#gruesomerecords — Public Fediverse posts

Maybe war never changes, but Warside has. Between releasing inaugural EP The Enemy Inside, and recording their debut, three of Warside’s five members left the band. Now a quartet, the Lyon, France collective tromps into the death metal arena, brandishing Cognitive Extinction, their first long play. Down a guitarist, Warside reports Cognitive Extinction as having ‘a rawer, more direct sound.’ Though The Enemy Inside can’t be classified as polished or subtle, Cognitive Extinction embraces an even leaner, meaner aggression through twenty-eight minutes. Additionally, Warside weaves a broad theme into the album—the erosion of intelligence and critical thinking due to the proliferation of screens and dependence on technology. It’s an increasingly relevant theme in these crazy times, but is Warside’s warning enough to keep listeners’ gray matter from atrophying into pudding?

Though simply billed as ‘death metal,’ Warside skews towards the technical end of the spectrum. Dying Fetus, Misery Index, and Vomitory are cited as influences in the promo materials, and while elements of those bands exist on Cognitive Extinction,1 I also hear the frantic immediacy of Benighted and Aborted enmeshed with the tech-heavy grooves of more recent Cryptopsy and Suffocation. Technical without falling into technical death metal territory and bruising without earning a brutal death metal tag, Warside toes the line between extreme metal subgenres without fully committing to any specific one. Rather than wavering or wandering, though, Cognitive Extinction sounds confident, direct, and ready to peel your skull back to get a look at your cognition firsthand.

Despite adding some new members and shuffling guitar duties, Warside launches a savage assault that never relents. Returning from The Enemy Within, guitarist Vincent Morelle resumes six-string duties on Cognitive Extinction while former guitarist Jérôme dons the mantle of bassist. Joining them are duo Mathieu (vocals) and Thô (drums) from deathgrind project Festering Process, and together this foursome unleashes barrage after barrage of merciless death metal thunder. Tracks “Neurocide” and “Invasive Thoughts” meld Morbid Angel’s wicked melodies with Nile’s violent velocity, frequently coaxing involuntary stank-face. “Visceral” punches with Suffocation’s might, windmilling between stutter-stop leads and kick drum cannonades, while “Thirst for Rot” dive bombs into an early solo before hitting a swarthy Cryptopsy-meets-Decapitated groove. Throughout, Mathieu discharges fierce gutturals that remind me of Benighted’s Julien Truchan,2 primal and bloodthirsty without ever going full BREEE. All told, kinetic hooks, furious blast beats, and husky bass grooves carry the momentum of each track, with feverish solos offering brief detours from Warside’s otherwise unyielding onslaught.

Warside evokes death metal titans throughout Cognitive Extinction, yet clinging too tightly to these touchstones prevents them from fully realizing an identity of their own. In fairness, Cognitive Extinction works cohesively, with a consistent aural context that’s as bludgeoning as it is swift. And even though Warside sidesteps critical flaws, hooking an overcrowded niche with deathly wares can be a significant challenge. Genre greats can provide a strong template for writing compelling music, but emulation without innovation risks giving listeners an experience that drives them back to inspirations. Said simply, bands with unique sounds become reference points, while others get buried beneath the sands of time. In this regard, Cognitive Extinction feels like a half measure, where a blend of influences comes together to form a coherent album, yet lacks a wholly original voice.

Standout performances and sharp, economical songwriting distinguish Warside as an act I’ll follow closely, and help achieve a portion of the identity they need. Cognitive Extinction teems with talent and promise, and despite the abysmal dynamic range,3 the mix is well-balanced and allows listeners to appreciate what Warside does within its runtime. I’ve greatly enjoyed my time with Cognitive Extinction, and a couple of its gems have helped add some weight to my Heavy Moves Heavy ’26 playlist, but with so many killer death metal albums out this year, I’m unsure what lasting impact it’ll have. Time will tell, and in the meantime, I hope that Warside continues honing their blades to keep minds and interest sharp.

Rating: Good!
DR: 3 | Format Reviewed: 320 kbps mp3
Label: Gruesome Records
Websites: Bandcamp | Facebook
Releases Worldwide: April 17th, 2026

Maybe war never changes, but Warside has. Between releasing inaugural EP The Enemy Inside, and recording their debut, three of Warside’s five members left the band. Now a quartet, the Lyon, France collective tromps into the death metal arena, brandishing Cognitive Extinction, their first long play. Down a guitarist, Warside reports Cognitive Extinction as having ‘a rawer, more direct sound.’ Though The Enemy Inside can’t be classified as polished or subtle, Cognitive Extinction embraces an even leaner, meaner aggression through twenty-eight minutes. Additionally, Warside weaves a broad theme into the album—the erosion of intelligence and critical thinking due to the proliferation of screens and dependence on technology. It’s an increasingly relevant theme in these crazy times, but is Warside’s warning enough to keep listeners’ gray matter from atrophying into pudding?

Though simply billed as ‘death metal,’ Warside skews towards the technical end of the spectrum. Dying Fetus, Misery Index, and Vomitory are cited as influences in the promo materials, and while elements of those bands exist on Cognitive Extinction,1 I also hear the frantic immediacy of Benighted and Aborted enmeshed with the tech-heavy grooves of more recent Cryptopsy and Suffocation. Technical without falling into technical death metal territory and bruising without earning a brutal death metal tag, Warside toes the line between extreme metal subgenres without fully committing to any specific one. Rather than wavering or wandering, though, Cognitive Extinction sounds confident, direct, and ready to peel your skull back to get a look at your cognition firsthand.

Despite adding some new members and shuffling guitar duties, Warside launches a savage assault that never relents. Returning from The Enemy Within, guitarist Vincent Morelle resumes six-string duties on Cognitive Extinction while former guitarist Jérôme dons the mantle of bassist. Joining them are duo Mathieu (vocals) and Thô (drums) from deathgrind project Festering Process, and together this foursome unleashes barrage after barrage of merciless death metal thunder. Tracks “Neurocide” and “Invasive Thoughts” meld Morbid Angel’s wicked melodies with Nile’s violent velocity, frequently coaxing involuntary stank-face. “Visceral” punches with Suffocation’s might, windmilling between stutter-stop leads and kick drum cannonades, while “Thirst for Rot” dive bombs into an early solo before hitting a swarthy Cryptopsy-meets-Decapitated groove. Throughout, Mathieu discharges fierce gutturals that remind me of Benighted’s Julien Truchan,2 primal and bloodthirsty without ever going full BREEE. All told, kinetic hooks, furious blast beats, and husky bass grooves carry the momentum of each track, with feverish solos offering brief detours from Warside’s otherwise unyielding onslaught.

Warside evokes death metal titans throughout Cognitive Extinction, yet clinging too tightly to these touchstones prevents them from fully realizing an identity of their own. In fairness, Cognitive Extinction works cohesively, with a consistent aural context that’s as bludgeoning as it is swift. And even though Warside sidesteps critical flaws, hooking an overcrowded niche with deathly wares can be a significant challenge. Genre greats can provide a strong template for writing compelling music, but emulation without innovation risks giving listeners an experience that drives them back to inspirations. Said simply, bands with unique sounds become reference points, while others get buried beneath the sands of time. In this regard, Cognitive Extinction feels like a half measure, where a blend of influences comes together to form a coherent album, yet lacks a wholly original voice.

Standout performances and sharp, economical songwriting distinguish Warside as an act I’ll follow closely, and help achieve a portion of the identity they need. Cognitive Extinction teems with talent and promise, and despite the abysmal dynamic range,3 the mix is well-balanced and allows listeners to appreciate what Warside does within its runtime. I’ve greatly enjoyed my time with Cognitive Extinction, and a couple of its gems have helped add some weight to my Heavy Moves Heavy ’26 playlist, but with so many killer death metal albums out this year, I’m unsure what lasting impact it’ll have. Time will tell, and in the meantime, I hope that Warside continues honing their blades to keep minds and interest sharp.

Rating: Good!
DR: 3 | Format Reviewed: 320 kbps mp3
Label: Gruesome Records
Websites: Bandcamp | Facebook
Releases Worldwide: April 17th, 2026

Maybe war never changes, but Warside has. Between releasing inaugural EP The Enemy Inside, and recording their debut, three of Warside’s five members left the band. Now a quartet, the Lyon, France collective tromps into the death metal arena, brandishing Cognitive Extinction, their first long play. Down a guitarist, Warside reports Cognitive Extinction as having ‘a rawer, more direct sound.’ Though The Enemy Inside can’t be classified as polished or subtle, Cognitive Extinction embraces an even leaner, meaner aggression through twenty-eight minutes. Additionally, Warside weaves a broad theme into the album—the erosion of intelligence and critical thinking due to the proliferation of screens and dependence on technology. It’s an increasingly relevant theme in these crazy times, but is Warside’s warning enough to keep listeners’ gray matter from atrophying into pudding?

Though simply billed as ‘death metal,’ Warside skews towards the technical end of the spectrum. Dying Fetus, Misery Index, and Vomitory are cited as influences in the promo materials, and while elements of those bands exist on Cognitive Extinction,1 I also hear the frantic immediacy of Benighted and Aborted enmeshed with the tech-heavy grooves of more recent Cryptopsy and Suffocation. Technical without falling into technical death metal territory and bruising without earning a brutal death metal tag, Warside toes the line between extreme metal subgenres without fully committing to any specific one. Rather than wavering or wandering, though, Cognitive Extinction sounds confident, direct, and ready to peel your skull back to get a look at your cognition firsthand.

Despite adding some new members and shuffling guitar duties, Warside launches a savage assault that never relents. Returning from The Enemy Within, guitarist Vincent Morelle resumes six-string duties on Cognitive Extinction while former guitarist Jérôme dons the mantle of bassist. Joining them are duo Mathieu (vocals) and Thô (drums) from deathgrind project Festering Process, and together this foursome unleashes barrage after barrage of merciless death metal thunder. Tracks “Neurocide” and “Invasive Thoughts” meld Morbid Angel’s wicked melodies with Nile’s violent velocity, frequently coaxing involuntary stank-face. “Visceral” punches with Suffocation’s might, windmilling between stutter-stop leads and kick drum cannonades, while “Thirst for Rot” dive bombs into an early solo before hitting a swarthy Cryptopsy-meets-Decapitated groove. Throughout, Mathieu discharges fierce gutturals that remind me of Benighted’s Julien Truchan,2 primal and bloodthirsty without ever going full BREEE. All told, kinetic hooks, furious blast beats, and husky bass grooves carry the momentum of each track, with feverish solos offering brief detours from Warside’s otherwise unyielding onslaught.

Warside evokes death metal titans throughout Cognitive Extinction, yet clinging too tightly to these touchstones prevents them from fully realizing an identity of their own. In fairness, Cognitive Extinction works cohesively, with a consistent aural context that’s as bludgeoning as it is swift. And even though Warside sidesteps critical flaws, hooking an overcrowded niche with deathly wares can be a significant challenge. Genre greats can provide a strong template for writing compelling music, but emulation without innovation risks giving listeners an experience that drives them back to inspirations. Said simply, bands with unique sounds become reference points, while others get buried beneath the sands of time. In this regard, Cognitive Extinction feels like a half measure, where a blend of influences comes together to form a coherent album, yet lacks a wholly original voice.

Standout performances and sharp, economical songwriting distinguish Warside as an act I’ll follow closely, and help achieve a portion of the identity they need. Cognitive Extinction teems with talent and promise, and despite the abysmal dynamic range,3 the mix is well-balanced and allows listeners to appreciate what Warside does within its runtime. I’ve greatly enjoyed my time with Cognitive Extinction, and a couple of its gems have helped add some weight to my Heavy Moves Heavy ’26 playlist, but with so many killer death metal albums out this year, I’m unsure what lasting impact it’ll have. Time will tell, and in the meantime, I hope that Warside continues honing their blades to keep minds and interest sharp.

Rating: Good!
DR: 3 | Format Reviewed: 320 kbps mp3
Label: Gruesome Records
Websites: Bandcamp | Facebook
Releases Worldwide: April 17th, 2026

Maybe war never changes, but Warside has. Between releasing inaugural EP The Enemy Inside, and recording their debut, three of Warside’s five members left the band. Now a quartet, the Lyon, France collective tromps into the death metal arena, brandishing Cognitive Extinction, their first long play. Down a guitarist, Warside reports Cognitive Extinction as having ‘a rawer, more direct sound.’ Though The Enemy Inside can’t be classified as polished or subtle, Cognitive Extinction embraces an even leaner, meaner aggression through twenty-eight minutes. Additionally, Warside weaves a broad theme into the album—the erosion of intelligence and critical thinking due to the proliferation of screens and dependence on technology. It’s an increasingly relevant theme in these crazy times, but is Warside’s warning enough to keep listeners’ gray matter from atrophying into pudding?

Though simply billed as ‘death metal,’ Warside skews towards the technical end of the spectrum. Dying Fetus, Misery Index, and Vomitory are cited as influences in the promo materials, and while elements of those bands exist on Cognitive Extinction,1 I also hear the frantic immediacy of Benighted and Aborted enmeshed with the tech-heavy grooves of more recent Cryptopsy and Suffocation. Technical without falling into technical death metal territory and bruising without earning a brutal death metal tag, Warside toes the line between extreme metal subgenres without fully committing to any specific one. Rather than wavering or wandering, though, Cognitive Extinction sounds confident, direct, and ready to peel your skull back to get a look at your cognition firsthand.

Despite adding some new members and shuffling guitar duties, Warside launches a savage assault that never relents. Returning from The Enemy Within, guitarist Vincent Morelle resumes six-string duties on Cognitive Extinction while former guitarist Jérôme dons the mantle of bassist. Joining them are duo Mathieu (vocals) and Thô (drums) from deathgrind project Festering Process, and together this foursome unleashes barrage after barrage of merciless death metal thunder. Tracks “Neurocide” and “Invasive Thoughts” meld Morbid Angel’s wicked melodies with Nile’s violent velocity, frequently coaxing involuntary stank-face. “Visceral” punches with Suffocation’s might, windmilling between stutter-stop leads and kick drum cannonades, while “Thirst for Rot” dive bombs into an early solo before hitting a swarthy Cryptopsy-meets-Decapitated groove. Throughout, Mathieu discharges fierce gutturals that remind me of Benighted’s Julien Truchan,2 primal and bloodthirsty without ever going full BREEE. All told, kinetic hooks, furious blast beats, and husky bass grooves carry the momentum of each track, with feverish solos offering brief detours from Warside’s otherwise unyielding onslaught.

Warside evokes death metal titans throughout Cognitive Extinction, yet clinging too tightly to these touchstones prevents them from fully realizing an identity of their own. In fairness, Cognitive Extinction works cohesively, with a consistent aural context that’s as bludgeoning as it is swift. And even though Warside sidesteps critical flaws, hooking an overcrowded niche with deathly wares can be a significant challenge. Genre greats can provide a strong template for writing compelling music, but emulation without innovation risks giving listeners an experience that drives them back to inspirations. Said simply, bands with unique sounds become reference points, while others get buried beneath the sands of time. In this regard, Cognitive Extinction feels like a half measure, where a blend of influences comes together to form a coherent album, yet lacks a wholly original voice.

Standout performances and sharp, economical songwriting distinguish Warside as an act I’ll follow closely, and help achieve a portion of the identity they need. Cognitive Extinction teems with talent and promise, and despite the abysmal dynamic range,3 the mix is well-balanced and allows listeners to appreciate what Warside does within its runtime. I’ve greatly enjoyed my time with Cognitive Extinction, and a couple of its gems have helped add some weight to my Heavy Moves Heavy ’26 playlist, but with so many killer death metal albums out this year, I’m unsure what lasting impact it’ll have. Time will tell, and in the meantime, I hope that Warside continues honing their blades to keep minds and interest sharp.

Rating: Good!
DR: 3 | Format Reviewed: 320 kbps mp3
Label: Gruesome Records
Websites: Bandcamp | Facebook
Releases Worldwide: April 17th, 2026

Maybe war never changes, but Warside has. Between releasing inaugural EP The Enemy Inside, and recording their debut, three of Warside’s five members left the band. Now a quartet, the Lyon, France collective tromps into the death metal arena, brandishing Cognitive Extinction, their first long play. Down a guitarist, Warside reports Cognitive Extinction as having ‘a rawer, more direct sound.’ Though The Enemy Inside can’t be classified as polished or subtle, Cognitive Extinction embraces an even leaner, meaner aggression through twenty-eight minutes. Additionally, Warside weaves a broad theme into the album—the erosion of intelligence and critical thinking due to the proliferation of screens and dependence on technology. It’s an increasingly relevant theme in these crazy times, but is Warside’s warning enough to keep listeners’ gray matter from atrophying into pudding?

Though simply billed as ‘death metal,’ Warside skews towards the technical end of the spectrum. Dying Fetus, Misery Index, and Vomitory are cited as influences in the promo materials, and while elements of those bands exist on Cognitive Extinction,1 I also hear the frantic immediacy of Benighted and Aborted enmeshed with the tech-heavy grooves of more recent Cryptopsy and Suffocation. Technical without falling into technical death metal territory and bruising without earning a brutal death metal tag, Warside toes the line between extreme metal subgenres without fully committing to any specific one. Rather than wavering or wandering, though, Cognitive Extinction sounds confident, direct, and ready to peel your skull back to get a look at your cognition firsthand.

Despite adding some new members and shuffling guitar duties, Warside launches a savage assault that never relents. Returning from The Enemy Within, guitarist Vincent Morelle resumes six-string duties on Cognitive Extinction while former guitarist Jérôme dons the mantle of bassist. Joining them are duo Mathieu (vocals) and Thô (drums) from deathgrind project Festering Process, and together this foursome unleashes barrage after barrage of merciless death metal thunder. Tracks “Neurocide” and “Invasive Thoughts” meld Morbid Angel’s wicked melodies with Nile’s violent velocity, frequently coaxing involuntary stank-face. “Visceral” punches with Suffocation’s might, windmilling between stutter-stop leads and kick drum cannonades, while “Thirst for Rot” dive bombs into an early solo before hitting a swarthy Cryptopsy-meets-Decapitated groove. Throughout, Mathieu discharges fierce gutturals that remind me of Benighted’s Julien Truchan,2 primal and bloodthirsty without ever going full BREEE. All told, kinetic hooks, furious blast beats, and husky bass grooves carry the momentum of each track, with feverish solos offering brief detours from Warside’s otherwise unyielding onslaught.

Warside evokes death metal titans throughout Cognitive Extinction, yet clinging too tightly to these touchstones prevents them from fully realizing an identity of their own. In fairness, Cognitive Extinction works cohesively, with a consistent aural context that’s as bludgeoning as it is swift. And even though Warside sidesteps critical flaws, hooking an overcrowded niche with deathly wares can be a significant challenge. Genre greats can provide a strong template for writing compelling music, but emulation without innovation risks giving listeners an experience that drives them back to inspirations. Said simply, bands with unique sounds become reference points, while others get buried beneath the sands of time. In this regard, Cognitive Extinction feels like a half measure, where a blend of influences comes together to form a coherent album, yet lacks a wholly original voice.

Standout performances and sharp, economical songwriting distinguish Warside as an act I’ll follow closely, and help achieve a portion of the identity they need. Cognitive Extinction teems with talent and promise, and despite the abysmal dynamic range,3 the mix is well-balanced and allows listeners to appreciate what Warside does within its runtime. I’ve greatly enjoyed my time with Cognitive Extinction, and a couple of its gems have helped add some weight to my Heavy Moves Heavy ’26 playlist, but with so many killer death metal albums out this year, I’m unsure what lasting impact it’ll have. Time will tell, and in the meantime, I hope that Warside continues honing their blades to keep minds and interest sharp.

Rating: Good!
DR: 3 | Format Reviewed: 320 kbps mp3
Label: Gruesome Records
Websites: Bandcamp | Facebook
Releases Worldwide: April 17th, 2026

Gloombound – Dreaming Delusion [Things You Might Have Missed 2025]

By Killjoy

Funeral doom metal is a subgenre that, when executed properly, is fertile ground for stimulating the listener’s imagination. Perhaps this is because the glacial pace offers ample room for the mind to wander. Perhaps it’s because the music focuses more on deliberate mood than mindblowing technicality. With the right album artwork to gaze at, the experience is particularly immersive.1 While the music that Gloombound plays may be sonically closer to death-doom, it is composed with the same painstaking attention to detail as the best funeral doom. And the fact that Dreaming Delusion is the debut record of this young group from Oslo, Norway, makes this even more impressive.

We tend to use the word cavernous a lot when describing death-doom, but the very compositions of Dreaming Delusion evoke an actual cave. This is particularly true of the guitarwork. Solitary notes and arpeggios trickle like drips of water from stalactites (“An Eternity of Complete Acquiescence”). The jagged death-doom surfaces melt into melodies that are smooth as the glassy surface of a subterranean lake (“Luminary Dissolution”). The lush yet explosive guitar solo midway through “Dreaming Delusion” hits like a sudden burst of sunlight after a rockfall, reminiscent of the fretwork in Worm’s Foreverglade. The sum total could very well be a sibling of Dream Unending’s dreamy despondency.

Yet, unlike Dream Unending, Gloombound seeks to crush the listener’s spirits just as much as their eardrums. Dreaming Delusion tantalizingly oscillates between despair and hope. The two vocalists, Mina Halvorsen and Emma Theneus Sønstebø, form a twisted, echoing call and response before the music slips into a psychedelic pool of keys and fretless bass (“At the Precipice to Longinquity”). These quieter, contemplative moments are crucial beyond merely adding beauty. Far from a meaningless acoustic guitar interlude, “Salvation” is instead a welcome respite from the psychic assault, for which the listener is punished more intensely by the rattling riffs and growls of “Luminary Dissolution.” Over the course of 44 minutes, the hope for escape gradually drowns, giving way to anguish and finally blossoming into serene acceptance during the final notes of concluding track “Dreaming Delusion.”

Dreaming Delusion is as psychological as it is emotive. It truly feels like the mental unraveling of a soul trapped in a metaphorical cave. Every element of the instrumentation, from the guitar structure to the haunting organs to the fretless bass, combine to create a rich sound that is somehow both full and cavernous. The vocals are both oppressive and harrowing, with lots of variation and expressiveness. I’m impressed by how mature Gloombound sounds in both songwriting and performance on their first attempt. What do you do when your mind betrays you? Dreaming Delusion offers no answers, only catharsis.

Tracks to Check Out: “An Eternity of Complete Acquiescence,” “Dreaming Delusion”

#2025 #Atramentus #DeathDoom #DreamUnending #DreamingDelusion #FuneralDoom #Gloombound #GruesomeRecords #NorwegianMetal #ThingsYouMightHaveMissed2025 #TYMHM #Worm

Gloombound – Dreaming Delusion [Things You Might Have Missed 2025]

By Killjoy

Funeral doom metal is a subgenre that, when executed properly, is fertile ground for stimulating the listener’s imagination. Perhaps this is because the glacial pace offers ample room for the mind to wander. Perhaps it’s because the music focuses more on deliberate mood than mindblowing technicality. With the right album artwork to gaze at, the experience is particularly immersive.1 While the music that Gloombound plays may be sonically closer to death-doom, it is composed with the same painstaking attention to detail as the best funeral doom. And the fact that Dreaming Delusion is the debut record of this young group from Oslo, Norway, makes this even more impressive.

We tend to use the word cavernous a lot when describing death-doom, but the very compositions of Dreaming Delusion evoke an actual cave. This is particularly true of the guitarwork. Solitary notes and arpeggios trickle like drips of water from stalactites (“An Eternity of Complete Acquiescence”). The jagged death-doom surfaces melt into melodies that are smooth as the glassy surface of a subterranean lake (“Luminary Dissolution”). The lush yet explosive guitar solo midway through “Dreaming Delusion” hits like a sudden burst of sunlight after a rockfall, reminiscent of the fretwork in Worm’s Foreverglade. The sum total could very well be a sibling of Dream Unending’s dreamy despondency.

Yet, unlike Dream Unending, Gloombound seeks to crush the listener’s spirits just as much as their eardrums. Dreaming Delusion tantalizingly oscillates between despair and hope. The two vocalists, Mina Halvorsen and Emma Theneus Sønstebø, form a twisted, echoing call and response before the music slips into a psychedelic pool of keys and fretless bass (“At the Precipice to Longinquity”). These quieter, contemplative moments are crucial beyond merely adding beauty. Far from a meaningless acoustic guitar interlude, “Salvation” is instead a welcome respite from the psychic assault, for which the listener is punished more intensely by the rattling riffs and growls of “Luminary Dissolution.” Over the course of 44 minutes, the hope for escape gradually drowns, giving way to anguish and finally blossoming into serene acceptance during the final notes of concluding track “Dreaming Delusion.”

Dreaming Delusion is as psychological as it is emotive. It truly feels like the mental unraveling of a soul trapped in a metaphorical cave. Every element of the instrumentation, from the guitar structure to the haunting organs to the fretless bass, combine to create a rich sound that is somehow both full and cavernous. The vocals are both oppressive and harrowing, with lots of variation and expressiveness. I’m impressed by how mature Gloombound sounds in both songwriting and performance on their first attempt. What do you do when your mind betrays you? Dreaming Delusion offers no answers, only catharsis.

Tracks to Check Out: “An Eternity of Complete Acquiescence,” “Dreaming Delusion”

#2025 #Atramentus #DeathDoom #DreamUnending #DreamingDelusion #FuneralDoom #Gloombound #GruesomeRecords #NorwegianMetal #ThingsYouMightHaveMissed2025 #TYMHM #Worm

Gloombound – Dreaming Delusion [Things You Might Have Missed 2025]

By Killjoy

Funeral doom metal is a subgenre that, when executed properly, is fertile ground for stimulating the listener’s imagination. Perhaps this is because the glacial pace offers ample room for the mind to wander. Perhaps it’s because the music focuses more on deliberate mood than mindblowing technicality. With the right album artwork to gaze at, the experience is particularly immersive.1 While the music that Gloombound plays may be sonically closer to death-doom, it is composed with the same painstaking attention to detail as the best funeral doom. And the fact that Dreaming Delusion is the debut record of this young group from Oslo, Norway, makes this even more impressive.

We tend to use the word cavernous a lot when describing death-doom, but the very compositions of Dreaming Delusion evoke an actual cave. This is particularly true of the guitarwork. Solitary notes and arpeggios trickle like drips of water from stalactites (“An Eternity of Complete Acquiescence”). The jagged death-doom surfaces melt into melodies that are smooth as the glassy surface of a subterranean lake (“Luminary Dissolution”). The lush yet explosive guitar solo midway through “Dreaming Delusion” hits like a sudden burst of sunlight after a rockfall, reminiscent of the fretwork in Worm’s Foreverglade. The sum total could very well be a sibling of Dream Unending’s dreamy despondency.

Yet, unlike Dream Unending, Gloombound seeks to crush the listener’s spirits just as much as their eardrums. Dreaming Delusion tantalizingly oscillates between despair and hope. The two vocalists, Mina Halvorsen and Emma Theneus Sønstebø, form a twisted, echoing call and response before the music slips into a psychedelic pool of keys and fretless bass (“At the Precipice to Longinquity”). These quieter, contemplative moments are crucial beyond merely adding beauty. Far from a meaningless acoustic guitar interlude, “Salvation” is instead a welcome respite from the psychic assault, for which the listener is punished more intensely by the rattling riffs and growls of “Luminary Dissolution.” Over the course of 44 minutes, the hope for escape gradually drowns, giving way to anguish and finally blossoming into serene acceptance during the final notes of concluding track “Dreaming Delusion.”

Dreaming Delusion is as psychological as it is emotive. It truly feels like the mental unraveling of a soul trapped in a metaphorical cave. Every element of the instrumentation, from the guitar structure to the haunting organs to the fretless bass, combine to create a rich sound that is somehow both full and cavernous. The vocals are both oppressive and harrowing, with lots of variation and expressiveness. I’m impressed by how mature Gloombound sounds in both songwriting and performance on their first attempt. What do you do when your mind betrays you? Dreaming Delusion offers no answers, only catharsis.

Tracks to Check Out: “An Eternity of Complete Acquiescence,” “Dreaming Delusion”

#2025 #Atramentus #DeathDoom #DreamUnending #DreamingDelusion #FuneralDoom #Gloombound #GruesomeRecords #NorwegianMetal #ThingsYouMightHaveMissed2025 #TYMHM #Worm

Gloombound – Dreaming Delusion [Things You Might Have Missed 2025]

By Killjoy

Funeral doom metal is a subgenre that, when executed properly, is fertile ground for stimulating the listener’s imagination. Perhaps this is because the glacial pace offers ample room for the mind to wander. Perhaps it’s because the music focuses more on deliberate mood than mindblowing technicality. With the right album artwork to gaze at, the experience is particularly immersive.1 While the music that Gloombound plays may be sonically closer to death-doom, it is composed with the same painstaking attention to detail as the best funeral doom. And the fact that Dreaming Delusion is the debut record of this young group from Oslo, Norway, makes this even more impressive.

We tend to use the word cavernous a lot when describing death-doom, but the very compositions of Dreaming Delusion evoke an actual cave. This is particularly true of the guitarwork. Solitary notes and arpeggios trickle like drips of water from stalactites (“An Eternity of Complete Acquiescence”). The jagged death-doom surfaces melt into melodies that are smooth as the glassy surface of a subterranean lake (“Luminary Dissolution”). The lush yet explosive guitar solo midway through “Dreaming Delusion” hits like a sudden burst of sunlight after a rockfall, reminiscent of the fretwork in Worm’s Foreverglade. The sum total could very well be a sibling of Dream Unending’s dreamy despondency.

Yet, unlike Dream Unending, Gloombound seeks to crush the listener’s spirits just as much as their eardrums. Dreaming Delusion tantalizingly oscillates between despair and hope. The two vocalists, Mina Halvorsen and Emma Theneus Sønstebø, form a twisted, echoing call and response before the music slips into a psychedelic pool of keys and fretless bass (“At the Precipice to Longinquity”). These quieter, contemplative moments are crucial beyond merely adding beauty. Far from a meaningless acoustic guitar interlude, “Salvation” is instead a welcome respite from the psychic assault, for which the listener is punished more intensely by the rattling riffs and growls of “Luminary Dissolution.” Over the course of 44 minutes, the hope for escape gradually drowns, giving way to anguish and finally blossoming into serene acceptance during the final notes of concluding track “Dreaming Delusion.”

Dreaming Delusion is as psychological as it is emotive. It truly feels like the mental unraveling of a soul trapped in a metaphorical cave. Every element of the instrumentation, from the guitar structure to the haunting organs to the fretless bass, combine to create a rich sound that is somehow both full and cavernous. The vocals are both oppressive and harrowing, with lots of variation and expressiveness. I’m impressed by how mature Gloombound sounds in both songwriting and performance on their first attempt. What do you do when your mind betrays you? Dreaming Delusion offers no answers, only catharsis.

Tracks to Check Out: “An Eternity of Complete Acquiescence,” “Dreaming Delusion”

#2025 #Atramentus #DeathDoom #DreamUnending #DreamingDelusion #FuneralDoom #Gloombound #GruesomeRecords #NorwegianMetal #ThingsYouMightHaveMissed2025 #TYMHM #Worm

Gloombound – Dreaming Delusion [Things You Might Have Missed 2025]

By Killjoy

Funeral doom metal is a subgenre that, when executed properly, is fertile ground for stimulating the listener’s imagination. Perhaps this is because the glacial pace offers ample room for the mind to wander. Perhaps it’s because the music focuses more on deliberate mood than mindblowing technicality. With the right album artwork to gaze at, the experience is particularly immersive.1 While the music that Gloombound plays may be sonically closer to death-doom, it is composed with the same painstaking attention to detail as the best funeral doom. And the fact that Dreaming Delusion is the debut record of this young group from Oslo, Norway, makes this even more impressive.

We tend to use the word cavernous a lot when describing death-doom, but the very compositions of Dreaming Delusion evoke an actual cave. This is particularly true of the guitarwork. Solitary notes and arpeggios trickle like drips of water from stalactites (“An Eternity of Complete Acquiescence”). The jagged death-doom surfaces melt into melodies that are smooth as the glassy surface of a subterranean lake (“Luminary Dissolution”). The lush yet explosive guitar solo midway through “Dreaming Delusion” hits like a sudden burst of sunlight after a rockfall, reminiscent of the fretwork in Worm’s Foreverglade. The sum total could very well be a sibling of Dream Unending’s dreamy despondency.

Yet, unlike Dream Unending, Gloombound seeks to crush the listener’s spirits just as much as their eardrums. Dreaming Delusion tantalizingly oscillates between despair and hope. The two vocalists, Mina Halvorsen and Emma Theneus Sønstebø, form a twisted, echoing call and response before the music slips into a psychedelic pool of keys and fretless bass (“At the Precipice to Longinquity”). These quieter, contemplative moments are crucial beyond merely adding beauty. Far from a meaningless acoustic guitar interlude, “Salvation” is instead a welcome respite from the psychic assault, for which the listener is punished more intensely by the rattling riffs and growls of “Luminary Dissolution.” Over the course of 44 minutes, the hope for escape gradually drowns, giving way to anguish and finally blossoming into serene acceptance during the final notes of concluding track “Dreaming Delusion.”

Dreaming Delusion is as psychological as it is emotive. It truly feels like the mental unraveling of a soul trapped in a metaphorical cave. Every element of the instrumentation, from the guitar structure to the haunting organs to the fretless bass, combine to create a rich sound that is somehow both full and cavernous. The vocals are both oppressive and harrowing, with lots of variation and expressiveness. I’m impressed by how mature Gloombound sounds in both songwriting and performance on their first attempt. What do you do when your mind betrays you? Dreaming Delusion offers no answers, only catharsis.

Tracks to Check Out: “An Eternity of Complete Acquiescence,” “Dreaming Delusion”

#2025 #Atramentus #DeathDoom #DreamUnending #DreamingDelusion #FuneralDoom #Gloombound #GruesomeRecords #NorwegianMetal #ThingsYouMightHaveMissed2025 #TYMHM #Worm

Keres – Homo Homini Lupus Review

By Thus Spoke

Homo Homini Lupus (est) — “Man is wolf to man.” The greatest danger to every one of us is from each other. People are selfish and cruel. This proverb, dating back thousands of years, was chosen by Keres to epitomise their view, that, in the words of vocalist Ares, “humanity is the biggest plague on earth.” Misanthropy is nothing new in the world of metal, and as it happens, neither are the members of Keres, despite this being their debut LP. The band formed after the break-up of black metal group The Crying of Angels, honing a death-influenced, brutal black metal sound. Their first reappearance on the scene since 2016’s Heresy, will eight years of carefully crafted hatred and savagery present in hard-hitting extreme metal, or another entry in the catalogues of forgettable fury?

Whilst wearing their blackened musical and emotional heart on their sleeve, Keres manage to make an album that’s mean, headbangable, and interesting. Violent assaults of blastbeats and d-beats trip their way into stomping grooves, and minor, sombre melodies rise up through tremolos and layered strumming alike. The twisted tones of the razor’s edge technical blackened death, cut through with vicious gurgling snarls (“Eradicate the Infected Seed,” “Immaculate Incarnation of Darkness,” “Pale Horse of Extinction”), recall something like Fractal Generator mixed with Decapitated. And at the same time, ringing, humming hanging notes, cascades of urgently melodic guitar and walls of percussion (“Void and Silence,” “Exist for War,” “Leviathan”) remind me very strongly, perhaps strangely, of Hath, or late-career Wake. Shifting quickly and easily between tempos, Keres ground their compositions in recurring refrains of rapidly descending, aggressively stabbing, and fluidly fluttering guitar that compliment with satisfying precision the emphatic crashes and rolls of the percussion. Homo Homini Lupus is a fun album to listen to.

Much is packed into Homo Homini Lupus, but in a way that’s entertaining and exciting, rather than overwhelming. Infectious, spiky riff patterns (“Exist for War,” “Eradicate…”) bring the gnarly rabidity. Near-core bobbing rhythms crunch and smash for major stank-face (“Oblivion,” “Leviathan,” “Void and Silence”). Wailing, tangled tremolo and spiralling refrains bring just enough beauty to compliment the bestiality (“Exist for War,” “Pale Horse…,” “Until Everything’s Burned”). And it all works. It’s not a mess. Quite the opposite. The smart and slick use of rhythm takes things to the next level, and you can’t resist its pulse. The flexibly shifting energies are dextrous and precise, backed up by tight, technical musicianship. Stop-start heartbeat chugs duet with twisting guitar; little flourishes and squeals accent the sidelines; rollovers skip and little fills abound; climbing and circular melodies weave up and down. And that’s just the first track. Vocals are punchy, enhancing already heavy, powerful grooves with emphatic synchronised timing to drum beats and crashes (“Oblivion”), and roaring as they pass the baton to a rising, spidery guitar solo (“Pale Horse…”).

Keres keep it snappy, exemplifying, as well as the spirit, the literal nature of Hobbes’ assertion that life in the State of Nature is “nasty, brutish, and short,” by making an album that’s as tightly executed as it is brutal and unforgiving.1 Most tracks lie between three and five minutes, and the whole thing fades to a close at just over 33. This is a good thing, because unless you’re paying close attention, Homo Homini Lupus has a paradoxical tendency to slip by without gripping you particularly tight. Give it the attention it deserves, and a couple of listens, and cool little riffs and slick rhythms will jump out at you. But the sound and fury can be, to some, easy to under-appreciate, as it lacks a little immediate bite.

However things were when I first heard Homo Homini Lupus, it’s now a little hard to put down. Fun, gnarly, and kind of addictive with its endless, earwormy bounce and flow, as well as its vicious, mean spirit. For these reasons it’s no surprise that it’s also become a solid gym companion. I hope we don’t have to wait eight more years for the next one, because if things continue like this, Keres are set to release a stone-cold banger of a sophomore.

Rating: Very Good
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Gruesome Records
Websites: Bandcamp | Facebook
Releases Worldwide: February 23rd, 2024

#2024 #35 #BlackMetal #BlackenedDeathMetal #DeathMetal #Decapitated #Feb24 #GruesomeRecords #Hath #HomoHominiLupus #ItalianMetal #Keres #Review #Reviews #Wake

Keres – Homo Homini Lupus Review

By Thus Spoke

Homo Homini Lupus (est) — “Man is wolf to man.” The greatest danger to every one of us is from each other. People are selfish and cruel. This proverb, dating back thousands of years, was chosen by Keres to epitomise their view, that, in the words of vocalist Ares, “humanity is the biggest plague on earth.” Misanthropy is nothing new in the world of metal, and as it happens, neither are the members of Keres, despite this being their debut LP. The band formed after the break-up of black metal group The Crying of Angels, honing a death-influenced, brutal black metal sound. Their first reappearance on the scene since 2016’s Heresy, will eight years of carefully crafted hatred and savagery present in hard-hitting extreme metal, or another entry in the catalogues of forgettable fury?

Whilst wearing their blackened musical and emotional heart on their sleeve, Keres manage to make an album that’s mean, headbangable, and interesting. Violent assaults of blastbeats and d-beats trip their way into stomping grooves, and minor, sombre melodies rise up through tremolos and layered strumming alike. The twisted tones of the razor’s edge technical blackened death, cut through with vicious gurgling snarls (“Eradicate the Infected Seed,” “Immaculate Incarnation of Darkness,” “Pale Horse of Extinction”), recall something like Fractal Generator mixed with Decapitated. And at the same time, ringing, humming hanging notes, cascades of urgently melodic guitar and walls of percussion (“Void and Silence,” “Exist for War,” “Leviathan”) remind me very strongly, perhaps strangely, of Hath, or late-career Wake. Shifting quickly and easily between tempos, Keres ground their compositions in recurring refrains of rapidly descending, aggressively stabbing, and fluidly fluttering guitar that compliment with satisfying precision the emphatic crashes and rolls of the percussion. Homo Homini Lupus is a fun album to listen to.

Much is packed into Homo Homini Lupus, but in a way that’s entertaining and exciting, rather than overwhelming. Infectious, spiky riff patterns (“Exist for War,” “Eradicate…”) bring the gnarly rabidity. Near-core bobbing rhythms crunch and smash for major stank-face (“Oblivion,” “Leviathan,” “Void and Silence”). Wailing, tangled tremolo and spiralling refrains bring just enough beauty to compliment the bestiality (“Exist for War,” “Pale Horse…,” “Until Everything’s Burned”). And it all works. It’s not a mess. Quite the opposite. The smart and slick use of rhythm takes things to the next level, and you can’t resist its pulse. The flexibly shifting energies are dextrous and precise, backed up by tight, technical musicianship. Stop-start heartbeat chugs duet with twisting guitar; little flourishes and squeals accent the sidelines; rollovers skip and little fills abound; climbing and circular melodies weave up and down. And that’s just the first track. Vocals are punchy, enhancing already heavy, powerful grooves with emphatic synchronised timing to drum beats and crashes (“Oblivion”), and roaring as they pass the baton to a rising, spidery guitar solo (“Pale Horse…”).

Keres keep it snappy, exemplifying, as well as the spirit, the literal nature of Hobbes’ assertion that life in the State of Nature is “nasty, brutish, and short,” by making an album that’s as tightly executed as it is brutal and unforgiving.1 Most tracks lie between three and five minutes, and the whole thing fades to a close at just over 33. This is a good thing, because unless you’re paying close attention, Homo Homini Lupus has a paradoxical tendency to slip by without gripping you particularly tight. Give it the attention it deserves, and a couple of listens, and cool little riffs and slick rhythms will jump out at you. But the sound and fury can be, to some, easy to under-appreciate, as it lacks a little immediate bite.

However things were when I first heard Homo Homini Lupus, it’s now a little hard to put down. Fun, gnarly, and kind of addictive with its endless, earwormy bounce and flow, as well as its vicious, mean spirit. For these reasons it’s no surprise that it’s also become a solid gym companion. I hope we don’t have to wait eight more years for the next one, because if things continue like this, Keres are set to release a stone-cold banger of a sophomore.

Rating: Very Good
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Gruesome Records
Websites: Bandcamp | Facebook
Releases Worldwide: February 23rd, 2024

#2024 #35 #BlackMetal #BlackenedDeathMetal #DeathMetal #Decapitated #Feb24 #GruesomeRecords #Hath #HomoHominiLupus #ItalianMetal #Keres #Review #Reviews #Wake