#gorguts — Public Fediverse posts

If there’s one thing we can all agree on, it’s that Supraliminal, the 2023 album from death metal act Nothingness, is worthy of a 2.5 and no other rating. I know of no faction that holds it in higher esteem, am aware of no lack of consensus surrounding Felagund’s review–Oh wait just a second. I reviewed the tomes and scrolls, and it seems there was a shitstorm surrounding these guys. The comment section went to war on behalf of this Minnesota sextet’s brand of A24 OSDM.1 Steel Druhm juuuuust managed to put down a revolution, but the bonfire roared anew when Kenstrosity named Supraliminal his Record o’the Year. In the years since, a fragile peace has held… until now. Nothingness is back with their hard-charging third album Godslaughter, threatening the status quo and giving us the chance to pick old scabs and answer lingering questions. The most urgent of these: who was right?

Godslaughter is a vile piece of work, even meaner and more antisocial than its predecessor. Nothingness hasn’t abandoned the ambition that led Kenstrosity to describe their style as “caveman death with a university degree.” The band still brings some of the inventive brio of Gorguts or Nightmarer to a ferocious overall vibe that recalls a less theatrical Autopsy. This latest offering manages to double down on aggression while expanding Nothingness’s sonic palette and the range of their songwriting. If you can survive the onslaught of an opening run that includes the platter’s first two singles (“Skull Evulsion,” “Trenchant Glunch”), these grander designs reveal themselves. The album as a whole is an exhilarating run through nine well-sequenced tracks, seasoned with a flair for composition that makes the verdict clear: Godslaughter is a roaring return and a death metal ripper.

Godslaughter unfolds in three acts. The first commences with the sucker punch that is “Incinerated Immediately,” then proceeds through three additional tracks that lay you flat and kick you around for a while. “Vanquishing Providence” slows things to a crawl to “welcome” you to a middle section that’s built around longer and more varied songs. It’s here that you’ll find the slab’s most ambitious compositions, a pair of seven minute epics that go from first to fifth gear with no thought spared for the health of your spine. Nothingness throws in everything they’ve got and a few new tricks to boot, up to and including the bonging Black Sabbath bell that punctuates “Divine Irresponsibility.” A spoken word sample kicks off “Incredible Violence” and ushers you into the third act of the album. Sonic experimentation worms its way into these three selections, which essentially split the difference between parts one and two of the slab.

The album organizes itself into distinct segments, but Godslaughter’s forty-minute entirety remains a cohesive listen. The songs are united by a harsh but thoughtful production. Alex Walstad’s guitars flirt with peaking on tracks like “Incinerated Immediately” and “Umbral Spear,” but it all feels intentional. While there’s no credited producer, returning engineer Adam Tucker knows when to give space and clarity to a riff and when to noisemaxx. Barclay Olson, who is the vocalist for a death metal outfit and not the CFO of a private equity fund, lacks some variety in his attack. His roars do threaten to get repetitive, but the intensity of the music and the concise run time keep things at a rolling boil.

It’s a delicate alchemy, trying to combine familiar influences and elements into something that feels novel. Nothingness has pulled it off for two albums running. With Supraliminal and now Godslaughter, these merchants of digressive death submit a pair of long players to get your neurons firing even as they power wash your central nervous system. Like its predecessor, Godslaughter leaves a rancid mouthfeel behind as it rants its way toward Listurnalia. I’ll probably return to Supraliminal more than I do Godslaughter, so I won’t quibble if you want to ding the new slab by half a point. But all in all, Godslaughter is about as good as their last one.2

Rating: 4.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Everlasting Spew Records
Websites: nothingness.bandcamp.com|nothingnessisdeath.com
Releases Worldwide: July 31, 2026

While any band, metal or not, would kill to have a classic in their discography, I often feel that having one can do their other albums a disservice. Some classics continue their perpetual status by virtue of self-fulfilling “this is good because we have been told it must be” prophecy (Tomb of the Mutilated), while some keep their status because fans refuse to accept anything else as even capable of touching this particular sound (None So Vile, Dopethrone, Destroy the Opposition) irrespective of the quality of follow-up releases. Over the last decade or so, Gorguts has usurped Meshuggah for the band everyone mines for inspiration, with fantastic results. Hailing from Denmark, Carbon Tomb are here to scourge the earth with their debut album Passage to a Neutron Star, and they too have thrown their hat in the Gorguts ring. Show of hands, who’s expecting an Obscura clone?1 Well, you’re wrong, and I couldn’t be more thrilled.

The backbone of Carbon Tomb plays heavily on Gorguts more straightforward yet just as foul From Wisdom to Hate. The discordant and oppressive approaches you expect are all present, but in a far more digestible form despite the raw ugliness of the notes. Alternating between grindcore-tier assault and full speed ahead spirit with sudden half-time slowdowns and twanging leads, Passage to a Neutron Star manages to draw from more than one spirit of disharmonic masters. The alien soundscapes of Artificial Brain collide with wailing and gnashing of Teeth (“A Hidden Creature”), oppressing the listener with haunting clashes of notes while always being ready to collapse into a foul riff or grim lead. “Reversed Head Renewal” channels the riff-centric Gorguts in all its glory, high trems riding out over a bass that clangs like The Iron Giant taking a jog. Title track “Passage to a Neutron Star” alternates between blast beats galore and sudden, brief measures of brvtal Ulcerate-isms before the vocals turn more throaty in style and the chord progressions become more slammy to follow suit. All of this should be a disjointed, inapproachable mess, but it is not, and at its peak, there are signs of some truly incredible things brewing in the Carbon Tomb camp.

Those signs find themselves in the album centerpiece, “The Dog Hunter” and “Of God’s Neglect.” These two songs are a perfectly complimentary pair of violence, fusing skull-liquifying riffcraft and supremely emotive introspection in equal turn. “The Dog Hunter” centers around a riff channeling Human Cull violence which slowly unravels with drummer Mikael rocking the bat-on-an-oak-tree sounding snare in various permutations, impossibly catchy without losing a drop of its oppressive atmosphere. “Of God’s Neglect” features a positively tear-jerking synth(!!) lead over more midpaced and mournful grooves, a flourish which appears completely out of nowhere and somehow fuses with the main spirit of the album masterfully, without ever seeming like an afterthought or unnecessary gimmick. This is the closest moment of raw melody on the entire album, and despite being a complete inversion of everything Carbon Tomb seem to stand for—ugly, dissonant notes and speed, suddenly slathered with slow, singable beauty—it doesn’t just work; it’s absolutely delightful and an instant contender for Song of the Year. A complete album with this dual approach would have me ready to give the highest marks, and it’s exciting to see that in an already very good album, ideas of proper greatness are gestating.

It helps that Carbon Tomb have a good ear for good production and album flow, with a decently dynamic master, especially for the genre. Drums are well articulated and clear despite the (usually) blast-heavy presentation, and vocalist/bassist Jappe Tander keeps his instrument center stage without ever overwhelming the depressed-alien riff construction of guitarist Richardt. Jappe’s vocal style also features some decent Gorguts nods, emulating Luc Lemay’s hoarse roar when not engaging in subterranean gutturals. The only big knock against Passage to a Neutron Star is that the mid-stretch is so S-tier that the back third seems to suffer a superficial dip in quality despite none of the songs themselves suffering from any serious bloat or superficiality.

Carbon Tomb have come out of nowhere and offered a devastating blow to listeners around the world with a debut of excellent quality and composition. I won’t yet go so far as to declare it an instant classic, but the giants it stands on are of some very broad shoulders indeed, allowing the band to reach where few young outfits could hope to tread. Passage to a Neutron Star has announced Carbon Tomb as big-time players in the world of grindy dissodeath, and I cannot wait to see what stars await us in the future.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Transcending Obscurity Records
Website: Album Bandcamp
Releases Worldwide: July 17th, 2025

Pietra miliare ⭐ 👤 Gorguts 📈 36 👥 109.5K 🔗 Obscura 📅 11-12-1998 🏠 1998 (Olympic Recordings) #️⃣ Technicalprogressivedeathmetal Tue Mar 24 2026 00:00:00 GMT+0100 (Central European Standard Time) a cura di Francesco Nunziata #Ondarock #MusicianSky #MusicSky #Music

Obscura - Album by Gorguts | S...

Revocation – New Gods, New Masters Review

By Saunders

Following in the esteemed footsteps of resident Revocation expert Kronos is a daunting task. But with Kronos on an extended sabbatical, it’s time to step up as a long-term fanboy of Boston’s technical death-thrash juggernaut and put thoughts to their latest artistic endeavor, ninth LP, New Gods, New Masters. Mastermind Dave Davidson is joined by long-serving drummer Ash Pearson and newly minted members, Harry Lannon (guitars) and bassist Alex Weber, both seasoned underground musicians and hardly newbies to the extreme metal game. The other factor of interest is the addition of numerous guests, including Travis Ryan (Cattle Decapitation), Jonny Davy (Job for a Cowboy), lesser-known Israeli musician Gilad Hekselman, and Gorguts legend Luc Lemay. Is this a ploy of a band running low on ideas and seeking reinforcements, or a master stroke to add firepower to an already stacked arsenal?

Consistency has been a mainstay across Revocation’s now lengthy career. Occasional dips from the gold-plated standards of their unstoppable early to mid-career run notwithstanding, Revocation has never shit the bed or careened spectacularly off the rails. Nevertheless, nearing the twenty-year milestone since formation, the Angry Metal Guy’s Law of Diminishing Recordings™ looms ominously. Return to form Netherheaven brought a sharper focus and bloodstained atmosphere to the songwriting, delving deeper into Revocation’s deathly impulses with striking results. New Gods, New Masters stays on trend with recent efforts, charting a notably uglier, angrier route in comparison to their thrashier, playful early roots. Veering down increasingly gnarled and brutal spirals and weighing heavily into their deathly persona, New Gods, New Masters has serious fucking teeth, while failing to dull Revocation’s penchant for wildly inventive, technical material and progressive flourishes.

Rumbling into gear with gritty bass lines and thunderous drums, the opening title track ramps up tension before unfolding into a rugged, thrashy rager, complete with playful melodic break and typically mind-bending soloing. Cold and calculating, at its most beastly, New Gods, New Masters cuts an imposing figure, cranking heaviness to the max during the gritty, almost hardcore-leaning crunch of “Dystopian Vermin,” and venomous, blackened swarm of “Despiritualized.” Davidson’s vocals are at their most unhinged and anguished as the pair of gut-wrenching belters are further shaped by moody, unspooling solos, adding a touch of class and improv feel. Ginormous, lumbering grooves shake the core of “Confines of Infinity,” leaving a satisfyingly bruising punch, embellished by blistering blast sections, warp speed riffing, and killer guest spot by Travis Ryan. Featuring an impressively guttural Davy on guest vox, the awesomely and aptly titled “Cronenberged” is even better; its vicious, relentless intensity, mutated riffs, and authoritative rhythm section cut a brutal swathe into your scrambled brain. These are fine additions to Revocation’s stacked repertoire.

Standing out amongst its vocal counterparts, the brilliantly composed instrumental “The All Seeing” is a stunning piece. Pearson and Weber’s excellent combination and jittery, complex rhythms share the spotlight through a multifaceted, proggy journey, bolstered by intricate, groovy riffs and jazz-inspired soloing. Closer “Buried Epoch,” featuring Lemay, largely matches its weighty ambitions and song length, whipping blackened, death, thrash, tech, and prog ingredients into a pummeling, unpredictable, though largely cohesive epic. The new line-up doesn’t miss a beat, striking chemistry and maintaining Revocation’s trademark ear-popping technicality. Weber’s bass is afforded a chunky presence in the mix, lending melodic nuance and reinforced grunt to the album’s bleak, dystopian atmosphere, blunt force grooves, and brutal, uncompromising edge. The underrated Pearson puts in another exceptional performance behind the kit. Meanwhile, riff king Davidson and newcomer Lannon ensure Revocation’s axe-centric tech death-thrash arsenal and intricate, infectious riffcraft remains intact. Davidson’s corkscrewing, endlessly inventive solos feature soulful licks amidst bleaker tones, syncing with the album’s harsh, ominous atmosphere.

Injecting new blood into a familiar formula, New Gods, New Masters opens another shifting chapter for Revocation, though avoids spinning wheels. Marginally less consistent and compelling than Netherheaven, New Gods, New Masters nevertheless marks another fruitful return from Revocation. While it cannot quite match the band’s highest peaks, with songs falling more towards the very good rather than great range, New Gods, New Masters features the hallmarks of a grower. Initial reservations swiftly subsided, revealing another unique entry and exceptionally heavy, vitriolic burst of body slamming, thrashy tech death, catching songcraft and artful shredding.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 1411kbps mp3
Label: Metal Blade Records
Websites: revocation.bandcamp.com | revocationband.com | facebook.com/revocation
Releases Worldwide: September 26th, 2025

#2025 #35 #AmericanMetal #CattleDecapitation #DeathMetal #Gorguts #JobForACowboy #NewGods #NewMasters #ProgressiveMetal #Review #Reviews #Revocation #TechnicalDeathMetal #TechnicalThrashMetal #ThrashMetal

🇺🇦 #NowPlaying on #KEXP's #VarietyMix

Gorguts:
🎵 Stiff and Cold

#Gorguts

https://sbdcmusic.bandcamp.com/track/stiff-and-cold-gorguts-cover

https://open.spotify.com/track/4RWI06gvNPqEwnPNcMINK8

🎶 show playlist 👇
https://open.spotify.com/playlist/6G4PaS9BNkIuGqMo44rbfZ

🎶 KEXP playlist 👇
https://open.spotify.com/playlist/6VNALrOa3gWbk794YuIrwg

🇺🇦 #NowPlaying on #KEXP's #SeekAndDestroy

Gorguts:
🎵 Hematological Allergy

#Gorguts

https://open.spotify.com/track/4pAt6g3HQbx0G8pxkAHW4D

#TheMetalDogArticleList
#MetalInjection
Eight Old-School Death Metal Bands That Need To Release A New Record
Demilich? Dismember? Grave? We need 'em.

https://metalinjection.net/lists/eight-old-school-death-metal-bands-that-need-to-release-a-new-record

#Demilich #Dismember #Grave #HateEternal #Martyr #DeadCongregation #Gorguts #Atheist

#TheMetalDogArticleList
#MetalInjection
COLIN MARSTON's (KRALLICE, GORGUTS, Etc.) Menegroth Studio Closing, Benefit T-Shirt Launched To Help Fund Moving Costs
The building that housed Menegroth got sold.

https://metalinjection.net/metal-merch/colin-marstons-krallice-gorguts-etc-menegroth-studio-closing-benefit-t-shirt-launched-to-help-fund-moving-costs

#ColinMarston #MenegrothStudio #MetalMerch #ImperialTriumphant #Gorguts #Krallice #Agalloch #Atheist #NYCMetalUnderground #MetalNews

#TheMetalDogArticleList
#MetalInjection
Get To Know The Metal Injection Festival Bands With Our New Playlist
Or more bluntly, get into some good metal right now.

https://metalinjection.net/playlist/get-to-know-the-metal-injection-festival-bands-with-these-playlists

#GodForbid #GoneForever #3InchesOfBlood #PallidVeil #LucLemay #Gorguts #DaveDavidson #Revocation #LiamWilson #TheDillingerEscapePlan #InFlames #ElliotHoffman #Carbomb #CaveIn #AdamMcGrath #StephenBrodsky #Jinjer #Converge

It is still Thursday in certain timezones, so I can get away with this.
For #ThursDeath:

Ulcerate: To See Death Just Once

https://song.link/0hxvngcd5hwjr

#AvantGarde
#ProgressiveDeathMetal #TechnicalDeathMetal

FFO #AdNauseam #DeathspellOmega #Gorguts

#TheMetalDogArticleList
#MetalInjection
11 Reunion Albums That Absolutely Rule
A legendary "welcome back!"

https://metalinjection.net/lists/11-reunion-albums-that-absolutely-rule

#AliceInChains #Accept #Gorguts #HeavenAndHell #KillingJoke #DeathAngel #Cynic #Atheist #Candlemass #Forbidden #CelticFrost

For #ThursDeath, by can't remember who is hosting it, soz:

Ulcerate: The Dawn is Hollow

https://song.link/srrn98c9b433h

FFO #Gorguts #Immolation #Pyrrhon

#TheMetalDogArticleList
#Loudwire
25 Legendary Extreme Metal Albums With No Weak Songs
None more vile.

https://loudwire.com/extreme-metal-albums-no-weak-songs/

#Bathory #extrememetal #albumslayout #Venom #WelcomeToHell #BlackMetal #Slayer #HellAwaits #ReignInBlood #BlackMetalAgain #Dissection #TheSomberLiturgyOfUnholyRites #Suffocation #PiercedFromWithin #Cryptopsy #NoneSoVile #Gorguts #Obscura #Elegy #Death #Independence #ControlAndResistance #Converge #JaneDo #AxeToFall #Meshuggah

#Gorguts is the band of the day in MetalPython.

#nowplaying https://songwhip.com/gorguts/the-erosion-of-sanity-1993
#thursdeath #deathmetal #extrememusic #extrememetal

#NowPlaying #TheMetalDogIsNowPlaying
#Gorguts
Considered Dead
Stiff And Cold

YouTube Search:
https://youtube.com/results?search_query=Gorguts+Considered+Dead+Stiff+And+Cold

Lyrics:
https://genius.com/Gorguts-stiff-and-cold-lyrics

Song Link:
http://www.youtube.com/watch?v=ocJ1RwL9CeY

LastFM:
https://www.last.fm/music/Gorguts/_/Stiff+And+Cold

#deathmetal #TechnicalDeathMetal #BrutalDeathMetal #metal #AvantGardeDeathMetal
@nilz @dobbie003 @kevinbowen

Since I missed the last times, today another #BandshirtFriday with me.
Now with a shirt of a band which really opened up kind of a new perspective into metal to me, with the album "Obscura". I stumbled upon them on YT and someone wrote in the comments: "Give it a few listens. It will grow." Thanks for that.
All hails to #Gorguts