nine Inch Nails have done for years, and in a way that proposes new avenues for Shone and Sabolick moving forward. Nocturnal Birding is a fist raised to the sky, a poetic eye cast to the wings above, and one hell of a statement.
Rating: 4.0/5.0
DR: N/A | Format Reviewed: STREAM
Label: Relapse Records
Websites: authorandpunisher.bandcamp.com | authorandpunisher.com | facebook.com/authorandpunisher
Releases Worldwide: October 3rd, 2025#2025 #40 #ALifeOnceLost #AmericanMetal #AuthorPunisher #CouchSlut #DoomMetal #Drone #ElectronicMetal #Fange #Godflesh #Igorrr #IndustrialMetal #Kuntari #Neurosis #NineInchNails #NocturnalBirding #Noise #Oct25 #RelapseRecords #Review #Reviews #TypeONegative
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1/2
#Godflesh will be performing in Riga next Saturday (11 Oct). This is important. #JustinKBroadrick is not just one of the most trailblazing artists in metal, being a vocalist of the first #NapalmDeath album and starting the genre of industrial metal. But he is a true auteur of metal - a world where auteurism is very rare.https://www.youtube.com/watch?v=AoK7dPaGQ0U&list=RDAoK7dPaGQ0U&start_radio=1
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1/2
#Godflesh will be performing in Riga next Saturday (11 Oct). This is important. #JustinKBroadrick is not just one of the most trailblazing artists in metal, being a vocalist of the first #NapalmDeath album and starting the genre of industrial metal. But he is a true auteur of metal - a world where auteurism is very rare.https://www.youtube.com/watch?v=AoK7dPaGQ0U&list=RDAoK7dPaGQ0U&start_radio=1
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Excellent beer drinking in front of the fire music.
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Excellent beer drinking in front of the fire music.
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Godflesh - Godflesh - 1988
#Music #AlbumSuggestions #NowPlaying #NowListening
#Godflesh #Godflesh -
Godflesh - Godflesh - 1988
#Music #AlbumSuggestions #NowPlaying #NowListening
#Godflesh #Godflesh
