#junglerot — Public Fediverse posts

Der schweißtreibende Tropenabend im Schwarzen Keiler beweist, dass Oldschool-#DeathMetal eine rundum lebensbejahende Sache sein kann.

https://www.gig-blog.net/2026/08/05/jungle-rot-khnvm-04-08-2026-schwarzer-keiler-stuttgart/

#Konzert #Konzertbericht #Concert #LiveMusic #LiveMusik #Konzertfotografie #ConcertPhotography #Metal #Stuttgart #SchwarzerKeiler #JungleRot #KHNVM

Der schweißtreibende Tropenabend im Schwarzen Keiler beweist, dass Oldschool-#DeathMetal eine rundum lebensbejahende Sache sein kann.

https://www.gig-blog.net/2026/08/05/jungle-rot-khnvm-04-08-2026-schwarzer-keiler-stuttgart/

#Konzert #Konzertbericht #Concert #LiveMusic #LiveMusik #Konzertfotografie #ConcertPhotography #Metal #Stuttgart #SchwarzerKeiler #JungleRot #KHNVM

Der schweißtreibende Tropenabend im Schwarzen Keiler beweist, dass Oldschool-#DeathMetal eine rundum lebensbejahende Sache sein kann.

https://www.gig-blog.net/2026/08/05/jungle-rot-khnvm-04-08-2026-schwarzer-keiler-stuttgart/

#Konzert #Konzertbericht #Concert #LiveMusic #LiveMusik #Konzertfotografie #ConcertPhotography #Metal #Stuttgart #SchwarzerKeiler #JungleRot #KHNVM

Bei uns diese Woche auf dem Konzertplan: #JungleRot im Schwarzen Keiler Stuttgart. Letztes Keiler-Konzert vor der Sommerpause.

https://der-schwarze-keiler.de/produkt/20260804-jungle-rot/

#JungleRot #konzert #concert #livemusic #livemusik #metal #deathmetal #SchwarzerKeiler

Bei uns diese Woche auf dem Konzertplan: #JungleRot im Schwarzen Keiler Stuttgart. Letztes Keiler-Konzert vor der Sommerpause.

https://der-schwarze-keiler.de/produkt/20260804-jungle-rot/

#JungleRot #konzert #concert #livemusic #livemusik #metal #deathmetal #SchwarzerKeiler

Jungle Rot are bringing old school death metal back to North America this fall.

The band has announced a run supporting Vader on the Reign Forever in Kingdom of Blood tour, joined by Fleshcrawl and Trash Panda.

Details: https://metalinsider.net/touring/jungle-rot-announce-north-american-tour-supporting-vader

#JungleRot #Vader #Fleshcrawl #TrashPanda #TourAlert

Jungle Rot are bringing old school death metal back to North America this fall.

The band has announced a run supporting Vader on the Reign Forever in Kingdom of Blood tour, joined by Fleshcrawl and Trash Panda.

Details: https://metalinsider.net/touring/jungle-rot-announce-north-american-tour-supporting-vader

#JungleRot #Vader #Fleshcrawl #TrashPanda #TourAlert

Jungle Rot Launch GoFundMe After Canceled Flight Derailed Their European Tour

Veteran death metal outfit Jungle Rot have launched this GoFundMe after a canceled flight threw a wrench in…
#Europe #EU #European #JungleRot
https://www.europesays.com/europe/64966/

Jungle Rot have launched a GoFundMe campaign after a canceled flight left the band stranded and facing significant unexpected expenses while on tour.

Details: https://metalinsider.net/touring/jungle-rot-launch-gofundme-after-tour-travel-setback

#JungleRot #DeathMetal #GoFundMe #MetalNews

Jungle Rot have launched a GoFundMe campaign after a canceled flight left the band stranded and facing significant unexpected expenses while on tour.

Details: https://metalinsider.net/touring/jungle-rot-launch-gofundme-after-tour-travel-setback

#JungleRot #DeathMetal #GoFundMe #MetalNews

Desecresy – The Secret of Death Review

The philosophical quandary of innovation vs consistency rages on. For every Opeth or Blut Aus Nord, who only…
#NewsBeep #News #Music #2026 #BlutAusNord #BoltThrower #DeathMetal #Desecresy #Entertainment #FinnishMetal #InternalBleeding #JungleRot #Mar26 #Mortician #nile #Opeth #Putrevore #review #Reviews #Rippikoulu #TheSecretofDeath #UK #UnitedKingdom #XtreemMusic
https://www.newsbeep.com/uk/614634/

https://www.europesays.com/uk/996660/ Desecresy – The Secret of Death Review #2026 #BlutAusNord #BoltThrower #DeathMetal #Desecresy #Entertainment #FinnishMetal #InternalBleeding #JungleRot #Mar26 #Mortician #music #Nile #Opeth #Putrevore #Review #Reviews #Rippikoulu #TheSecretOfDeath #UK #UnitedKingdom #XtreemMusic

The philosophical quandary of innovation vs consistency rages on. For every Opeth or Blut Aus Nord, who only know how to move forward, you get the Nile’s and Internal Bleeding’s, who believe in doing their thing again, but hopefully bigger and better than the last time.1 Formerly a two-man project turned solo-project Desecresy has toiled away in the catacombs of Finland since 2009. Spearheaded by founding member Tommi Grönqvist, sole instrumentalist who also took up vocals on The Mortal Horizon onward, this outfit has offered an unflinchingly gloomy, chug-heavy breed of doomy death metal. The Secret of Death is the gentleman’s ninth offering, and if you came here expecting radical innovation, you didn’t read the genre description correctly.

In the spirit of much great Finnish death, the name of the game is atmosphere. Much of the Desecresy blueprint sounds like the long-lost offspring of Rippikoulu, with a heavy emphasis on thunderous chugs and vocals emanating somewhere from below the Earth’s crust. While the drumming has plenty of BPM shifts, the chug-centric focus gives the illusion of The Secret of Death never quite escaping being a mid-tempo offering, which might thrill some and disappoint others. Actual moments of contrast appear for aid, peppering “By Slowing the Vortex of Time” and complimenting the expected belligerence in “Ancient Timbre of Demise.” The occasional spooky synths appear to help divide movements (“Crypthymn”, “Vanishing Existence”) and emphasize a transitional flow of ideas, though much like death itself, all roads lead to the same destination.

Not all those roads come with the same scenic route, however. There are two flourishes to elevate this particular Secret, and I’m sure you noticed at least one as soon as you hit the embed. This album sounds like it was produced by Mortician in the best possible way, with the organic drums mixed with such stone-age glee that the bass kicks boom across every forest cleaving downbeat section. Tommi’s vocals transcend “guttural” into tectonic-plate-altering vibrations reminiscent of Putrevore, but less moist and far more menacing and impenetrable. The second flourish is a real penchant for leads that straddle the line of both spooky and catchy, with a tone crystalline and bright but with melodies of doom and horror. Sprinkled across the album, they give a reprieve from the crypt excavating, grave violating assaults with horrific beauty (“Ancient Timbre of Demise”, “Gorge of the Dead”) without ruining the carefully crafted atmospheric theatrics within.

While The Secret of Death wields its toolkit well enough that one can’t quite call it homogeneous, it should be admitted that not every cut carries the same degree of ferment in the offal discharge. “Ancient Timbre…” and “Summoned With Necrolunar Telepathy” feature intros that are too similar to each other in approach, and “Summoned…” flirts with a Bolt Thrower vision but rides an empty lead far too many times to maintain its impact. Other than the closing power of “Vanishing Existence”, the leads can’t compete with the heights of memorability set by “Gorge of the Dead”. And yet, these quibbles are hardly deal breakers, as the relatively succinct 42-minute runtime allows Desecresy to avoid outstaying their welcome; an important trait, given the sheer bleakness on display. Additionally, alternating the traditional slow, doomed-out prolonged note stylings in some leads with melodic interpositions carrying more speed and virtuosity makes for excellent distinction when they appear, successfully keeping the listener’s attention.

To the surprise of what I hope is no one in particular, Desecresy have landed firmly on the “consistency” side of the deathly spectrum. A lovely hodgepodge of chunky soup with Finnish entrails and an unusual take on the Mortician broth has given The Secret of Death a good identity while lacking anything approaching the realm of surprise. A few more cuts featuring the quality of the bookending tracks could have the caliber to assemble a real worm-infested monstrosity, and I’ll certainly be keeping an eye out for them in the future. For now, we can all use more death in our lives, and if you’re on the prowl, I’ve got a Secret I’d like to share with you…

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Xtreem Music
Website: Album Bandcamp
Releases Worldwide: May 21st, 2026

The philosophical quandary of innovation vs consistency rages on. For every Opeth or Blut Aus Nord, who only know how to move forward, you get the Nile’s and Internal Bleeding’s, who believe in doing their thing again, but hopefully bigger and better than the last time.1 Formerly a two-man project turned solo-project Desecresy has toiled away in the catacombs of Finland since 2009. Spearheaded by founding member Tommi Grönqvist, sole instrumentalist who also took up vocals on The Mortal Horizon onward, this outfit has offered an unflinchingly gloomy, chug-heavy breed of doomy death metal. The Secret of Death is the gentleman’s ninth offering, and if you came here expecting radical innovation, you didn’t read the genre description correctly.

In the spirit of much great Finnish death, the name of the game is atmosphere. Much of the Desecresy blueprint sounds like the long-lost offspring of Rippikoulu, with a heavy emphasis on thunderous chugs and vocals emanating somewhere from below the Earth’s crust. While the drumming has plenty of BPM shifts, the chug-centric focus gives the illusion of The Secret of Death never quite escaping being a mid-tempo offering, which might thrill some and disappoint others. Actual moments of contrast appear for aid, peppering “By Slowing the Vortex of Time” and complimenting the expected belligerence in “Ancient Timbre of Demise.” The occasional spooky synths appear to help divide movements (“Crypthymn”, “Vanishing Existence”) and emphasize a transitional flow of ideas, though much like death itself, all roads lead to the same destination.

Not all those roads come with the same scenic route, however. There are two flourishes to elevate this particular Secret, and I’m sure you noticed at least one as soon as you hit the embed. This album sounds like it was produced by Mortician in the best possible way, with the organic drums mixed with such stone-age glee that the bass kicks boom across every forest cleaving downbeat section. Tommi’s vocals transcend “guttural” into tectonic-plate-altering vibrations reminiscent of Putrevore, but less moist and far more menacing and impenetrable. The second flourish is a real penchant for leads that straddle the line of both spooky and catchy, with a tone crystalline and bright but with melodies of doom and horror. Sprinkled across the album, they give a reprieve from the crypt excavating, grave violating assaults with horrific beauty (“Ancient Timbre of Demise”, “Gorge of the Dead”) without ruining the carefully crafted atmospheric theatrics within.

While The Secret of Death wields its toolkit well enough that one can’t quite call it homogeneous, it should be admitted that not every cut carries the same degree of ferment in the offal discharge. “Ancient Timbre…” and “Summoned With Necrolunar Telepathy” feature intros that are too similar to each other in approach, and “Summoned…” flirts with a Bolt Thrower vision but rides an empty lead far too many times to maintain its impact. Other than the closing power of “Vanishing Existence”, the leads can’t compete with the heights of memorability set by “Gorge of the Dead”. And yet, these quibbles are hardly deal breakers, as the relatively succinct 42-minute runtime allows Desecresy to avoid outstaying their welcome; an important trait, given the sheer bleakness on display. Additionally, alternating the traditional slow, doomed-out prolonged note stylings in some leads with melodic interpositions carrying more speed and virtuosity makes for excellent distinction when they appear, successfully keeping the listener’s attention.

To the surprise of what I hope is no one in particular, Desecresy have landed firmly on the “consistency” side of the deathly spectrum. A lovely hodgepodge of chunky soup with Finnish entrails and an unusual take on the Mortician broth has given The Secret of Death a good identity while lacking anything approaching the realm of surprise. A few more cuts featuring the quality of the bookending tracks could have the caliber to assemble a real worm-infested monstrosity, and I’ll certainly be keeping an eye out for them in the future. For now, we can all use more death in our lives, and if you’re on the prowl, I’ve got a Secret I’d like to share with you…

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Xtreem Music
Website: Album Bandcamp
Releases Worldwide: May 21st, 2026

The philosophical quandary of innovation vs consistency rages on. For every Opeth or Blut Aus Nord, who only know how to move forward, you get the Nile’s and Internal Bleeding’s, who believe in doing their thing again, but hopefully bigger and better than the last time.1 Formerly a two-man project turned solo-project Desecresy has toiled away in the catacombs of Finland since 2009. Spearheaded by founding member Tommi Grönqvist, sole instrumentalist who also took up vocals on The Mortal Horizon onward, this outfit has offered an unflinchingly gloomy, chug-heavy breed of doomy death metal. The Secret of Death is the gentleman’s ninth offering, and if you came here expecting radical innovation, you didn’t read the genre description correctly.

In the spirit of much great Finnish death, the name of the game is atmosphere. Much of the Desecresy blueprint sounds like the long-lost offspring of Rippikoulu, with a heavy emphasis on thunderous chugs and vocals emanating somewhere from below the Earth’s crust. While the drumming has plenty of BPM shifts, the chug-centric focus gives the illusion of The Secret of Death never quite escaping being a mid-tempo offering, which might thrill some and disappoint others. Actual moments of contrast appear for aid, peppering “By Slowing the Vortex of Time” and complimenting the expected belligerence in “Ancient Timbre of Demise.” The occasional spooky synths appear to help divide movements (“Crypthymn”, “Vanishing Existence”) and emphasize a transitional flow of ideas, though much like death itself, all roads lead to the same destination.

Not all those roads come with the same scenic route, however. There are two flourishes to elevate this particular Secret, and I’m sure you noticed at least one as soon as you hit the embed. This album sounds like it was produced by Mortician in the best possible way, with the organic drums mixed with such stone-age glee that the bass kicks boom across every forest cleaving downbeat section. Tommi’s vocals transcend “guttural” into tectonic-plate-altering vibrations reminiscent of Putrevore, but less moist and far more menacing and impenetrable. The second flourish is a real penchant for leads that straddle the line of both spooky and catchy, with a tone crystalline and bright but with melodies of doom and horror. Sprinkled across the album, they give a reprieve from the crypt excavating, grave violating assaults with horrific beauty (“Ancient Timbre of Demise”, “Gorge of the Dead”) without ruining the carefully crafted atmospheric theatrics within.

While The Secret of Death wields its toolkit well enough that one can’t quite call it homogeneous, it should be admitted that not every cut carries the same degree of ferment in the offal discharge. “Ancient Timbre…” and “Summoned With Necrolunar Telepathy” feature intros that are too similar to each other in approach, and “Summoned…” flirts with a Bolt Thrower vision but rides an empty lead far too many times to maintain its impact. Other than the closing power of “Vanishing Existence”, the leads can’t compete with the heights of memorability set by “Gorge of the Dead”. And yet, these quibbles are hardly deal breakers, as the relatively succinct 42-minute runtime allows Desecresy to avoid outstaying their welcome; an important trait, given the sheer bleakness on display. Additionally, alternating the traditional slow, doomed-out prolonged note stylings in some leads with melodic interpositions carrying more speed and virtuosity makes for excellent distinction when they appear, successfully keeping the listener’s attention.

To the surprise of what I hope is no one in particular, Desecresy have landed firmly on the “consistency” side of the deathly spectrum. A lovely hodgepodge of chunky soup with Finnish entrails and an unusual take on the Mortician broth has given The Secret of Death a good identity while lacking anything approaching the realm of surprise. A few more cuts featuring the quality of the bookending tracks could have the caliber to assemble a real worm-infested monstrosity, and I’ll certainly be keeping an eye out for them in the future. For now, we can all use more death in our lives, and if you’re on the prowl, I’ve got a Secret I’d like to share with you…

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Xtreem Music
Website: Album Bandcamp
Releases Worldwide: May 21st, 2026

The philosophical quandary of innovation vs consistency rages on. For every Opeth or Blut Aus Nord, who only know how to move forward, you get the Nile’s and Internal Bleeding’s, who believe in doing their thing again, but hopefully bigger and better than the last time.1 Formerly a two-man project turned solo-project Desecresy has toiled away in the catacombs of Finland since 2009. Spearheaded by founding member Tommi Grönqvist, sole instrumentalist who also took up vocals on The Mortal Horizon onward, this outfit has offered an unflinchingly gloomy, chug-heavy breed of doomy death metal. The Secret of Death is the gentleman’s ninth offering, and if you came here expecting radical innovation, you didn’t read the genre description correctly.

In the spirit of much great Finnish death, the name of the game is atmosphere. Much of the Desecresy blueprint sounds like the long-lost offspring of Rippikoulu, with a heavy emphasis on thunderous chugs and vocals emanating somewhere from below the Earth’s crust. While the drumming has plenty of BPM shifts, the chug-centric focus gives the illusion of The Secret of Death never quite escaping being a mid-tempo offering, which might thrill some and disappoint others. Actual moments of contrast appear for aid, peppering “By Slowing the Vortex of Time” and complimenting the expected belligerence in “Ancient Timbre of Demise.” The occasional spooky synths appear to help divide movements (“Crypthymn”, “Vanishing Existence”) and emphasize a transitional flow of ideas, though much like death itself, all roads lead to the same destination.

Not all those roads come with the same scenic route, however. There are two flourishes to elevate this particular Secret, and I’m sure you noticed at least one as soon as you hit the embed. This album sounds like it was produced by Mortician in the best possible way, with the organic drums mixed with such stone-age glee that the bass kicks boom across every forest cleaving downbeat section. Tommi’s vocals transcend “guttural” into tectonic-plate-altering vibrations reminiscent of Putrevore, but less moist and far more menacing and impenetrable. The second flourish is a real penchant for leads that straddle the line of both spooky and catchy, with a tone crystalline and bright but with melodies of doom and horror. Sprinkled across the album, they give a reprieve from the crypt excavating, grave violating assaults with horrific beauty (“Ancient Timbre of Demise”, “Gorge of the Dead”) without ruining the carefully crafted atmospheric theatrics within.

While The Secret of Death wields its toolkit well enough that one can’t quite call it homogeneous, it should be admitted that not every cut carries the same degree of ferment in the offal discharge. “Ancient Timbre…” and “Summoned With Necrolunar Telepathy” feature intros that are too similar to each other in approach, and “Summoned…” flirts with a Bolt Thrower vision but rides an empty lead far too many times to maintain its impact. Other than the closing power of “Vanishing Existence”, the leads can’t compete with the heights of memorability set by “Gorge of the Dead”. And yet, these quibbles are hardly deal breakers, as the relatively succinct 42-minute runtime allows Desecresy to avoid outstaying their welcome; an important trait, given the sheer bleakness on display. Additionally, alternating the traditional slow, doomed-out prolonged note stylings in some leads with melodic interpositions carrying more speed and virtuosity makes for excellent distinction when they appear, successfully keeping the listener’s attention.

To the surprise of what I hope is no one in particular, Desecresy have landed firmly on the “consistency” side of the deathly spectrum. A lovely hodgepodge of chunky soup with Finnish entrails and an unusual take on the Mortician broth has given The Secret of Death a good identity while lacking anything approaching the realm of surprise. A few more cuts featuring the quality of the bookending tracks could have the caliber to assemble a real worm-infested monstrosity, and I’ll certainly be keeping an eye out for them in the future. For now, we can all use more death in our lives, and if you’re on the prowl, I’ve got a Secret I’d like to share with you…

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Xtreem Music
Website: Album Bandcamp
Releases Worldwide: May 21st, 2026

JUNGLE ROT (Estats Units) presenta nou àlbum: "Cruel Face of War" #JungleRot #DeathMetal #Maig2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

JUNGLE ROT (Estats Units) presenta nou àlbum: "Cruel Face of War" #JungleRot #DeathMetal #Maig2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

Jungle Rot – Cruel Face of War Review

After four years of studio silence, Kenoshan cavemen Jungle Rot emerge from the bush with twelfth platter, Cruel…
#NewsBeep #News #Music #2.0 #2026 #AmericanMetal #BoltThrower #CruelFaceofWar #DeathMetal #Entertainment #Hatebreed #JungleRot #May26 #obituary #review #Reviews #SlaughtertoPrevail #UK #UniqueLeaderRecords #UnitedKingdom
https://www.newsbeep.com/uk/581867/

After four years of studio silence, Kenoshan cavemen Jungle Rot emerge from the bush with twelfth platter, Cruel Face of War. For the uninitiated, Jungle Rot plays groovy death metal that’s hostile, bludgeoning, and never dares to overthink anything. Their output has been more reliable than our coverage, and reviewing every other album since 2011’s Kill on Command, each has earned a ‘Mixed’ rating. Interestingly, the two albums we missed reviewing, Terror Regime and Jungle Rot, are the best of that group, particularly their self-titled effort. Now faced with our first consecutive Jungle Rot evaluation, can Cruel Face of War break the mold, or does it run through the Jungle on cruise control?

‘Consistency is key’ perseveres as a pillar of advice I mete out and live by,1 and this lesson sticks with Jungle Rot like flies on a decomposing carcass. After three decades of mouth-breathing death jams, the band still delivers freshly forged OSDM every two to four years that reeks of Obituary and Bolt Thrower. While the hardcore and deathcore vestiges have diminished,2 trace amounts of Hatebreed and Slaughter to Prevail lurk within Jungle Rot’s fetid funk, especially Dave Matrise’s vocals. To be fair, any fluctuations in their sound become conversations of degrees, and since Fueled by Hate dropped in 2004, Jungle Rot has been lodged in a groove so deep they haven’t pulled out from it yet.

Jungle Rot sounds best when they inject a bit of melody into their formula, and those crumbs unerringly serve as the best morsels on Cruel Face of War. Maybe that’s because only those moments break up the monotony of an otherwise wearisome chuggathon, where an unvarying landscape of riffs and grooves blur together into an indistinct sea of homogenous death metal. For instance, the riffs on “When the Elders Rise” and “Rot Riffs” carry just enough character to help differentiate themselves from the rest of the pack, but otherwise, I can’t distinguish between most others without playing them back-to-back. To Jungle Rot’s credit, they possess a sound uniquely their own. But like a painter who only uses a single color, they lock themselves into a self-imposed prison of uniformity that undercuts any notion of tension or contrast.

Despite the detractors, Jungle Rot’s adherence to convention pays dividends as well. Pit-ready grooves and stank-inducing verses make great fodder for good ol’ fashioned head-banging, and while the simplicity limits Cruel Face of War’s upside, it also ensures a stable foundation to build upon. Regarding pacing, Jungle Rot plays with two speeds: a menacing, mid-paced skulk and a faster, more predatory trot. Though they never commit to woebegone plods or balls-out blitzes, there’s just enough variety to keep things engaging without moving too far away from Jungle Rot’s established sonic ideal. Additionally, Cruel Face of War merits praise for the efficient yet expressive solos, particularly on “Cruel Face of War” and “Horrors Vile,” with Geoff Bub and David Matrise credited for guitars.3 Bassist James Genenz rumbles and groans alongside, supplying a meaty dimension to Cruel Face of War, and drummer Spenser Syphers pounds and pummels as needed. Dan “The Man” Swanö even handles mixing and mastering, granting the immediate boost he bestows to nearly everything he touches.

Cruel Face of War never outright errs, yet Jungle Rot proves so reticent to stray from the path oft-traveled that I wonder why they recorded new material. Jungle Rot felt like a promising step forward, infusing wicked melodies into the band’s brutish brand of death metal. Since then, Jungle Rot seems content to churn out mildly different flavors of the same core recipe with rapidly diminishing returns. After thirty years of staying the course, I’m not hopeful that Jungle Rot will venture into unfamiliar territory, but without stepping outside their comfort zone, I don’t foresee them bursting free from their Jungle Rut.

Rating: Disappointing
DR: 6 | Format Reviewed: 224 kbps mp3
Label: Unique Leader Records
Websites: Bandcamp | Facebook
Releases Worldwide: May 15th, 20264

After four years of studio silence, Kenoshan cavemen Jungle Rot emerge from the bush with twelfth platter, Cruel Face of War. For the uninitiated, Jungle Rot plays groovy death metal that’s hostile, bludgeoning, and never dares to overthink anything. Their output has been more reliable than our coverage, and reviewing every other album since 2011’s Kill on Command, each has earned a ‘Mixed’ rating. Interestingly, the two albums we missed reviewing, Terror Regime and Jungle Rot, are the best of that group, particularly their self-titled effort. Now faced with our first consecutive Jungle Rot evaluation, can Cruel Face of War break the mold, or does it run through the Jungle on cruise control?

‘Consistency is key’ perseveres as a pillar of advice I mete out and live by,1 and this lesson sticks with Jungle Rot like flies on a decomposing carcass. After three decades of mouth-breathing death jams, the band still delivers freshly forged OSDM every two to four years that reeks of Obituary and Bolt Thrower. While the hardcore and deathcore vestiges have diminished,2 trace amounts of Hatebreed and Slaughter to Prevail lurk within Jungle Rot’s fetid funk, especially Dave Matrise’s vocals. To be fair, any fluctuations in their sound become conversations of degrees, and since Fueled by Hate dropped in 2004, Jungle Rot has been lodged in a groove so deep they haven’t pulled out from it yet.

Jungle Rot sounds best when they inject a bit of melody into their formula, and those crumbs unerringly serve as the best morsels on Cruel Face of War. Maybe that’s because only those moments break up the monotony of an otherwise wearisome chuggathon, where an unvarying landscape of riffs and grooves blur together into an indistinct sea of homogenous death metal. For instance, the riffs on “When the Elders Rise” and “Rot Riffs” carry just enough character to help differentiate themselves from the rest of the pack, but otherwise, I can’t distinguish between most others without playing them back-to-back. To Jungle Rot’s credit, they possess a sound uniquely their own. But like a painter who only uses a single color, they lock themselves into a self-imposed prison of uniformity that undercuts any notion of tension or contrast.

Despite the detractors, Jungle Rot’s adherence to convention pays dividends as well. Pit-ready grooves and stank-inducing verses make great fodder for good ol’ fashioned head-banging, and while the simplicity limits Cruel Face of War’s upside, it also ensures a stable foundation to build upon. Regarding pacing, Jungle Rot plays with two speeds: a menacing, mid-paced skulk and a faster, more predatory trot. Though they never commit to woebegone plods or balls-out blitzes, there’s just enough variety to keep things engaging without moving too far away from Jungle Rot’s established sonic ideal. Additionally, Cruel Face of War merits praise for the efficient yet expressive solos, particularly on “Cruel Face of War” and “Horrors Vile,” with Geoff Bub and David Matrise credited for guitars.3 Bassist James Genenz rumbles and groans alongside, supplying a meaty dimension to Cruel Face of War, and drummer Spenser Syphers pounds and pummels as needed. Dan “The Man” Swanö even handles mixing and mastering, granting the immediate boost he bestows to nearly everything he touches.

Cruel Face of War never outright errs, yet Jungle Rot proves so reticent to stray from the path oft-traveled that I wonder why they recorded new material. Jungle Rot felt like a promising step forward, infusing wicked melodies into the band’s brutish brand of death metal. Since then, Jungle Rot seems content to churn out mildly different flavors of the same core recipe with rapidly diminishing returns. After thirty years of staying the course, I’m not hopeful that Jungle Rot will venture into unfamiliar territory, but without stepping outside their comfort zone, I don’t foresee them bursting free from their Jungle Rut.

Rating: Disappointing
DR: 6 | Format Reviewed: 224 kbps mp3
Label: Unique Leader Records
Websites: Bandcamp | Facebook
Releases Worldwide: May 15th, 20264

After four years of studio silence, Kenoshan cavemen Jungle Rot emerge from the bush with twelfth platter, Cruel Face of War. For the uninitiated, Jungle Rot plays groovy death metal that’s hostile, bludgeoning, and never dares to overthink anything. Their output has been more reliable than our coverage, and reviewing every other album since 2011’s Kill on Command, each has earned a ‘Mixed’ rating. Interestingly, the two albums we missed reviewing, Terror Regime and Jungle Rot, are the best of that group, particularly their self-titled effort. Now faced with our first consecutive Jungle Rot evaluation, can Cruel Face of War break the mold, or does it run through the Jungle on cruise control?

‘Consistency is key’ perseveres as a pillar of advice I mete out and live by,1 and this lesson sticks with Jungle Rot like flies on a decomposing carcass. After three decades of mouth-breathing death jams, the band still delivers freshly forged OSDM every two to four years that reeks of Obituary and Bolt Thrower. While the hardcore and deathcore vestiges have diminished,2 trace amounts of Hatebreed and Slaughter to Prevail lurk within Jungle Rot’s fetid funk, especially Dave Matrise’s vocals. To be fair, any fluctuations in their sound become conversations of degrees, and since Fueled by Hate dropped in 2004, Jungle Rot has been lodged in a groove so deep they haven’t pulled out from it yet.

Jungle Rot sounds best when they inject a bit of melody into their formula, and those crumbs unerringly serve as the best morsels on Cruel Face of War. Maybe that’s because only those moments break up the monotony of an otherwise wearisome chuggathon, where an unvarying landscape of riffs and grooves blur together into an indistinct sea of homogenous death metal. For instance, the riffs on “When the Elders Rise” and “Rot Riffs” carry just enough character to help differentiate themselves from the rest of the pack, but otherwise, I can’t distinguish between most others without playing them back-to-back. To Jungle Rot’s credit, they possess a sound uniquely their own. But like a painter who only uses a single color, they lock themselves into a self-imposed prison of uniformity that undercuts any notion of tension or contrast.

Despite the detractors, Jungle Rot’s adherence to convention pays dividends as well. Pit-ready grooves and stank-inducing verses make great fodder for good ol’ fashioned head-banging, and while the simplicity limits Cruel Face of War’s upside, it also ensures a stable foundation to build upon. Regarding pacing, Jungle Rot plays with two speeds: a menacing, mid-paced skulk and a faster, more predatory trot. Though they never commit to woebegone plods or balls-out blitzes, there’s just enough variety to keep things engaging without moving too far away from Jungle Rot’s established sonic ideal. Additionally, Cruel Face of War merits praise for the efficient yet expressive solos, particularly on “Cruel Face of War” and “Horrors Vile,” with Geoff Bub and David Matrise credited for guitars.3 Bassist James Genenz rumbles and groans alongside, supplying a meaty dimension to Cruel Face of War, and drummer Spenser Syphers pounds and pummels as needed. Dan “The Man” Swanö even handles mixing and mastering, granting the immediate boost he bestows to nearly everything he touches.

Cruel Face of War never outright errs, yet Jungle Rot proves so reticent to stray from the path oft-traveled that I wonder why they recorded new material. Jungle Rot felt like a promising step forward, infusing wicked melodies into the band’s brutish brand of death metal. Since then, Jungle Rot seems content to churn out mildly different flavors of the same core recipe with rapidly diminishing returns. After thirty years of staying the course, I’m not hopeful that Jungle Rot will venture into unfamiliar territory, but without stepping outside their comfort zone, I don’t foresee them bursting free from their Jungle Rut.

Rating: Disappointing
DR: 6 | Format Reviewed: 224 kbps mp3
Label: Unique Leader Records
Websites: Bandcamp | Facebook
Releases Worldwide: May 15th, 20264

After four years of studio silence, Kenoshan cavemen Jungle Rot emerge from the bush with twelfth platter, Cruel Face of War. For the uninitiated, Jungle Rot plays groovy death metal that’s hostile, bludgeoning, and never dares to overthink anything. Their output has been more reliable than our coverage, and reviewing every other album since 2011’s Kill on Command, each has earned a ‘Mixed’ rating. Interestingly, the two albums we missed reviewing, Terror Regime and Jungle Rot, are the best of that group, particularly their self-titled effort. Now faced with our first consecutive Jungle Rot evaluation, can Cruel Face of War break the mold, or does it run through the Jungle on cruise control?

‘Consistency is key’ perseveres as a pillar of advice I mete out and live by,1 and this lesson sticks with Jungle Rot like flies on a decomposing carcass. After three decades of mouth-breathing death jams, the band still delivers freshly forged OSDM every two to four years that reeks of Obituary and Bolt Thrower. While the hardcore and deathcore vestiges have diminished,2 trace amounts of Hatebreed and Slaughter to Prevail lurk within Jungle Rot’s fetid funk, especially Dave Matrise’s vocals. To be fair, any fluctuations in their sound become conversations of degrees, and since Fueled by Hate dropped in 2004, Jungle Rot has been lodged in a groove so deep they haven’t pulled out from it yet.

Jungle Rot sounds best when they inject a bit of melody into their formula, and those crumbs unerringly serve as the best morsels on Cruel Face of War. Maybe that’s because only those moments break up the monotony of an otherwise wearisome chuggathon, where an unvarying landscape of riffs and grooves blur together into an indistinct sea of homogenous death metal. For instance, the riffs on “When the Elders Rise” and “Rot Riffs” carry just enough character to help differentiate themselves from the rest of the pack, but otherwise, I can’t distinguish between most others without playing them back-to-back. To Jungle Rot’s credit, they possess a sound uniquely their own. But like a painter who only uses a single color, they lock themselves into a self-imposed prison of uniformity that undercuts any notion of tension or contrast.

Despite the detractors, Jungle Rot’s adherence to convention pays dividends as well. Pit-ready grooves and stank-inducing verses make great fodder for good ol’ fashioned head-banging, and while the simplicity limits Cruel Face of War’s upside, it also ensures a stable foundation to build upon. Regarding pacing, Jungle Rot plays with two speeds: a menacing, mid-paced skulk and a faster, more predatory trot. Though they never commit to woebegone plods or balls-out blitzes, there’s just enough variety to keep things engaging without moving too far away from Jungle Rot’s established sonic ideal. Additionally, Cruel Face of War merits praise for the efficient yet expressive solos, particularly on “Cruel Face of War” and “Horrors Vile,” with Geoff Bub and David Matrise credited for guitars.3 Bassist James Genenz rumbles and groans alongside, supplying a meaty dimension to Cruel Face of War, and drummer Spenser Syphers pounds and pummels as needed. Dan “The Man” Swanö even handles mixing and mastering, granting the immediate boost he bestows to nearly everything he touches.

Cruel Face of War never outright errs, yet Jungle Rot proves so reticent to stray from the path oft-traveled that I wonder why they recorded new material. Jungle Rot felt like a promising step forward, infusing wicked melodies into the band’s brutish brand of death metal. Since then, Jungle Rot seems content to churn out mildly different flavors of the same core recipe with rapidly diminishing returns. After thirty years of staying the course, I’m not hopeful that Jungle Rot will venture into unfamiliar territory, but without stepping outside their comfort zone, I don’t foresee them bursting free from their Jungle Rut.

Rating: Disappointing
DR: 6 | Format Reviewed: 224 kbps mp3
Label: Unique Leader Records
Websites: Bandcamp | Facebook
Releases Worldwide: May 15th, 20264

New post: Old-school death metal legends Jungle Rot drop new album ‘Cruel Face Of War’ https://moshville.co.uk/news/2026/05/old-school-death-metal-legends-jungle-rot-drop-new-album-cruel-face-of-war/ #JungleRot

New post: Old-school death metal legends Jungle Rot drop new album ‘Cruel Face Of War’ https://moshville.co.uk/news/2026/05/old-school-death-metal-legends-jungle-rot-drop-new-album-cruel-face-of-war/ #JungleRot

New post: Old-school death metal legends Jungle Rot drop new album ‘Cruel Face Of War’ https://moshville.co.uk/news/2026/05/old-school-death-metal-legends-jungle-rot-drop-new-album-cruel-face-of-war/ #JungleRot

Jungle Rot unleash new single “Apocalyptic Dawn;” new album arriving in May:

#JungleRot #NewSingle #NewAlbum #MayReleases

Link: https://metalinsider.net/video/jungle-rot-unleash-new-single-apocalyptic-dawn-new-album-arriving-in-may

Jungle Rot unleash new single “Apocalyptic Dawn;” new album arriving in May:

#JungleRot #NewSingle #NewAlbum #MayReleases

Link: https://metalinsider.net/video/jungle-rot-unleash-new-single-apocalyptic-dawn-new-album-arriving-in-may

https://www.europesays.com/uk/817243/ No/Más – No Peace Review #2026 #35 #AmericanMetal #DeathMetal #Deathgrind #Entertainment #Exhumed #FullOfHell #Grindcore #JungleRot #Mar26 #music #Nails #NapalmDeath #NoPeace #No/Mas #NoMas #OxygenDestroyer #ProPain #RedefiningDarknessRecords #Review #Reviews #Sepultura #UK #UnitedKingdom

DC deathgrind ensemble No/Más formed almost a decade ago, pumping out a split, two EPs, and a full-length between 2017 and 2022. Four years later, No/Más assails 2026 from the jump, touring with Exhumed and Oxygen Destroyer as well as crackin’ skulls with their sophomore effort, No Peace. Stylistically similar to their debut Consume/Deny/Repent, No Peace offers listeners twenty-two minutes of throat-punching, toe-stomping aural hooliganism that’s as charming as it is confrontational. Does No/Más’ boisterous, acerbic approach leave listeners with a tolerance for their hijinks, or will they leave No Peace thinking, ‘no thanks?’

While No Peace manifests many upgrades from their (admittedly good) debut, the biggest win might be that No/Más firmly institutes their identity. The change isn’t drastic, and No Peace is a natural progression from Consume/Deny/Repent, but the sophisticated onslaught supplied on this sophomore sweep oozes with sneering confidence. Following in the footsteps of Nails, No/Más balances grindcore, death metal, and hardcore/crust tendencies with playful intelligence, weaving together Full of Hell’s caustic bite, Napalm Death’s thuggish simplicity, and Jungle Rot’s warped melodicism into a densely packed third of an hour. And if those touchstones aren’t enough, No/Más unleashes Sepultura-informed grooves and a slow leak of Pro-Pain into their secret sauce. Not to fret, though, because despite all the influences, No Peace presents as a unified vision, and one that will rouse languid listeners into a frothing fancy.

No Peace by NO/MÁS

No/Más’ instrumentation on No Peace sets a high bar with energetic performances, snapping necks with whiplash-inducing riffs and a license to thrill. Joe Vasta’s bass bounces and chugs with in-your-face rumbles throughout No Peace (“Abolition,” “Cycle of Sacrifice”), wielding a thick, surly tone that’ll rabbit punch you into head-banging if you’re standing still. Drummer Henry Everitt wallops the skins hard enough to rattle your ear bones, battering with furious fills (“Abolition”) and dropping to half-time backbeats (“No Peace”) as songs demand. It’s not all about the beatdowns, though, as No/Más injects a welcome helping of melody into No Peace. John Letzkus’ guitar slices through the faff to drench the album in a satisfyingly saturated buzz (“Act of Killing,” “Spineless”), though he also takes the reins and dazzles with efficient, arpeggiated leads (“Leech”) that I wish appeared more. Vocalist Roger Rivadeneira rounds out the quartet, shouting, growling, and screeching in a varied attack that demonstrates a willingness to experiment that was largely absent from Consume/Deny/Repent. In total, No/Más fires on all cylinders throughout No Peace, and never gives you a moment to come up for air.

With only twenty-two minutes on tap, No/Más leaves no room for inessential slop. And besides the half-minute intro flush with wall-of-sound static and indistinct yelling, they wildly succeed. As you’d expect from any decent grindy endeavor, no song pushes past its distilled essence, staying just long enough to rip and bludgeon before getting the fuck out of the way for the next track to exact its toll. No song eclipses the three-minute mark, and each exudes a rabid savagery that seethes with conviction. Additionally, No Peace sounds great—sure, the dynamic range scores low, but it’s exactly how this brand of overstimulating ass-kicking should sound. It’s well-mixed, abrasive, and highlights the rhythm section without sacrificing the sparse six-string fortitude. I wish there were a few more songs like “Leech,” partly because No/Más excels with the tunefulness, but also because I think it would address the biggest opportunity with No Peace—the compact composition allows little room for songs to establish unique flavors, leaving them to sometimes blur together. In the end, though, this is only a minor quibble, and there are many great moments to appreciate.

No/Más hasn’t redefined the DNA of deathgrind with No Peace, but they have contributed a worthy addition to its annals. Corrosive, pummeling bangers streamlined with minimal frills sum up to a blistering platter I’ve quite enjoyed. While I haven’t had the pleasure of seeing No/Más live, this crew boasts the hallmarks of a band that whips a crowd into a frenzy and ends with a broken bone or missing tooth. With twelve tracks running so lean, No Peace is helplessly easy to spin again and again. If they keep pumping out tunes this good, I can’t wait for what comes next. No más? No. Más.

Rating: Very Good!
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Redefining Darkness Records
Websites: Bandcamp | Facebook
Releases Worldwide: March 13th, 2026

DC deathgrind ensemble No/Más formed almost a decade ago, pumping out a split, two EPs, and a full-length between 2017 and 2022. Four years later, No/Más assails 2026 from the jump, touring with Exhumed and Oxygen Destroyer as well as crackin’ skulls with their sophomore effort, No Peace. Stylistically similar to their debut Consume/Deny/Repent, No Peace offers listeners twenty-two minutes of throat-punching, toe-stomping aural hooliganism that’s as charming as it is confrontational. Does No/Más’ boisterous, acerbic approach leave listeners with a tolerance for their hijinks, or will they leave No Peace thinking, ‘no thanks?’

While No Peace manifests many upgrades from their (admittedly good) debut, the biggest win might be that No/Más firmly institutes their identity. The change isn’t drastic, and No Peace is a natural progression from Consume/Deny/Repent, but the sophisticated onslaught supplied on this sophomore sweep oozes with sneering confidence. Following in the footsteps of Nails, No/Más balances grindcore, death metal, and hardcore/crust tendencies with playful intelligence, weaving together Full of Hell’s caustic bite, Napalm Death’s thuggish simplicity, and Jungle Rot’s warped melodicism into a densely packed third of an hour. And if those touchstones aren’t enough, No/Más unleashes Sepultura-informed grooves and a slow leak of Pro-Pain into their secret sauce. Not to fret, though, because despite all the influences, No Peace presents as a unified vision, and one that will rouse languid listeners into a frothing fancy.

No Peace by NO/MÁS

No/Más’ instrumentation on No Peace sets a high bar with energetic performances, snapping necks with whiplash-inducing riffs and a license to thrill. Joe Vasta’s bass bounces and chugs with in-your-face rumbles throughout No Peace (“Abolition,” “Cycle of Sacrifice”), wielding a thick, surly tone that’ll rabbit punch you into head-banging if you’re standing still. Drummer Henry Everitt wallops the skins hard enough to rattle your ear bones, battering with furious fills (“Abolition”) and dropping to half-time backbeats (“No Peace”) as songs demand. It’s not all about the beatdowns, though, as No/Más injects a welcome helping of melody into No Peace. John Letzkus’ guitar slices through the faff to drench the album in a satisfyingly saturated buzz (“Act of Killing,” “Spineless”), though he also takes the reins and dazzles with efficient, arpeggiated leads (“Leech”) that I wish appeared more. Vocalist Roger Rivadeneira rounds out the quartet, shouting, growling, and screeching in a varied attack that demonstrates a willingness to experiment that was largely absent from Consume/Deny/Repent. In total, No/Más fires on all cylinders throughout No Peace, and never gives you a moment to come up for air.

With only twenty-two minutes on tap, No/Más leaves no room for inessential slop. And besides the half-minute intro flush with wall-of-sound static and indistinct yelling, they wildly succeed. As you’d expect from any decent grindy endeavor, no song pushes past its distilled essence, staying just long enough to rip and bludgeon before getting the fuck out of the way for the next track to exact its toll. No song eclipses the three-minute mark, and each exudes a rabid savagery that seethes with conviction. Additionally, No Peace sounds great—sure, the dynamic range scores low, but it’s exactly how this brand of overstimulating ass-kicking should sound. It’s well-mixed, abrasive, and highlights the rhythm section without sacrificing the sparse six-string fortitude. I wish there were a few more songs like “Leech,” partly because No/Más excels with the tunefulness, but also because I think it would address the biggest opportunity with No Peace—the compact composition allows little room for songs to establish unique flavors, leaving them to sometimes blur together. In the end, though, this is only a minor quibble, and there are many great moments to appreciate.

No/Más hasn’t redefined the DNA of deathgrind with No Peace, but they have contributed a worthy addition to its annals. Corrosive, pummeling bangers streamlined with minimal frills sum up to a blistering platter I’ve quite enjoyed. While I haven’t had the pleasure of seeing No/Más live, this crew boasts the hallmarks of a band that whips a crowd into a frenzy and ends with a broken bone or missing tooth. With twelve tracks running so lean, No Peace is helplessly easy to spin again and again. If they keep pumping out tunes this good, I can’t wait for what comes next. No más? No. Más.

Rating: Very Good!
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Redefining Darkness Records
Websites: Bandcamp | Facebook
Releases Worldwide: March 13th, 2026

DC deathgrind ensemble No/Más formed almost a decade ago, pumping out a split, two EPs, and a full-length between 2017 and 2022. Four years later, No/Más assails 2026 from the jump, touring with Exhumed and Oxygen Destroyer as well as crackin’ skulls with their sophomore effort, No Peace. Stylistically similar to their debut Consume/Deny/Repent, No Peace offers listeners twenty-two minutes of throat-punching, toe-stomping aural hooliganism that’s as charming as it is confrontational. Does No/Más’ boisterous, acerbic approach leave listeners with a tolerance for their hijinks, or will they leave No Peace thinking, ‘no thanks?’

While No Peace manifests many upgrades from their (admittedly good) debut, the biggest win might be that No/Más firmly institutes their identity. The change isn’t drastic, and No Peace is a natural progression from Consume/Deny/Repent, but the sophisticated onslaught supplied on this sophomore sweep oozes with sneering confidence. Following in the footsteps of Nails, No/Más balances grindcore, death metal, and hardcore/crust tendencies with playful intelligence, weaving together Full of Hell’s caustic bite, Napalm Death’s thuggish simplicity, and Jungle Rot’s warped melodicism into a densely packed third of an hour. And if those touchstones aren’t enough, No/Más unleashes Sepultura-informed grooves and a slow leak of Pro-Pain into their secret sauce. Not to fret, though, because despite all the influences, No Peace presents as a unified vision, and one that will rouse languid listeners into a frothing fancy.

No Peace by NO/MÁS

No/Más’ instrumentation on No Peace sets a high bar with energetic performances, snapping necks with whiplash-inducing riffs and a license to thrill. Joe Vasta’s bass bounces and chugs with in-your-face rumbles throughout No Peace (“Abolition,” “Cycle of Sacrifice”), wielding a thick, surly tone that’ll rabbit punch you into head-banging if you’re standing still. Drummer Henry Everitt wallops the skins hard enough to rattle your ear bones, battering with furious fills (“Abolition”) and dropping to half-time backbeats (“No Peace”) as songs demand. It’s not all about the beatdowns, though, as No/Más injects a welcome helping of melody into No Peace. John Letzkus’ guitar slices through the faff to drench the album in a satisfyingly saturated buzz (“Act of Killing,” “Spineless”), though he also takes the reins and dazzles with efficient, arpeggiated leads (“Leech”) that I wish appeared more. Vocalist Roger Rivadeneira rounds out the quartet, shouting, growling, and screeching in a varied attack that demonstrates a willingness to experiment that was largely absent from Consume/Deny/Repent. In total, No/Más fires on all cylinders throughout No Peace, and never gives you a moment to come up for air.

With only twenty-two minutes on tap, No/Más leaves no room for inessential slop. And besides the half-minute intro flush with wall-of-sound static and indistinct yelling, they wildly succeed. As you’d expect from any decent grindy endeavor, no song pushes past its distilled essence, staying just long enough to rip and bludgeon before getting the fuck out of the way for the next track to exact its toll. No song eclipses the three-minute mark, and each exudes a rabid savagery that seethes with conviction. Additionally, No Peace sounds great—sure, the dynamic range scores low, but it’s exactly how this brand of overstimulating ass-kicking should sound. It’s well-mixed, abrasive, and highlights the rhythm section without sacrificing the sparse six-string fortitude. I wish there were a few more songs like “Leech,” partly because No/Más excels with the tunefulness, but also because I think it would address the biggest opportunity with No Peace—the compact composition allows little room for songs to establish unique flavors, leaving them to sometimes blur together. In the end, though, this is only a minor quibble, and there are many great moments to appreciate.

No/Más hasn’t redefined the DNA of deathgrind with No Peace, but they have contributed a worthy addition to its annals. Corrosive, pummeling bangers streamlined with minimal frills sum up to a blistering platter I’ve quite enjoyed. While I haven’t had the pleasure of seeing No/Más live, this crew boasts the hallmarks of a band that whips a crowd into a frenzy and ends with a broken bone or missing tooth. With twelve tracks running so lean, No Peace is helplessly easy to spin again and again. If they keep pumping out tunes this good, I can’t wait for what comes next. No más? No. Más.

Rating: Very Good!
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Redefining Darkness Records
Websites: Bandcamp | Facebook
Releases Worldwide: March 13th, 2026

DC deathgrind ensemble No/Más formed almost a decade ago, pumping out a split, two EPs, and a full-length between 2017 and 2022. Four years later, No/Más assails 2026 from the jump, touring with Exhumed and Oxygen Destroyer as well as crackin’ skulls with their sophomore effort, No Peace. Stylistically similar to their debut Consume/Deny/Repent, No Peace offers listeners twenty-two minutes of throat-punching, toe-stomping aural hooliganism that’s as charming as it is confrontational. Does No/Más’ boisterous, acerbic approach leave listeners with a tolerance for their hijinks, or will they leave No Peace thinking, ‘no thanks?’

While No Peace manifests many upgrades from their (admittedly good) debut, the biggest win might be that No/Más firmly institutes their identity. The change isn’t drastic, and No Peace is a natural progression from Consume/Deny/Repent, but the sophisticated onslaught supplied on this sophomore sweep oozes with sneering confidence. Following in the footsteps of Nails, No/Más balances grindcore, death metal, and hardcore/crust tendencies with playful intelligence, weaving together Full of Hell’s caustic bite, Napalm Death’s thuggish simplicity, and Jungle Rot’s warped melodicism into a densely packed third of an hour. And if those touchstones aren’t enough, No/Más unleashes Sepultura-informed grooves and a slow leak of Pro-Pain into their secret sauce. Not to fret, though, because despite all the influences, No Peace presents as a unified vision, and one that will rouse languid listeners into a frothing fancy.

No Peace by NO/MÁS

No/Más’ instrumentation on No Peace sets a high bar with energetic performances, snapping necks with whiplash-inducing riffs and a license to thrill. Joe Vasta’s bass bounces and chugs with in-your-face rumbles throughout No Peace (“Abolition,” “Cycle of Sacrifice”), wielding a thick, surly tone that’ll rabbit punch you into head-banging if you’re standing still. Drummer Henry Everitt wallops the skins hard enough to rattle your ear bones, battering with furious fills (“Abolition”) and dropping to half-time backbeats (“No Peace”) as songs demand. It’s not all about the beatdowns, though, as No/Más injects a welcome helping of melody into No Peace. John Letzkus’ guitar slices through the faff to drench the album in a satisfyingly saturated buzz (“Act of Killing,” “Spineless”), though he also takes the reins and dazzles with efficient, arpeggiated leads (“Leech”) that I wish appeared more. Vocalist Roger Rivadeneira rounds out the quartet, shouting, growling, and screeching in a varied attack that demonstrates a willingness to experiment that was largely absent from Consume/Deny/Repent. In total, No/Más fires on all cylinders throughout No Peace, and never gives you a moment to come up for air.

With only twenty-two minutes on tap, No/Más leaves no room for inessential slop. And besides the half-minute intro flush with wall-of-sound static and indistinct yelling, they wildly succeed. As you’d expect from any decent grindy endeavor, no song pushes past its distilled essence, staying just long enough to rip and bludgeon before getting the fuck out of the way for the next track to exact its toll. No song eclipses the three-minute mark, and each exudes a rabid savagery that seethes with conviction. Additionally, No Peace sounds great—sure, the dynamic range scores low, but it’s exactly how this brand of overstimulating ass-kicking should sound. It’s well-mixed, abrasive, and highlights the rhythm section without sacrificing the sparse six-string fortitude. I wish there were a few more songs like “Leech,” partly because No/Más excels with the tunefulness, but also because I think it would address the biggest opportunity with No Peace—the compact composition allows little room for songs to establish unique flavors, leaving them to sometimes blur together. In the end, though, this is only a minor quibble, and there are many great moments to appreciate.

No/Más hasn’t redefined the DNA of deathgrind with No Peace, but they have contributed a worthy addition to its annals. Corrosive, pummeling bangers streamlined with minimal frills sum up to a blistering platter I’ve quite enjoyed. While I haven’t had the pleasure of seeing No/Más live, this crew boasts the hallmarks of a band that whips a crowd into a frenzy and ends with a broken bone or missing tooth. With twelve tracks running so lean, No Peace is helplessly easy to spin again and again. If they keep pumping out tunes this good, I can’t wait for what comes next. No más? No. Más.

Rating: Very Good!
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Redefining Darkness Records
Websites: Bandcamp | Facebook
Releases Worldwide: March 13th, 2026

Eleine
06.11.2026 Berlin / Cassiopeia

Jungle Rot, KHNVM und Rats Of Gomorrah
05.08.2026 Berlin / Lido

Moon Shot und Die Happy
23.10.2026 Berlin / Badehaus

Sepultura
24.06.2026 Potsdam / Waschhaus

The Hu und Skald
18.10.2026 Berlin / Columbiahalle

#Badehaus #Berlin #Cassiopeia #Columbiahalle #Eleine #JungleRot #Lido #MoonShot #Potsdam #Sepultura #TheHu #Waschhaus #SteelFeed

Inhuman Condition – Mind Trap Review

By Tyme

Inhuman Condition has been repping 90s-era Floridian death metal since 2020. Comprised of former Massacre members Jeramie Kling, Taylor Nordberg, and Terry Butler, Inhuman Condition‘s debut, Rat°God, was the best thing Massacre never recorded post From Beyond, garnering a 3.5 from our overlord and hater of over raters, Steel. Presumably rushed was 2022’s sophomore effort, Fearsick, which saw Inhuman Condition take a step backward despite sporting additional guitar appearances from Rick Rozz himself. With a freshly gory, revamped logo by Mark Riddick adorning yet another beautiful cover by Dan Goldsworthy,1 Inhuman Condition returns with its third offering, Mind Trap. Will this outing see Inhuman Condition walk a path of redemption and assume its own identity, or will it stumble again and continue suffering Massacre‘s curse of ever-diminishing relevance?

Eschewing technicality and bouts of blistering speed, Inhuman Condition remain flagbearers of groovily mid-paced, thrashy death metal. Having simmered for a few years, however, Mind Trap feels fully cooked, more akin to Rat°God than Fearsick as Inhuman Condition further distance themselves from overt Massacre clone-ialism. Suffused with a renewed sense of immediacy, Nordberg’s re-energized guitar work features plenty of Rozz dives into the whammy pool (“Severely Lifeless,” “GodShip”), as well as serpentine solos and a multitude of chuggy-chunk riffs (“Chaos Engine,” “Obscurer”). His Royal Bassist, Terry Butler, continues to lay down a fat-bottomed low end that adds weight to Nordberg’s muscular machinations and hangs meatily on the hooks of Kling’s pounderous drumming, whose vocals, too, hit that brutal yet discernible sweet spot. For Inhuman Condition, simple is as simple does, and though Mind Trap adheres smashingly to the groovy, cavemanic formula perpetuated by the likes of Six Feet Under and Jungle Rot, it’s got the legs to outrun the pack.

Mind Trap‘s thirty-one-minute runtime whisks you along faster than an In-N-Out Burger drive-thru and is full of bite-size death metal bits, most of them sirloin, but some filet mignon. One such morsel, lyrically penned by Cannibal Corpse‘s Paul Mazurkiewicz,2 and an album highlight, “Face for Later” is a viscerally speedy and satisfying death metal romp with up-tempo riffs, crazed solo work, and a chorus that will earworm its way in and haunt your corrupted brain. Also of note are the grower, not show-er riffs and quirky tempos of “The Betterment Plan,” which improved for me with repeated listens, and the mildly atmospheric “Recollections of the Future,” sporting a “King Con”-ic intro and guest vocals from Jonas Kjellgren (Carnal Forge, Scar Symmetry). Intact since inception, this stalwart lineup has defied its Massacred beginnings through sustained continuity. Mind Trap reflects an Inhuman Condition stepping further into their own, and more importantly, back in a positive direction.

Inhuman Condition once again took up arms and recorded at Smoke & Mirrors Productions, with Kling’s mix and Nordberg’s master suffusing Mind Trap in a rich warmth that gives every meaty riff, beefy bass line, and brawny beat the space needed to thrive. Yet, even excellent production cannot overcome limp songwriting, and not all the tracks on Mind Trap stand out. With its doomy, Sabbathian trilled intro and straightforwardly speedy and boring midsection, “Mind | Tool | Weapon” did nothing to rouse my fist to pump or my head to bob. Then, the awkward riffs and sloppy guitar runs of “Science of Discontent” came across as amateurish and were not only a poor way to conclude the album but also an example of the material’s inferiority.

Unlike Gruesome, who are happy to release quality albums that mimic their influences, Inhuman Condition continues to stitch a unique niche in the tapestry of OSDM and, in doing so, leave their Massacre ties further behind. Mind Trap is a fun, not too serious, attention-deficit-friendly death metal album that further exemplifies Inhuman Conditions growing coalescence. Among this trio’s other projects, of which Obituary (Butler), Deicide (Nordberg), and Goregäng (Nordberg and Kling) are just a few, it seems these guys genuinely enjoy playing together as Inhuman Condition. Mind Trap‘s got plenty to sink your teeth into, and I’m sure songs like “Face for Later” and “Obscurer” will go over well in a live setting. I was glad to hear Inhuman Condition returned to form here, and I would recommend you give Mind Trap a few spins this summer yourself.

Rating: 3.0/5.0
DR: 11 | Format Reviewed: 320kbps mp3
Label: High Roller Records (Europe)
Websites: Bandcamp | InhumanCondition.com | Facebook
Releases Worldwide: June 27th, 2025

#2025 #30 #AmericanDeathMetal #DeathMetal #HighRollerRecords #InhumanCondition #Jun25 #JungleRot #Massacre #MindTrap #Review #SixFeetUnder

Inhuman Condition – Mind Trap Review

By Tyme

Inhuman Condition has been repping 90s-era Floridian death metal since 2020. Comprised of former Massacre members Jeramie Kling, Taylor Nordberg, and Terry Butler, Inhuman Condition‘s debut, Rat°God, was the best thing Massacre never recorded post From Beyond, garnering a 3.5 from our overlord and hater of over raters, Steel. Presumably rushed was 2022’s sophomore effort, Fearsick, which saw Inhuman Condition take a step backward despite sporting additional guitar appearances from Rick Rozz himself. With a freshly gory, revamped logo by Mark Riddick adorning yet another beautiful cover by Dan Goldsworthy,1 Inhuman Condition returns with its third offering, Mind Trap. Will this outing see Inhuman Condition walk a path of redemption and assume its own identity, or will it stumble again and continue suffering Massacre‘s curse of ever-diminishing relevance?

Eschewing technicality and bouts of blistering speed, Inhuman Condition remain flagbearers of groovily mid-paced, thrashy death metal. Having simmered for a few years, however, Mind Trap feels fully cooked, more akin to Rat°God than Fearsick as Inhuman Condition further distance themselves from overt Massacre clone-ialism. Suffused with a renewed sense of immediacy, Nordberg’s re-energized guitar work features plenty of Rozz dives into the whammy pool (“Severely Lifeless,” “GodShip”), as well as serpentine solos and a multitude of chuggy-chunk riffs (“Chaos Engine,” “Obscurer”). His Royal Bassist, Terry Butler, continues to lay down a fat-bottomed low end that adds weight to Nordberg’s muscular machinations and hangs meatily on the hooks of Kling’s pounderous drumming, whose vocals, too, hit that brutal yet discernible sweet spot. For Inhuman Condition, simple is as simple does, and though Mind Trap adheres smashingly to the groovy, cavemanic formula perpetuated by the likes of Six Feet Under and Jungle Rot, it’s got the legs to outrun the pack.

Mind Trap‘s thirty-one-minute runtime whisks you along faster than an In-N-Out Burger drive-thru and is full of bite-size death metal bits, most of them sirloin, but some filet mignon. One such morsel, lyrically penned by Cannibal Corpse‘s Paul Mazurkiewicz,2 and an album highlight, “Face for Later” is a viscerally speedy and satisfying death metal romp with up-tempo riffs, crazed solo work, and a chorus that will earworm its way in and haunt your corrupted brain. Also of note are the grower, not show-er riffs and quirky tempos of “The Betterment Plan,” which improved for me with repeated listens, and the mildly atmospheric “Recollections of the Future,” sporting a “King Con”-ic intro and guest vocals from Jonas Kjellgren (Carnal Forge, Scar Symmetry). Intact since inception, this stalwart lineup has defied its Massacred beginnings through sustained continuity. Mind Trap reflects an Inhuman Condition stepping further into their own, and more importantly, back in a positive direction.

Inhuman Condition once again took up arms and recorded at Smoke & Mirrors Productions, with Kling’s mix and Nordberg’s master suffusing Mind Trap in a rich warmth that gives every meaty riff, beefy bass line, and brawny beat the space needed to thrive. Yet, even excellent production cannot overcome limp songwriting, and not all the tracks on Mind Trap stand out. With its doomy, Sabbathian trilled intro and straightforwardly speedy and boring midsection, “Mind | Tool | Weapon” did nothing to rouse my fist to pump or my head to bob. Then, the awkward riffs and sloppy guitar runs of “Science of Discontent” came across as amateurish and were not only a poor way to conclude the album but also an example of the material’s inferiority.

Unlike Gruesome, who are happy to release quality albums that mimic their influences, Inhuman Condition continues to stitch a unique niche in the tapestry of OSDM and, in doing so, leave their Massacre ties further behind. Mind Trap is a fun, not too serious, attention-deficit-friendly death metal album that further exemplifies Inhuman Conditions growing coalescence. Among this trio’s other projects, of which Obituary (Butler), Deicide (Nordberg), and Goregäng (Nordberg and Kling) are just a few, it seems these guys genuinely enjoy playing together as Inhuman Condition. Mind Trap‘s got plenty to sink your teeth into, and I’m sure songs like “Face for Later” and “Obscurer” will go over well in a live setting. I was glad to hear Inhuman Condition returned to form here, and I would recommend you give Mind Trap a few spins this summer yourself.

Rating: 3.0/5.0
DR: 11 | Format Reviewed: 320kbps mp3
Label: High Roller Records (Europe)
Websites: Bandcamp | InhumanCondition.com | Facebook
Releases Worldwide: June 27th, 2025

#2025 #30 #AmericanDeathMetal #DeathMetal #HighRollerRecords #InhumanCondition #Jun25 #JungleRot #Massacre #MindTrap #Review #SixFeetUnder

Inhuman Condition – Mind Trap Review

By Tyme

Inhuman Condition has been repping 90s-era Floridian death metal since 2020. Comprised of former Massacre members Jeramie Kling, Taylor Nordberg, and Terry Butler, Inhuman Condition‘s debut, Rat°God, was the best thing Massacre never recorded post From Beyond, garnering a 3.5 from our overlord and hater of over raters, Steel. Presumably rushed was 2022’s sophomore effort, Fearsick, which saw Inhuman Condition take a step backward despite sporting additional guitar appearances from Rick Rozz himself. With a freshly gory, revamped logo by Mark Riddick adorning yet another beautiful cover by Dan Goldsworthy,1 Inhuman Condition returns with its third offering, Mind Trap. Will this outing see Inhuman Condition walk a path of redemption and assume its own identity, or will it stumble again and continue suffering Massacre‘s curse of ever-diminishing relevance?

Eschewing technicality and bouts of blistering speed, Inhuman Condition remain flagbearers of groovily mid-paced, thrashy death metal. Having simmered for a few years, however, Mind Trap feels fully cooked, more akin to Rat°God than Fearsick as Inhuman Condition further distance themselves from overt Massacre clone-ialism. Suffused with a renewed sense of immediacy, Nordberg’s re-energized guitar work features plenty of Rozz dives into the whammy pool (“Severely Lifeless,” “GodShip”), as well as serpentine solos and a multitude of chuggy-chunk riffs (“Chaos Engine,” “Obscurer”). His Royal Bassist, Terry Butler, continues to lay down a fat-bottomed low end that adds weight to Nordberg’s muscular machinations and hangs meatily on the hooks of Kling’s pounderous drumming, whose vocals, too, hit that brutal yet discernible sweet spot. For Inhuman Condition, simple is as simple does, and though Mind Trap adheres smashingly to the groovy, cavemanic formula perpetuated by the likes of Six Feet Under and Jungle Rot, it’s got the legs to outrun the pack.

Mind Trap‘s thirty-one-minute runtime whisks you along faster than an In-N-Out Burger drive-thru and is full of bite-size death metal bits, most of them sirloin, but some filet mignon. One such morsel, lyrically penned by Cannibal Corpse‘s Paul Mazurkiewicz,2 and an album highlight, “Face for Later” is a viscerally speedy and satisfying death metal romp with up-tempo riffs, crazed solo work, and a chorus that will earworm its way in and haunt your corrupted brain. Also of note are the grower, not show-er riffs and quirky tempos of “The Betterment Plan,” which improved for me with repeated listens, and the mildly atmospheric “Recollections of the Future,” sporting a “King Con”-ic intro and guest vocals from Jonas Kjellgren (Carnal Forge, Scar Symmetry). Intact since inception, this stalwart lineup has defied its Massacred beginnings through sustained continuity. Mind Trap reflects an Inhuman Condition stepping further into their own, and more importantly, back in a positive direction.

Inhuman Condition once again took up arms and recorded at Smoke & Mirrors Productions, with Kling’s mix and Nordberg’s master suffusing Mind Trap in a rich warmth that gives every meaty riff, beefy bass line, and brawny beat the space needed to thrive. Yet, even excellent production cannot overcome limp songwriting, and not all the tracks on Mind Trap stand out. With its doomy, Sabbathian trilled intro and straightforwardly speedy and boring midsection, “Mind | Tool | Weapon” did nothing to rouse my fist to pump or my head to bob. Then, the awkward riffs and sloppy guitar runs of “Science of Discontent” came across as amateurish and were not only a poor way to conclude the album but also an example of the material’s inferiority.

Unlike Gruesome, who are happy to release quality albums that mimic their influences, Inhuman Condition continues to stitch a unique niche in the tapestry of OSDM and, in doing so, leave their Massacre ties further behind. Mind Trap is a fun, not too serious, attention-deficit-friendly death metal album that further exemplifies Inhuman Conditions growing coalescence. Among this trio’s other projects, of which Obituary (Butler), Deicide (Nordberg), and Goregäng (Nordberg and Kling) are just a few, it seems these guys genuinely enjoy playing together as Inhuman Condition. Mind Trap‘s got plenty to sink your teeth into, and I’m sure songs like “Face for Later” and “Obscurer” will go over well in a live setting. I was glad to hear Inhuman Condition returned to form here, and I would recommend you give Mind Trap a few spins this summer yourself.

Rating: 3.0/5.0
DR: 11 | Format Reviewed: 320kbps mp3
Label: High Roller Records (Europe)
Websites: Bandcamp | InhumanCondition.com | Facebook
Releases Worldwide: June 27th, 2025

#2025 #30 #AmericanDeathMetal #DeathMetal #HighRollerRecords #InhumanCondition #Jun25 #JungleRot #Massacre #MindTrap #Review #SixFeetUnder

Ganz schönes Geballer gestern bei #Benediction in Hamburg. Und alle alten Säcke kamen aus ihren Löchern gekrabbelt … Genervt hat aber nur das ständige „Oldschool“-Gerufe von #JungleRot , die mir ansonsten sehr gut gefallen haben, und die Unterbrechungen zwischen den Songs wegen irgendwas Technischem. Ansonsten netter Abend 🕺

:megaphone: DEMNÄCHST!
Zusammenfassung 19.06. bis 29.06. für Berlin

Jungle Rot
20.06.2024 Berlin

Mammoth WVH
20.06.2024 Berlin / FRANNZ Club

Zulu, Anti-Corpos und Nothing Works
21.06.2024 Berlin / Neue Zukunft

Hands Label Night Berlin Juni
22.06.2024 Berlin / Urban Spree

The Smashing Pumpkins
22.06.2024 Berlin / Wuhlheide

Toxpack
22.06.2024 Berlin

Daily Thompson
24.06.2024 Berlin / Neue Zukunft

Hulder
24.06.2024 Berlin / Cassiopeia

Juanes
24.06.2024 Berlin / Uber Arena Berlin

Robert Grace
24.06.2024 Berlin / Privatclub

Celeste
25.06.2024 Berlin / Lido

Greta Van Fleet
26.06.2024 Berlin / Zitadelle Spandau

#Berlin #Cassiopeia #Celeste #DailyThompson #FRANNZClub #GretaVanFleet #H #Hulder #Juanes #JungleRot #Lido #MammothWVH #NeueZukunft #Privatclub #RobertGrace #TheSmashingPumpkins #Toxpack #UberArenaBerlin #UrbanSpree #Wuhlheide #ZitadelleSpandau #Zulu #SteelFeed #SteelFeedSoon

It's a Jungle Rot kind of morning.

https://uniqueleaderrecords.bandcamp.com/album/a-call-to-arms

#NowPlaying #metal #DeathMetal #JungleRot

It's a Jungle Rot kind of morning.

https://uniqueleaderrecords.bandcamp.com/album/a-call-to-arms

#NowPlaying #metal #DeathMetal #JungleRot

It's a Jungle Rot kind of morning.

https://uniqueleaderrecords.bandcamp.com/album/a-call-to-arms

#NowPlaying #metal #DeathMetal #JungleRot

It's a Jungle Rot kind of morning.

https://uniqueleaderrecords.bandcamp.com/album/a-call-to-arms

#NowPlaying #metal #DeathMetal #JungleRot

Morta Skuld – Creation Undone Review

By Steel Druhm

Wisconsin’s Morta Skuld have been dragging their nasty cave knuckles for so long, even their fingerprints have worn off. In existence on and off since 1990, these old school warriors have been a fairly reliable if not super prolific source of no-frills, beefbrained death metal. Their early works exuded an oily, swampy charm with a sound ripped from the classic Necrophagia and Obituary deathbooks. Later albums like Wounds Deeper Than Time and 2020s Suffer for Nothing were much more furious, pummeling affairs, with elements of Vader, Malevolent Creation, and Jungle Rot in their flavor profile. The latter was an especially fragrant tomb raid with a collection of riffy, groove-heavy numbers that won the Steel ov Approval though we never gave it a proper review. 2024 sees them returning with the same lineup and overall approach for 7th full-length, Creation Undone and that’s a solid plan in my humble opinion. Can this platter earn Morta Skuld a bigger beak with which to climb the death metal pecking order?

The band do a lot of things right this time out. The album is a concise 44 minutes and songs all sit in a tight 3-5 minute window. Opener “We Rise We Fall” sets the template for what most of the album delivers —bruising, thrashy death with a nasty attitude and a big bat. As the riffs cascade, lock into heavy grooves and pulp your melon, you may be reminded of the salad days of Malevolent Creation. Some of the riffs venture into Morbid Angel territory and Dave Gregor’s death roars have a vague similarity to David Vincent. This is death metal for the old-school set and it’s effective and endearingly thuggish. Quality brutality keeps coming with the extra heavy crushitude of “The End of Reason,” and the romp and curb stomp of “Painful Conflict” smacks of recent Vomitory, which is a good thing indeed.

Track after track showcases Morta Skuld in the best possible light, leading with their strengths while hiding any glaring shortcomings. Later album cuts like “Perfect Prey” and “Soul Piercing Sorrow” bring the hammers to the poser hammering festival, with faint whiffs of Suffocation cropping up here and there to choke the weak. It isn’t until penultimate cut “Oblivion” that their steady hand starts to slip. It’s not even that the song is all that bad. It’s just less on point and skull-shaking than its peer group and it drags on too long. Closer “By Design” is better, but its doomy plod eventually sends my attention span on a beer run despite the Azagthoth-adjacent riffage. The combination of these lesser tracks causes Creation Undone to end on its backfoot rather than attacking with raging wiolence. Drop these two numbers and the album jumps from good to very good quite easily.

Creation Undone benefits greatly from the rock-solid riffery by Dave Gregor and Scott Willecke. Gregor’s been there since the beginning, and newer axe Willecke is a great counterpoint. Most tracks are fueled by pile-driving, bone-crushing leads and powerful grooves that will shake you around like a Dollar Store scarecrow. I can listen to the first 8 tracks and find any number of beefy chugs and phat grooves I appreciate and applaud. They aren’t doing anything the least bit new or innovative, just smoking your ass with vintage death tropes done well and heavily. Meanwhile, Gregor roars at you like a roid-raging psycho and former Jungle Rot skinsman Eric House takes you to the house with a brutal rampage behind the kit. And that makes sense because some of this stuff isn’t all that removed from what those long-running death groove cretins do.

Morta Skuld may never pull themselves up into the upper echelons of the death metal scene, but if they keep churning out stuff like this, I’ll happily consume it in mass quantities and ask for MOAR. Creation Undone pushes no envelopes, gives nothing back to the academic community, and provides no public service of any kind save kicking ass. The high points are quite high and only a few slips toward the end keep this from a better rating. Never let the perfect be the enemy of the good, so give this an obnoxiously loud sample. Rib-cracking fun lurks within.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Peaceville
Website: facebook.com/mortaskuld
Releases Worldwide: February 23rd, 2024

#2024 #30 #AmericanMetal #CreationUndone #DeathMetal #Feb24 #JungleRot #MalevolentCreation #MorbidAngel #MortaSkuld #PeacevilleRecords #Review #Reviews #Vader #Vomitory

Morta Skuld – Creation Undone Review

By Steel Druhm

Wisconsin’s Morta Skuld have been dragging their nasty cave knuckles for so long, even their fingerprints have worn off. In existence on and off since 1990, these old school warriors have been a fairly reliable if not super prolific source of no-frills, beefbrained death metal. Their early works exuded an oily, swampy charm with a sound ripped from the classic Necrophagia and Obituary deathbooks. Later albums like Wounds Deeper Than Time and 2020s Suffer for Nothing were much more furious, pummeling affairs, with elements of Vader, Malevolent Creation, and Jungle Rot in their flavor profile. The latter was an especially fragrant tomb raid with a collection of riffy, groove-heavy numbers that won the Steel ov Approval though we never gave it a proper review. 2024 sees them returning with the same lineup and overall approach for 7th full-length, Creation Undone and that’s a solid plan in my humble opinion. Can this platter earn Morta Skuld a bigger beak with which to climb the death metal pecking order?

The band do a lot of things right this time out. The album is a concise 44 minutes and songs all sit in a tight 3-5 minute window. Opener “We Rise We Fall” sets the template for what most of the album delivers —bruising, thrashy death with a nasty attitude and a big bat. As the riffs cascade, lock into heavy grooves and pulp your melon, you may be reminded of the salad days of Malevolent Creation. Some of the riffs venture into Morbid Angel territory and Dave Gregor’s death roars have a vague similarity to David Vincent. This is death metal for the old-school set and it’s effective and endearingly thuggish. Quality brutality keeps coming with the extra heavy crushitude of “The End of Reason,” and the romp and curb stomp of “Painful Conflict” smacks of recent Vomitory, which is a good thing indeed.

Track after track showcases Morta Skuld in the best possible light, leading with their strengths while hiding any glaring shortcomings. Later album cuts like “Perfect Prey” and “Soul Piercing Sorrow” bring the hammers to the poser hammering festival, with faint whiffs of Suffocation cropping up here and there to choke the weak. It isn’t until penultimate cut “Oblivion” that their steady hand starts to slip. It’s not even that the song is all that bad. It’s just less on point and skull-shaking than its peer group and it drags on too long. Closer “By Design” is better, but its doomy plod eventually sends my attention span on a beer run despite the Azagthoth-adjacent riffage. The combination of these lesser tracks causes Creation Undone to end on its backfoot rather than attacking with raging wiolence. Drop these two numbers and the album jumps from good to very good quite easily.

Creation Undone benefits greatly from the rock-solid riffery by Dave Gregor and Scott Willecke. Gregor’s been there since the beginning, and newer axe Willecke is a great counterpoint. Most tracks are fueled by pile-driving, bone-crushing leads and powerful grooves that will shake you around like a Dollar Store scarecrow. I can listen to the first 8 tracks and find any number of beefy chugs and phat grooves I appreciate and applaud. They aren’t doing anything the least bit new or innovative, just smoking your ass with vintage death tropes done well and heavily. Meanwhile, Gregor roars at you like a roid-raging psycho and former Jungle Rot skinsman Eric House takes you to the house with a brutal rampage behind the kit. And that makes sense because some of this stuff isn’t all that removed from what those long-running death groove cretins do.

Morta Skuld may never pull themselves up into the upper echelons of the death metal scene, but if they keep churning out stuff like this, I’ll happily consume it in mass quantities and ask for MOAR. Creation Undone pushes no envelopes, gives nothing back to the academic community, and provides no public service of any kind save kicking ass. The high points are quite high and only a few slips toward the end keep this from a better rating. Never let the perfect be the enemy of the good, so give this an obnoxiously loud sample. Rib-cracking fun lurks within.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Peaceville
Website: facebook.com/mortaskuld
Releases Worldwide: February 23rd, 2024

#2024 #30 #AmericanMetal #CreationUndone #DeathMetal #Feb24 #JungleRot #MalevolentCreation #MorbidAngel #MortaSkuld #PeacevilleRecords #Review #Reviews #Vader #Vomitory

Jungle Rot are easily one of my favorite metal bands. They're just so raw and cutting and crushing all at once. It's ridiculous.

If I had done a top 20 albums in 2022, Jungle Rot's 'A Call to Arms' would have DEFINITELY been on it.

https://uniqueleaderrecords.bandcamp.com/album/a-call-to-arms

#metal #DeathMetal #JungleRot #ACallToArms

Jungle Rot are easily one of my favorite metal bands. They're just so raw and cutting and crushing all at once. It's ridiculous.

If I had done a top 20 albums in 2022, Jungle Rot's 'A Call to Arms' would have DEFINITELY been on it.

https://uniqueleaderrecords.bandcamp.com/album/a-call-to-arms

#metal #DeathMetal #JungleRot #ACallToArms

Jungle Rot are easily one of my favorite metal bands. They're just so raw and cutting and crushing all at once. It's ridiculous.

If I had done a top 20 albums in 2022, Jungle Rot's 'A Call to Arms' would have DEFINITELY been on it.

https://uniqueleaderrecords.bandcamp.com/album/a-call-to-arms

#metal #DeathMetal #JungleRot #ACallToArms

Jungle Rot are easily one of my favorite metal bands. They're just so raw and cutting and crushing all at once. It's ridiculous.

If I had done a top 20 albums in 2022, Jungle Rot's 'A Call to Arms' would have DEFINITELY been on it.

https://uniqueleaderrecords.bandcamp.com/album/a-call-to-arms

#metal #DeathMetal #JungleRot #ACallToArms

Charting the course to 2024: reflecting on 70000tons of Metal 2023 Artist Spotlight: Jungle Rot:

#JungleRot #70000tons #70000tonsofMetal #ArtistSpotlight #DeathMetal #MetalInsider

https://metalinsider.net/columns/artist-spotlight/charting-the-course-to-2024-reflecting-on-70000tons-of-metal-2023-artist-spotlight-jungle-rot

So who needs some Saturday motivation music.

JUNGLE ROT is perfect for that.

https://youtu.be/d4TgzZAfcnI

#metal #DeathMetal #JungleRot

So who needs some Saturday motivation music.

JUNGLE ROT is perfect for that.

https://youtu.be/d4TgzZAfcnI

#metal #DeathMetal #JungleRot

So who needs some Saturday motivation music.

JUNGLE ROT is perfect for that.

https://youtu.be/d4TgzZAfcnI

#metal #DeathMetal #JungleRot