#ingested — Public Fediverse posts

https://www.europesays.com/at/147982/ Die Metal-Alben der Woche vom 08.05. mit Draconian, Fateful Finality u.a. #Alben #AT #Austria #Draconian #Entertainment #FatefulFinality #Ingested #Music #Musik #Neuerscheinungen #Österreich #Releases #Sacriversum #Unterhaltung #Veröffentlichungen

INGESTED (Regne Unit) presenta nou àlbum: "Denigration" #Ingested #Slam #BrutalDeathMetal #Deathcore #Maig2026 #RegneUnit #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

INGESTED (Regne Unit) presenta nou àlbum: "Denigration" #Ingested #Slam #BrutalDeathMetal #Deathcore #Maig2026 #RegneUnit #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

It is hard to believe that Ingested is hitting their eighth record. A band that managed to bring slam to the relative mainstream, combining the grotesque, guttural brutality of extreme music with more core-infused elements. Their previous record, The Tide of Death and Fractured Dreams, leaned a little too hard into these elements. Losing much of the slam and focusing on simplified song structures to its detriment. Their latest release, Denigration, marks the first without founding vocalist Jason Evans, someone who defined the sound of Ingested. Unfortunately for the band, the album is also marked by tumult. With the departure of Evans, his replacement was quickly outed over sexual assault allegations, and at the last minute, guitarists Sean Haynes and Andrew Virrueta took over. The album was re-tooled to replace the vocals (something I commend the band for wholeheartedly), but was something excised in the process, or is it a return to form for a band that had seemingly lost its extreme roots?

I hate to break it to you, but Denigration is an album as messy as the story behind its creation. The album starts strongly, and unfortunately enough, with what is probably its best track. Half the band screams the opening line before the song drops into an absolute blast of destructive drumming. The track is simple but effective, and contains just enough variety and speed to keep things interesting. Haynes and Virrueta do an admirable job bringing heft and technical skill to each track, but they too often devolve into the same bouncing slam riffs to the point of bleeding together. Individual songs are hard to tell apart, and while founding drummer Lyn Jeffs has always been talented, the snare production basically kills his entire performance. This is nearly St. Anger levels of snare-tragedy, and the drums aren’t the only victim; production across the record is uniformly terrible.

Denigration’s Achilles heel is its soundscape. While dynamic range isn’t necessarily a surefire sign of quality, this album has songs that go as low as a 2 on the scale. Tracks are a cacophony in the worst way; the snare is downright grating and overly loud, while the rest blends into a miasma of noise and chuggery. This is an album with so little range between individual tracks that it can feel like one long song, which is grueling for a slam record. Top this with the fact that the last-minute fill-in vocalists are clearly amateurs, especially compared to Evans, and you get an album that sounds like a debut by a young band making early mistakes. I have to imagine replacing the vocals at the last minute did serious damage to their original mix, but Ingested has a history of production issues on top of this. Combining these two has made for an album that can hurt to listen to at times.

I don’t mean to disparage the band; in fact, this was a record I was genuinely hoping would be great. I have always had a soft spot for Ingested’s unique brand of slamcore. Evans vocals are top-tier, and they were always willing to take the genre to creative places. Julia Frau’s vocals on “Ashes Lie Still,” Kirk Windstein’s epic chorus on “Another Breath,” and Josh Middleton’s on “Expect to Fail” define the band’s willingness to explore their sound. On Denigration, the guests only work to divert from the monotony between tracks; even then, their addition feels perfunctory. This doesn’t feel like the band that wrote bangers like “Misery Leech,” “Skinned and Fucked,” or “The List.” At least they are trying to emulate their slam roots with a more streamlined sound built around the classic Chug & Guttural™ combo. There will be those who find this record more palatable than Ingested’s recent deathcore-adjacent trajectory, even if the production takes crushed and curb-stomps it.

When I originally started spinning Denigration for review, numerous elements kept coming to my attention that now feel obvious, seeing how many things changed at the last minute. What should have been a creative refresh for a band that felt like it was relying a little too much on vocal talent has turned into the exact opposite. Denigration fails to bring the hooks, a key to any good slam record, while also being hamstrung by terrible production, middling vocals, and a lack of creativity. Hopefully, Ingested can come back stronger from all this and make the great album I know they are capable of, but all Denigration did was send me straight to the band’s better records.

Rating: Bad
DR: 3| Format Reviewed: 320 kbps mp3
Label: Metal Blade Records
Websites: Bandcamp | Official Site
Releases Worldwide: May 8th, 2026

It is hard to believe that Ingested is hitting their eighth record. A band that managed to bring slam to the relative mainstream, combining the grotesque, guttural brutality of extreme music with more core-infused elements. Their previous record, The Tide of Death and Fractured Dreams, leaned a little too hard into these elements. Losing much of the slam and focusing on simplified song structures to its detriment. Their latest release, Denigration, marks the first without founding vocalist Jason Evans, someone who defined the sound of Ingested. Unfortunately for the band, the album is also marked by tumult. With the departure of Evans, his replacement was quickly outed over sexual assault allegations, and at the last minute, guitarists Sean Haynes and Andrew Virrueta took over. The album was re-tooled to replace the vocals (something I commend the band for wholeheartedly), but was something excised in the process, or is it a return to form for a band that had seemingly lost its extreme roots?

I hate to break it to you, but Denigration is an album as messy as the story behind its creation. The album starts strongly, and unfortunately enough, with what is probably its best track. Half the band screams the opening line before the song drops into an absolute blast of destructive drumming. The track is simple but effective, and contains just enough variety and speed to keep things interesting. Haynes and Virrueta do an admirable job bringing heft and technical skill to each track, but they too often devolve into the same bouncing slam riffs to the point of bleeding together. Individual songs are hard to tell apart, and while founding drummer Lyn Jeffs has always been talented, the snare production basically kills his entire performance. This is nearly St. Anger levels of snare-tragedy, and the drums aren’t the only victim; production across the record is uniformly terrible.

Denigration’s Achilles heel is its soundscape. While dynamic range isn’t necessarily a surefire sign of quality, this album has songs that go as low as a 2 on the scale. Tracks are a cacophony in the worst way; the snare is downright grating and overly loud, while the rest blends into a miasma of noise and chuggery. This is an album with so little range between individual tracks that it can feel like one long song, which is grueling for a slam record. Top this with the fact that the last-minute fill-in vocalists are clearly amateurs, especially compared to Evans, and you get an album that sounds like a debut by a young band making early mistakes. I have to imagine replacing the vocals at the last minute did serious damage to their original mix, but Ingested has a history of production issues on top of this. Combining these two has made for an album that can hurt to listen to at times.

I don’t mean to disparage the band; in fact, this was a record I was genuinely hoping would be great. I have always had a soft spot for Ingested’s unique brand of slamcore. Evans vocals are top-tier, and they were always willing to take the genre to creative places. Julia Frau’s vocals on “Ashes Lie Still,” Kirk Windstein’s epic chorus on “Another Breath,” and Josh Middleton’s on “Expect to Fail” define the band’s willingness to explore their sound. On Denigration, the guests only work to divert from the monotony between tracks; even then, their addition feels perfunctory. This doesn’t feel like the band that wrote bangers like “Misery Leech,” “Skinned and Fucked,” or “The List.” At least they are trying to emulate their slam roots with a more streamlined sound built around the classic Chug & Guttural™ combo. There will be those who find this record more palatable than Ingested’s recent deathcore-adjacent trajectory, even if the production takes crushed and curb-stomps it.

When I originally started spinning Denigration for review, numerous elements kept coming to my attention that now feel obvious, seeing how many things changed at the last minute. What should have been a creative refresh for a band that felt like it was relying a little too much on vocal talent has turned into the exact opposite. Denigration fails to bring the hooks, a key to any good slam record, while also being hamstrung by terrible production, middling vocals, and a lack of creativity. Hopefully, Ingested can come back stronger from all this and make the great album I know they are capable of, but all Denigration did was send me straight to the band’s better records.

Rating: Bad
DR: 3| Format Reviewed: 320 kbps mp3
Label: Metal Blade Records
Websites: Bandcamp | Official Site
Releases Worldwide: May 8th, 2026

It is hard to believe that Ingested is hitting their eighth record. A band that managed to bring slam to the relative mainstream, combining the grotesque, guttural brutality of extreme music with more core-infused elements. Their previous record, The Tide of Death and Fractured Dreams, leaned a little too hard into these elements. Losing much of the slam and focusing on simplified song structures to its detriment. Their latest release, Denigration, marks the first without founding vocalist Jason Evans, someone who defined the sound of Ingested. Unfortunately for the band, the album is also marked by tumult. With the departure of Evans, his replacement was quickly outed over sexual assault allegations, and at the last minute, guitarists Sean Haynes and Andrew Virrueta took over. The album was re-tooled to replace the vocals (something I commend the band for wholeheartedly), but was something excised in the process, or is it a return to form for a band that had seemingly lost its extreme roots?

I hate to break it to you, but Denigration is an album as messy as the story behind its creation. The album starts strongly, and unfortunately enough, with what is probably its best track. Half the band screams the opening line before the song drops into an absolute blast of destructive drumming. The track is simple but effective, and contains just enough variety and speed to keep things interesting. Haynes and Virrueta do an admirable job bringing heft and technical skill to each track, but they too often devolve into the same bouncing slam riffs to the point of bleeding together. Individual songs are hard to tell apart, and while founding drummer Lyn Jeffs has always been talented, the snare production basically kills his entire performance. This is nearly St. Anger levels of snare-tragedy, and the drums aren’t the only victim; production across the record is uniformly terrible.

Denigration’s Achilles heel is its soundscape. While dynamic range isn’t necessarily a surefire sign of quality, this album has songs that go as low as a 2 on the scale. Tracks are a cacophony in the worst way; the snare is downright grating and overly loud, while the rest blends into a miasma of noise and chuggery. This is an album with so little range between individual tracks that it can feel like one long song, which is grueling for a slam record. Top this with the fact that the last-minute fill-in vocalists are clearly amateurs, especially compared to Evans, and you get an album that sounds like a debut by a young band making early mistakes. I have to imagine replacing the vocals at the last minute did serious damage to their original mix, but Ingested has a history of production issues on top of this. Combining these two has made for an album that can hurt to listen to at times.

I don’t mean to disparage the band; in fact, this was a record I was genuinely hoping would be great. I have always had a soft spot for Ingested’s unique brand of slamcore. Evans vocals are top-tier, and they were always willing to take the genre to creative places. Julia Frau’s vocals on “Ashes Lie Still,” Kirk Windstein’s epic chorus on “Another Breath,” and Josh Middleton’s on “Expect to Fail” define the band’s willingness to explore their sound. On Denigration, the guests only work to divert from the monotony between tracks; even then, their addition feels perfunctory. This doesn’t feel like the band that wrote bangers like “Misery Leech,” “Skinned and Fucked,” or “The List.” At least they are trying to emulate their slam roots with a more streamlined sound built around the classic Chug & Guttural™ combo. There will be those who find this record more palatable than Ingested’s recent deathcore-adjacent trajectory, even if the production takes crushed and curb-stomps it.

When I originally started spinning Denigration for review, numerous elements kept coming to my attention that now feel obvious, seeing how many things changed at the last minute. What should have been a creative refresh for a band that felt like it was relying a little too much on vocal talent has turned into the exact opposite. Denigration fails to bring the hooks, a key to any good slam record, while also being hamstrung by terrible production, middling vocals, and a lack of creativity. Hopefully, Ingested can come back stronger from all this and make the great album I know they are capable of, but all Denigration did was send me straight to the band’s better records.

Rating: Bad
DR: 3| Format Reviewed: 320 kbps mp3
Label: Metal Blade Records
Websites: Bandcamp | Official Site
Releases Worldwide: May 8th, 2026

It is hard to believe that Ingested is hitting their eighth record. A band that managed to bring slam to the relative mainstream, combining the grotesque, guttural brutality of extreme music with more core-infused elements. Their previous record, The Tide of Death and Fractured Dreams, leaned a little too hard into these elements. Losing much of the slam and focusing on simplified song structures to its detriment. Their latest release, Denigration, marks the first without founding vocalist Jason Evans, someone who defined the sound of Ingested. Unfortunately for the band, the album is also marked by tumult. With the departure of Evans, his replacement was quickly outed over sexual assault allegations, and at the last minute, guitarists Sean Haynes and Andrew Virrueta took over. The album was re-tooled to replace the vocals (something I commend the band for wholeheartedly), but was something excised in the process, or is it a return to form for a band that had seemingly lost its extreme roots?

I hate to break it to you, but Denigration is an album as messy as the story behind its creation. The album starts strongly, and unfortunately enough, with what is probably its best track. Half the band screams the opening line before the song drops into an absolute blast of destructive drumming. The track is simple but effective, and contains just enough variety and speed to keep things interesting. Haynes and Virrueta do an admirable job bringing heft and technical skill to each track, but they too often devolve into the same bouncing slam riffs to the point of bleeding together. Individual songs are hard to tell apart, and while founding drummer Lyn Jeffs has always been talented, the snare production basically kills his entire performance. This is nearly St. Anger levels of snare-tragedy, and the drums aren’t the only victim; production across the record is uniformly terrible.

Denigration’s Achilles heel is its soundscape. While dynamic range isn’t necessarily a surefire sign of quality, this album has songs that go as low as a 2 on the scale. Tracks are a cacophony in the worst way; the snare is downright grating and overly loud, while the rest blends into a miasma of noise and chuggery. This is an album with so little range between individual tracks that it can feel like one long song, which is grueling for a slam record. Top this with the fact that the last-minute fill-in vocalists are clearly amateurs, especially compared to Evans, and you get an album that sounds like a debut by a young band making early mistakes. I have to imagine replacing the vocals at the last minute did serious damage to their original mix, but Ingested has a history of production issues on top of this. Combining these two has made for an album that can hurt to listen to at times.

I don’t mean to disparage the band; in fact, this was a record I was genuinely hoping would be great. I have always had a soft spot for Ingested’s unique brand of slamcore. Evans vocals are top-tier, and they were always willing to take the genre to creative places. Julia Frau’s vocals on “Ashes Lie Still,” Kirk Windstein’s epic chorus on “Another Breath,” and Josh Middleton’s on “Expect to Fail” define the band’s willingness to explore their sound. On Denigration, the guests only work to divert from the monotony between tracks; even then, their addition feels perfunctory. This doesn’t feel like the band that wrote bangers like “Misery Leech,” “Skinned and Fucked,” or “The List.” At least they are trying to emulate their slam roots with a more streamlined sound built around the classic Chug & Guttural™ combo. There will be those who find this record more palatable than Ingested’s recent deathcore-adjacent trajectory, even if the production takes crushed and curb-stomps it.

When I originally started spinning Denigration for review, numerous elements kept coming to my attention that now feel obvious, seeing how many things changed at the last minute. What should have been a creative refresh for a band that felt like it was relying a little too much on vocal talent has turned into the exact opposite. Denigration fails to bring the hooks, a key to any good slam record, while also being hamstrung by terrible production, middling vocals, and a lack of creativity. Hopefully, Ingested can come back stronger from all this and make the great album I know they are capable of, but all Denigration did was send me straight to the band’s better records.

Rating: Bad
DR: 3| Format Reviewed: 320 kbps mp3
Label: Metal Blade Records
Websites: Bandcamp | Official Site
Releases Worldwide: May 8th, 2026

It is hard to believe that Ingested is hitting their eighth record. A band that managed to bring slam to the relative mainstream, combining the grotesque, guttural brutality of extreme music with more core-infused elements. Their previous record, The Tide of Death and Fractured Dreams, leaned a little too hard into these elements. Losing much of the slam and focusing on simplified song structures to its detriment. Their latest release, Denigration, marks the first without founding vocalist Jason Evans, someone who defined the sound of Ingested. Unfortunately for the band, the album is also marked by tumult. With the departure of Evans, his replacement was quickly outed over sexual assault allegations, and at the last minute, guitarists Sean Haynes and Andrew Virrueta took over. The album was re-tooled to replace the vocals (something I commend the band for wholeheartedly), but was something excised in the process, or is it a return to form for a band that had seemingly lost its extreme roots?

I hate to break it to you, but Denigration is an album as messy as the story behind its creation. The album starts strongly, and unfortunately enough, with what is probably its best track. Half the band screams the opening line before the song drops into an absolute blast of destructive drumming. The track is simple but effective, and contains just enough variety and speed to keep things interesting. Haynes and Virrueta do an admirable job bringing heft and technical skill to each track, but they too often devolve into the same bouncing slam riffs to the point of bleeding together. Individual songs are hard to tell apart, and while founding drummer Lyn Jeffs has always been talented, the snare production basically kills his entire performance. This is nearly St. Anger levels of snare-tragedy, and the drums aren’t the only victim; production across the record is uniformly terrible.

Denigration’s Achilles heel is its soundscape. While dynamic range isn’t necessarily a surefire sign of quality, this album has songs that go as low as a 2 on the scale. Tracks are a cacophony in the worst way; the snare is downright grating and overly loud, while the rest blends into a miasma of noise and chuggery. This is an album with so little range between individual tracks that it can feel like one long song, which is grueling for a slam record. Top this with the fact that the last-minute fill-in vocalists are clearly amateurs, especially compared to Evans, and you get an album that sounds like a debut by a young band making early mistakes. I have to imagine replacing the vocals at the last minute did serious damage to their original mix, but Ingested has a history of production issues on top of this. Combining these two has made for an album that can hurt to listen to at times.

I don’t mean to disparage the band; in fact, this was a record I was genuinely hoping would be great. I have always had a soft spot for Ingested’s unique brand of slamcore. Evans vocals are top-tier, and they were always willing to take the genre to creative places. Julia Frau’s vocals on “Ashes Lie Still,” Kirk Windstein’s epic chorus on “Another Breath,” and Josh Middleton’s on “Expect to Fail” define the band’s willingness to explore their sound. On Denigration, the guests only work to divert from the monotony between tracks; even then, their addition feels perfunctory. This doesn’t feel like the band that wrote bangers like “Misery Leech,” “Skinned and Fucked,” or “The List.” At least they are trying to emulate their slam roots with a more streamlined sound built around the classic Chug & Guttural™ combo. There will be those who find this record more palatable than Ingested’s recent deathcore-adjacent trajectory, even if the production takes crushed and curb-stomps it.

When I originally started spinning Denigration for review, numerous elements kept coming to my attention that now feel obvious, seeing how many things changed at the last minute. What should have been a creative refresh for a band that felt like it was relying a little too much on vocal talent has turned into the exact opposite. Denigration fails to bring the hooks, a key to any good slam record, while also being hamstrung by terrible production, middling vocals, and a lack of creativity. Hopefully, Ingested can come back stronger from all this and make the great album I know they are capable of, but all Denigration did was send me straight to the band’s better records.

Rating: Bad
DR: 3| Format Reviewed: 320 kbps mp3
Label: Metal Blade Records
Websites: Bandcamp | Official Site
Releases Worldwide: May 8th, 2026

Recorruptor – Sorrow Will Drown Us All Review

By Alekhines Gun

One of the most entertaining things about describing death metal in any of its iterations is the limitless well of hyperbolic descriptors one can conjure. Older monikers like “crushes,” “brutalizes,” and “heavy” have given way to fun artistic notions like “being attacked by killer bees,” “gored by rabid rhinos,”1 and “being mated with by a coked out giraffe.” My own newest favorite phrase came by way of one of our loyal commentariat in the phrase “Taint kicker”. Michigan locals Recorruptor have arrived with their third LP, Sorrow Will Drown Us All, and it seeks to continue to force the listener to dig deeper into their well of artistic metaphors to describe the raw carnage on display. Are you up for a swim?

Like frosting with copious sprinkles on an extra chunky cake, Recorruptor use a hodgepodge of ingredients traversing from blackened deathcore to death metal and slam proper. This results in an album that is chuggy, blasty, slammy, and wammy, without easily being pigeonholed into any particular subgenre. A Venn diagram of sound neatly intersecting between Aborted, Cognitive, Cattle Decapitation and Lorna Shore, Sorrow Will Drown Us All flings the listener from one prolonged-shriek-laden chugging presentation with lightly strummed atmospheric lines (“Bearing the Befouled Spawn”) to vaguely OSDM melodic theatrics (“An Unnatural Lust”) without missing a beat or any part sounding out of place. The cohesiveness of songwriting is reflected in how each part is carefully composed for maximum impact without sounding like an unfocused collection of disparaging riffs. Recorruptor have opted for violence on a cinematic scale using a Batman-sized utility belt of tools to get their themes across, and those themes come in abundance.

This diversity of stylings means standout moments will depend entirely on what ingredient you’re most into. “Urn of Verglas” offers up a jumbo-sized plate of green eggs and slam, which is gleefully Ingested in its blunt simplicity, but rendered extra septic by contrast of the ruthless speed of what came before it. “Envenoming” is straight Cattle Decapitation worship with its atmospherics-rooted sense of grind and vocalist Clint Franklin doing a great impression of Travis Ryan at his most esophagus-abusing.2 “Insidious Rot” starts out with modern death metal groove before devolving into a prolonged breakdown set well beyond two-stepping pace and spotlighting some thunky chunky bass from Alex Schmidt. Guitarists Seth Earl and Isaac Marier slather the entire release in solos, which never lose their sense of tension and release to guitar hero wankery.

Where Sorrow Will Drown Us All fails is in the same way cakes can be too rich—too much of a good thing is real, and food is not the only victim. While every song is killer, they’re also long in the tooth and produced more abrasively than the DR would suggest. Vocals also follow the maddening modern trend of bathing the music almost nonstop rather than letting it breathe.3 There’s no denying the technical prowess and kaleidoscopic nature of the performances on display, but the album is so crammed with ideas that it feels much lengthier than its not unreasonable 48-minute runtime, and the two symphonic cuts do little to break up the whole into more palatable chunks. The name of the game for Recorruptor is going to be self-editing. If they can trim down the bulk of their ideas to more immediate offerings, they’ll be ready to blast and brawl their way to the top of the blackened deathcore heap without setting off genre purists in the process.

Sorrow Will Drown Us All is a caliber album, and if you’re a sucker for any of the various bands listed, you’ll find much to love here. There is sonic succulence reminiscent of meat grinders, bulldozers, horny wild animals, and yes, even taint kicking. Nevertheless, the final product topples under its own weight from the sheer glut of ideas on display. Quality ideas though they be, the album is so full of them that they end up fighting for the listener’s attention after the album has long ceased to play. I’m rooting for Recorruptor to hone in on their skillset and opt for a less-is-more approach. For now, grab a fork and let the sorrow get you into a diabetic coma.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Time to Kill Records
Websites: Album Bandcamp | Official Facebook Page
Releases Worldwide: July 18th, 2025

#2025 #30 #Aborted #AmericanMetal #BlackenedDeathcore #CattleDecapitation #Cognitive #DeathMetal #Ingested #Jul25 #LornaShore #Recorruptor #Review #Reviews #SorrowWillDrownUsAll