#morbidangel — Public Fediverse posts

Astriferous slimed out of the Costa Rican death metal scene back in 2019 and have been on a slow, upward crawl since. Their 2023 Pulsations from the Black Orb debut grabbed them some attention and a mostly positive review from our own Ferox. Their weapon of choice is repugnant caverncore with a dose of dissonance, putting them squarely in the Incantation, Dead Congregation, and early days Tomb Mold wing of the death emporium. Atavistic Unraveling finds them stuck in the same filth and scum with scant migration toward the light of day. It’s still fugly, grotesque death metal of the olden school, with the dissonance element adding a slight touch of modernity. Their sound is a bit more fleshed out this time, and when everything clicks, things can feel pretty goddamn harrowing and brutal. With so many bands trying to ape the classic Incantation sound and vibe, can Astriferous do enough to crack through that thick mucous membrane and claim their share of the cesspool? Let’s test the tainted waters for hazardous algae.

Fucknormous opener “Carriers of the Curse” is a fine way to kick things off, and it has all the crucial elements. It’s not doing anything new, but it comes after you with so much raw savagery that innovation starts to seem trivial. It covers all the bases a caverncore tune should, from ragged blasting to slower mid-tempo plodding, and there’s a meatheaded Cannibal Corpse vibe to the riffs when they aren’t being all snakey and creepy. The only downside is that it feels like the song rambles on for about a minute too long, revisiting the same scorched territory. “The Floating Catacombs” is more of the same high-quality ear abuse, with slimy, repulsive riffs and subterranean vocals teamed with caveman moments and some weirdly Voivodian riffs popping in and out for variety. As the album churns along, you get quality nastiness, but there’s that nagging tendency to stretch out compositions a bit too far, reducing the overall impact. This despite the fact that most song run between 4-5 minutes. It’s a weird thing. “Proto Embryo (The Third Tribulation)” is a remorseless blast furnace with just enough tempo shifts to keep things interesting, but it just keeps going when it feels like it should be over. Likewise, “Arcane Demonomania” is another blistering ass blaster with a jagged d-beat and a plethora of ugly, squiriming riffs. It’s easy to love, but once again, it drags on toward the end.

A few tracks are good but less impactful, like “Mnemonic Phenomena,” despite some effective doomy segments and overwhelming vocal excess. 8-plus minute closer “Resonance Cascade” is more modern-sounding, venturing into sludge doom at points. At its best, it can feel oppressive and suffocating. Over the whole runtime, though, it ends up challenging the attention span as segments of less interesting riffs drift by, offering little to cling to. The album’s nearly omnipresent sense of bloat makes a 36-minute album feel much longer than it is, which is a shame because Astriferous do so many things right here.

Felipe Tencio and new slinger Esteban Sancho are at the center of a maelstrom, casting frantic corkscrewing riffs in all directions when not laying down big power chugs that put the boot on the throat. This tandem knows the ways of caverncore, and many of these leads probably slithered away after recording to become invasive species somewhere. Incantation is a clear influence, but I also hear Immolation, Morbid Angel, and Cannibal Corpse in the DNA. Tencio is a great death metal vocalist possessed with a deep, intimidating roar for the ages. He sounds demonic and gigantic and anchors the material to the Ninth Level of Hell. José Pablo Phillips also impresses with a pronounced and weighty bass performance. The only real knock is that the writing can be undisciplined and too long in the fang, thereby partially unraveling the band’s good works.

Astriferous have a winning formula and the talent to execute it, and parts of Atavistic Unraveling scream of potential and hint at greatness. With tighter, more consistent writing, this would be a must-hear and headed for my year-end list. As it stands, I can safely recommend this for death heads everywhere as the wet, sticky goods are delivered, even if they aren’t all equally malicious and infectious. Like my great-granddaddy Pig Iron Druhm used to say, “If the cave smells of rancid mold, there’s bound to be some gold.” Wisdom!

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Me Saco Un Ojo
Website: instagram.com/astriferousdeath
Releases Worldwide: June 26th, 2026

Terror Corpse – Ash Eclipses Flesh Review

By Saunders

Already boasting a killer debut EP to their name in 2025, courtesy of the sick, old school deathgrind mayhem comprising Systems of Apocalypse, Texan wrecking crew Terror Corpse hit the ground running in their short time together. The newly minted outfit come seasoned with underground cred, featuring members that have logged time in the likes of Malignant Altar, Oceans of Slumber, Necrofier and Insect Warfare. Recording the EP as a five-piece, debut full-length Ash Eclipses Flesh finds Terror Corpse stripping back to a trio and shifting tact musically. While remnants of the heavily grind-influenced charge of Systems of Apocalypse remains intact, Terror Corpse mine the fetid soil of vintage death metal, citing the likes of Celtic Frost, Incantation and pre-2000s Morbid Angel as key influences. Throw in shades of Immolation, Terrorizer, early Carcass and Exhumed, and you have a recipe for a good old-fashioned beatdown. However, don’t be fooled into thinking Terror Corpse is a run-of-the-mill act riding the decaying coattails of legacy acts of the past. Ash Eclipses Flesh respects the past, while paving its own twisted path through grisly killing fields and dank caverns of grotesqueries.

Terror Corpse merge old timey underground aesthetics with a vital injection of their own character and modern appeal. Presenting a grimy and wickedly brutal collection of grind-encrusted old-school death, Terror Corpse both encompasses and deviates from the deathgrind formula of the EP, pivoting into deathlier, guttural realms. Any disappointment of the sound shift is swiftly bludgeoned on opening track “Pyre of Ash and Bone.” The song makes a hellish statement, hammering down violent, riffy death marches through menacing atmospheres, as uber low guttural vox, squealing leads, and livewire drumming seal the deal. Dobber Beverly again cements his status as a cult legend in extreme metal drumming. Also handling guitar duties with main vocalist Mat V, the duo reinforces the album’s retro, brutish charms, primitive clubbings, and ominous atmosphere with a vital collection of top-shelf riffs, mangled leads, and headbangable delights.

Ash Eclipses Flesh revels in shifting gears from dense, noisy chaos and relentless blasts to knuckle-dragging grooves, and monstrous, caverncore-esque swarms, Terror Corpse also incorporate infectious bursts of thrashy death and gnarled, punkish grind into the fray. After a solid, respectable beginning, Ash Eclipses Flesh really hits stride on third cut “Womb of the Hollow Earth,” and it’s a ripping, high-potency ride from here on in. Elsewhere, they delve into death-doom slogs, inflicted upon the devastating “Fallout Obliteration,” and punishing mid-section on the lurching, vicious stomp of “Sons of Perdition.” Refusing to neglect their classic grindcore and splattery deathgrind roots, Terror Corpse bring the filth and dual vox, including shrieky highs, to the thrashing intensity of “Nuclear Winter.” Meanwhile, the tremendous “The Hollow That Devours” intersperses cavernous double bass rumbles and thrashy bursts with immense mid-paced chuggery and thick, insidious grooves.

Versatile tinkering of their songwriting formula ensures the songs chart diverse territories, while remaining uncompromisingly brutal and wickedly infectious. Even the closing cover of Celtic Frost’s “Into the Crypts of Rays” doesn’t feel wasteful or tacked on. Terror Corpse inject the song’s anthemic, punky edge with their own beefed-up deathgrind spark. Beverly’s energetic, nuanced drumming proves essential as the album’s beating heart, driving the fluctuating pulse rate and need for speed, slick tempo shifts, and rambunctious, sewage-coated grooves. The power of the riff compels, not through technical wizardry, but courtesy of a firm understanding of the genre’s classic origins and grimy, atmospheric underpinnings. Infectious and rancidly beefy riffs, wildly unhinged leads, and sinister melodic currents define the excellent axework. There are no glaring flaws or major drawbacks preventing a strong recommendation. Perhaps you could argue Terror Corpse aren’t doing anything especially new or innovative, while the dominant, incomprehensible gutturals might be a tough sell for some listeners.

Twenty-twenty-five has delivered diverse treats across the metalverse, including top-notch death metal releases of varied persuasions within the genre. Ash Eclipses Flesh is another not to be missed. What they lack in bells, whistles, techy flair or innovation, Terror Corpse more than compensate through their authentic and fresh spin on a vintage sound. A tightly performed, superbly produced, and invigorating slab of riffy old school death, armed with gnarled deathgrind and grisly brutal death ammunition, Ash Eclipses Flesh is a surefire corker and end-of-year list disruptor.

Rating: 4.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Dark Descent Records
Websites: Facebook | Bandcamp
Releases Worldwide: November 21st, 2025

#2025 #40 #americanMetal #ashEclipsesFlesh #carcass #celticFrost #darkDescentRecords #deathMetal #deathgrind #exhumed #incantation #insectWarfare #malignantAltar #morbidAngel #necrofier #oceansOfSlumber #oldSchoolDeathMetal #review #reviews #terrorCorpse #terrorizer

Glorious Depravity – Death Never Sleeps Review

By Steel Druhm

Death metal from New York City is usually plenty ugly enough, but in the strange case of Glorious Depravity, things get even more grotesque due to the band members’ connection to acts like Pyrrhon and Woe. Their 2020 debut Ageless Violence was a solid if non-essential homage to the Godz of Floridan Death with plenty of Morbid Angel and Deicide DNA in its unnatural makeup. Five years later, they serve up Death Never Sleeps with a sound profile still wearing Orlando-friendly cargo shorts, and hidden in those oversized pockets are elements of grindcore. This is ugly, slimy death for fugly, unwashed folks who throw empty beer cans at meth heads for cheap thrills. The only thing remotely classy about it is the badass cover art from Dan Seagrave, and that’s just fine by me. I’m not here to attend Finishing School or my court-mandated Anger Management workshop. I’m here to blast death metal and scare the normies, and so is Glorious Depravity. Twinsies!

The Depravity Boys come out hard on opener “Slaughter the Gerontocrats” with feverish riffs ripping skin and pasting bones as Pyrrhon’s Doug Moore vomits a world full of hate and venom on the listener. Some of the leads reek of vintage Mordid Angel, but this is more unhinged and closer to grind and even slam at times. Moore uncorks some truly rancid garbage disposal voKILLS and piercing shrieks, making this like an insane asylum in a hobo wine bottle. Things go a bit wonky on follow-up “Stripmined Flesh Extractor” with an awkward shuffling tempo that doesn’t fully work, thus squandering some of the crucial momentum created by the opener. From there, it’s a back and forth between well-executed death that hammer smashes your face and lesser cuts that have good moments but don’t disembowel you as they should. “Sulfurous Winds (Howling Through Christendom)” is a wild ride through the tombs where Morbid Angel buried their unused (and well-used) riffs, and Moore’s repeated roars about “SCIENCE” are fun in an old school Thomas Dolby way.1 “Scourged by the Wings of the Fell Destroyer” is also fine and dandy, hitting in that 1990 Floridan death way but with overtones of Kataklysm due to the screeching vocals.

My favorite moment arrives with “Necrobiotic Enslavement,” where the Morbid influence is especially notable in the heaving, lurching riffs that reek of overflowing ash Treys. While the good parts of Death Never Sleeps are respectable and entertaining, nothing here will completely blow your mind, and the lesser bits are Debbie Downers. “Freshkills Poltergeist” shoehorns in pinch harmonics that are more annoying than interesting, and “Carnage at the Margins” gets very screamy and ends up grating the nerves instead of power drilling the Medusa Oblongata. You end up with an album of mostly solid death with generic and underwhelming additions tacked on, which is disappointing for a band with the pedigree Glorious Depravity bring to the Geneology Council.

I’ll give Doug Moore props for his batshit crazy vocal performance. The guy is all over the lot with screams, shrieks, sub-basement gurgles, and standard death barks. He can do it all and proves it on every track, whether it’s needed or not. Sometimes he’s a dead ringer for Kataklysm’s Maurizio Iacono, and occasionally he sounds like young Mille of Kreator infamy. George Paul (Gravesend) and Matt Mewton (Woe) resurrect many riffs from the place where the slime live, and though it’s easy to spot their inspirations, I can’t fault much of what they throw down on the slab. There are a goodly number of face-melting leads and some completely insane solo pieces, too. Chris Grigg (Woe) brings a technical yet brutal force to the kit, pounding away like his life depends on it. The band is talented, but the writing sometimes lacks staying power and leans generic. At a tight 34 minutes, a lot of that can be forgiven as the good replaces the okay in short and savage order, but the lesser additions do drag the overall enjoyment factor down a few pegs.

Glorious Depravity gives a bunch of New York low-life bastards a chance to do things outside the lines of what their main gigs allow, and you can tell they’re having fun throwing shit against the subway wall. There’s nothing essential or “must hear” present, but it’s solid ratmeat and scumtaters for the diseased, and that may be enough for those fiends.

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Transcending Obscurity
Websites: facebook.com/gloriousdepravity | instagram.com/gloriousdepravity
Releases Worldwide: November 7th, 2025

#2025 #30 #AgelessViolence #AmericanMetal #DeathMetal #DeathNeverSleeps #Deicide #GloriousDepravity #Gravesend #MorbidAngel #Nov25 #Pyrrhon #Review #Reviews #TranscendingObscurityRecords #Woe

Stuck in the Filter: August 2025’s Angry Misses

By Kenstrosity

The heat persists, but now the humidity comes in full force as storm systems wreak havoc upon the coasts. I hide in my cramped closet of an office, lest I be washed out once again by an unsuspecting deluge. However, I still send my minions out into the facility, bound by duty to search for those metallic scraps on which we feast.

Fortuitously, most all of those imps I sent out came back alive, and with wares! BEHOLD!

Kenstrosity’s Galactic Gremlin

Silent Millenia // Celestial Twilight: Beyond the Crimson Veil [August 26th, 2025 – Self-Release]

Have you ever seen such a delightfully cheesy cover? Probably, but it’s been a while for me. I bought Celestial Twilight: Beyond the Crimson Veil, the second raw symphonic black metal opus from Finnish one-man act Silent Millenia, on the strength of the artwork alone. Little did I know that what lay beyond this crimson veil was some of the most fun melodic black metal this side of Moonlight Sorcery. The same low-fi roughness that personifies Old Nick’s work grounds Silent Millenia’s starbound songwriting as it traverses the universe with an energetic punch reminiscent of Emperor or Stormkeep (“Awaken the Celestial Spell,” “Daemonic Mastery”). To help differentiate Silent Millenia’s sound from that of their peers, a gothic atmosphere ensorcells much of this material to great effect, merging eerie Victorian melodies with galactic adventurism in an unlikely pair (“Enthrone the Spectral”). Swirling synths and sparkling twinkles abound as well, creating blissful moments of interest as frosty tremolos and piercing blasts take full advantage of the false sense of security those entrancing clouds of synthetic instrumentation create (“Benighted Path to Darkness Mysterium,” “Reign in Cosmic Majesty”). Simply put, Celestial Twilight is an unexpected gem of a symphonic black metal record, bursting with killer ideas and infinite levels of raw, unabashed fun. You should hear it!

Kronos’ Unexpected Unearthments

Street Sects // Dry Drunk [August 15th, 2025 – Self Release]

Dry Drunk sticks to your inner surfaces, draining down like cigarette tar along paralyzed cilia to pool in your lungs until the cells themselves foment rebellion. Once it’s in you, you feel paranoid, wretched, and alone. So it’s the proper follow-up to Street Sects’ visionary debut, End Position. Like that record, Dry Drunk plumbs the most mundane and unsavory gutters of America for a cast of protagonists that it dwells in or dispatches with a mixture of pity and disgust, with vocalist Leo Ashline narrating their violent crimes and self-hatred in a mixture of croons, shrieks, and snarls that cook the air before the speakers into the scent of booze and rotten teeth. And like that record, Shaun Ringsmuth (Glassing) dresses the sets with a fractal litter of snaps, squeals, crashes, gunshots, and grinding electronics, caked in tar and collapsing just as soon as it is swept into a structure. And like End Position, Dry Drunk is a masterpiece. The impeccable six-song stretch from “Love Makes You Fat” through “Riding the Clock” ties you to the bumper and drags you along some of the duo’s most creative side-roads, through the simmering, straightjacketed sludge of “Baker Act” to the chopped-up, smirking electronica of “Eject Button.” Swerving between addled, unintelligible agony and unforgettable anthems, Dry Drunk, like End Position before it is nothing less than the life of a junkie scraped together, heated on a spoon, and injected into your head. Once you’ve taken a hit, you will never be quite the same.

Thus Spoke’s Frightening Fragments

Defacement // Doomed [August 22nd, 2025 – Self Release]

There’s music for every vibe.1 The one Defacement fits is an exclusively extreme metal flavor of moody that is only appreciable by genre fans, made tangibly more eerie by their persistent idiosyncratic use of dark ambient interludes amidst the viciously distorted blackened death. Audiences—and reviewers—tend to disparage these electronic segments, but I’ve always felt their crackling presence increases the analog horror of it all, and rather than being a breather from the intensity, they prolong the nausea, the sense of emptiness, and the abject fearfulness of head-based trauma. This latter concept grows more metaphorical still on Doomed, where the violence is inside the mind, purpose-erasing, and emotionally-detaching. The ambience might be the most sadly beautiful so far (“Mournful,” and “Clouded” especially), and the transitions into nightmarish heaviness arguably the most fluid. And the metal is undoubtedly the most ambitious, dynamic, and magnificent of Defacement’s career, combining their most gruesome dissonance (“Portrait”) with their most bizarrely exuberant guitar melodies (“Unexplainable,” “Unrecognised”). Solos drip tangibly with (emotional) resonance (“Unexplainable,” “Absent”) and there’s not a breath or a moment of wasted space. Yes, the band’s heavier side can suffer from a nagging sense of homogeneous mass, but it remains transporting. While I can appreciate why others do not appreciate Defacement, this is the first of their outings I can truthfully say mesmerised me on first listen.

ClarkKent’s Heated Hymns

Phantom Fire // Phantom Fire [August 8th, 2025 – Edged Circle Productions]

While I waded through the murky depths of the August promo sump, Steel implored me to take the eponymous third album from Phantom Fire. “The AMG commentariat love blackened heavy metal,” he said. I disregarded his advice at my peril, and while I ended up enjoying what I grabbed, it turns out this would have been solid too. Featuring members from Enslaved, Kraków. Hellbutcher, and Aeternus, Phantom Fire play old school speed metal that harks back to the likes of Motörhead and Iron Maiden’s Killers. Thanks to healthy doses of bass and production values that allow the instruments to shine, each song is infused with energetic grooves. The music sounds fresh, crisp, and clear, from the booming drums to Eld’s “blackened” snarls. Early tracks “Eternal Void” and “All For None” show off the catchy blend of simple guitar riffs and a hoppin’ bass accompanied by energetic kit work. While placing a somewhat lengthy instrumental track in the middle of a record usually slows it down, “Fatal Attraction” turns out to be a highlight. It tells a tragic love story involving a motorcycle with nothing but instruments, an engine revving, and some police sirens. The second half of Phantom Fire gets a bit on the weirder side, turning to some stoner and psychedelia. There’s a push and pull between the stoner and Motörhead speed stuff on songs like “Malphas” and “Submersible Pt. 2,” and this blend actually works pretty well. It turns out that they aren’t phantom after all—these guys are truly fire.

Burning Witches // Inquisition [August 22nd, 2025 – Napalm Records]

With six albums in eight years, Swiss quintet Burning Witches has really been burning rubber. While such prolific output in such a short time frame generally spells trouble, Inquisition is a solid piece of heavy/power metal. Burning Witches dabbles in a mix of speedy power metal and mid-tempo heavy metal, often sounding like ’80s stalwarts Judas Priest and Def Leppard. With Laura Guldemond’s gruff voice, they produce a more weighty, less happy version of power metal than the likes of Fellowship or Frozen Crown. While the songs stick to formulaic structures, tempo shifts from song to song help keep things from growing stale. We see this variety right from the get-go, where “Soul Eater” takes a high-energy approach before moving into the more mellow “Shame.” There’s even a pretty solid ballad, “Release Me,” that grounds the back half of the record. Songs of the sort that Burning Witches write need catchy choruses, and fortunately, they deliver. “High Priestess of the Night” is a particular standout, delivering a knock-out punch in its delivery. It helps that the instrumental parts are well-executed, from crunchy riffs to subdued solos to booming blast beats. Anyone looking for a solid bit of power metal that’s not too heavy on the cheese will find this worth a listen.

Deathhammer // Crimson Dawn [August 29th, 2025 – Hells Headbangers Records]

Celebrating 20 years of blackened speed, Deathhammer drop LP number six with the kind of energy that exhausted parents dread to see in their children at bedtime. This is my first foray with the band, and I am in awe of the relentless level of manic energy they keep throughout Crimson Dawn’s 39 minutes. If science could learn how to harness their energy, we’d have an endless source of renewables. The two-piece out of Norway channels classic Slayer on crack and even has moments reminiscent of Painkiller-era Judas Priest. They play non-stop thrash cranked to 11, with persistent blast beats and some dual guitar parts that leave your head spinning from the rapid-fire directions the riffs fire off in. The heart of the mania is singer Sergeant Salsten. His crazed vocals are amazing—snarling, shouting, and shrieking in a way that took me back to the manic pitch Judge Doom could reach in Who Framed Roger Rabbit? He sings so fast that on the chorus of “Crimson Dawn,” it sounds like he says “Griffindor,” which had me searching confusedly for the Harry Potter tag. This was probably my favorite song, not just because of the Griffindor thing, but because that chorus is so catchy. Either way, it’s tough to pick a standout track because they all grip you by the throat and don’t let go. Crimson Dawn is a ton of fun and a must listen if you like your music fast.

Grin Reaper’s Bountiful Blight

Kallias // Digital Plague [August 14th, 2025 – Self Release]

Machine gun drumming, spacey synths, Morbid Angel-meets-Meshuggah riffing, Turian-esque barking and Voyager-reminiscent vocal melodies…what the fuck is going on here? The only thing more surprising than someone having the moxie to blend all these things together is how well they work in concert. Kallias doesn’t hold back on sophomore album Digital Plague, and the result is a rocket-fueled blast through forty-four minutes of eclectic, addictive prog. The mishmash of styles keeps the album fresh and unpredictable while never dipping its toes in inconsistent waters, and staccato rhythms propel listeners through eight tracks without losing steam. As with any prog metal worth its salt, Kallias brandishes technical prowess, and their cohesion belies the relatively short time they’ve been putting out music.2 The mix is well-suited to spotlight whoever needs it at a given time, whether the bass is purring (“Exogíini Kyriarchía”), the drums are being annihilated (“Pyrrhic Victory”), or a guitar solo nears Pettrucian wankery (“Phenomenal in Theory”). The end result is three-quarters of an hour filled with myriad influences that fuse into a sound all Kallias’s own, and it’s one I’ve returned to several times since discovering (also, credit to MontDoom for his stunning artwork, which helped initially draw my attention). Check it out—you’ll be sick if you avoid this one like the Plague.

Luke’s Kaleidoscopic Kicks

Giant Haze // Cosmic Mother [August 22nd, 2025 – Tonzonen Records]

Whereas many of my colleagues are bracing themselves for cooler conditions and harsh winters to come, in my neck of the woods, things are warming up. While my own wintry August filter proved scarce, there was one particular summery gem to lift moods with burly riffs and fat stoner grooves. Unheralded German act Giant Haze seemingly emerged out of nowhere during a random Bandcamp deep dive. Debut LP Cosmic Mother channels the good old days of ’90s-inspired desert rock, featuring grungy, doomy vibes via a groovy batch of riff-centric, hard-rocking and uplifting jams, evoking the nostalgic spirit of Kyuss, Fu Manchu, Clutch and perhaps even a dash of Danzig. Punching out raucous, groove-soaked hard rockers with skyscraping hooks (“Geographic Gardens Suck,” “King of Tomorrow,” “Panic to Ride”), summery, funk–psych jams (“Sunrise”), and bluesy, punk-infused fireballs (“Crank in Public,” “Shrink Age”) Giant Haze get a lot of things right on this assured debut. The songwriting is deceptively diverse and punchy, bolstered by solid production, tight musicianship, and the swaggering, ever so slightly goofy vocal charms and powerful hooks of frontman Christoph Wollmann. Inevitably, a few rough spots appear, but overall Cosmic Mother showcases oodles of budding potential, an impactful delivery, cheeky sense of humor, and infectious, feel-good songcraft.

Spicie Forrest’s Foraged Fruit

Bask // The Turning [August 22nd, 2025 – Season of Mist]

Last seen in 2019, Bask returns with fourth LP, The Turning, a concept album following The Rider as she and The Traveler traverse the stars. They still peddle the unique blend of stoner rock and Americana Kenstrosity reviewed favorably in 2019, but 2025 sees them looking up for inspiration. The Turning incorporates a distinct cosmic bent (“The Traveler,” “The Turning”) and post-rock structures (“Dig My Heels,” “Unwound”). These augmentations to Bask’s core sound are enhanced by the masterful pedal steel of new official member Jed Willis. Whether floating through the firmament or tilling earthly pastures, Willis creates textures both fresh and intensely nostalgic. The infinite shifting vistas of The Turning’s front half coalesce into singular timeless visions on the back half, supporting its conceptual nature in both content and form. Like a combination of Huntsmen and Somali Yacht Club, Bask weaves riffs and melodies heard across the plains and through the void above with an unguarded authenticity felt in your soul.

Dolphin Whisperer’s Disseminating Discharge

Plasmodulated // An Ocean ov Putrid, Stinky, Vile, Disgusting Hell [August 1st, 2025 – Personal Records]

Stinky, sticky, slimy—all adjectives that define the ideal death metal platter. Myk Colby has been trying to chase this perfect balance in a reverb-wonky package with projects like the d-beaten Hot Graves and extra hazy Wharflurch, but vile death metal balance is hard to achieve. However, An Ocean ov Putrid, Stinky, Vile, Disgusting Hell contains a recklessly pinched Demilichian riffage, classic piercing whammy bombs, and spook-minded synth ambience that places Plasmodulated with an odor more pungent than its peers. With an infected ear that festers equally with doom-loaded, Incantation-indebted drags (“Gelatinous Mutation ov Brewed Origin,” “Trapped in the Plasmovoid”) and Voivod-on-jenkem cutaways to foul-throated extravagence (“The Final Fuckening”). An air of intelligent tempo design keeps An Ocean from never feeling trapped in a maze of its own fumes, with Colby’s lush and bubbling synth design seguing tumbles into hammering deathly tremolo runs (“Such Rapid Sphacelation”) and Celtic Frosted riff tumbles (“Drowning in Sputum”) alike, all before swirling about his own tattered, trailing vocal sputters. Steady but slippery, elegant yet effluvial, An Ocean ov Putrid, Stinky, Vile, Disgusting Hell provides the necessary noxious pressure to corrode death metal-loving denizens into pure gloops of stained-denim pit worship. Delivered as labeled, Plasmodulated earns its hazardous declaration. We here at AMG are not liable for any OSHA violations that occur as a result of Plasmodulated consumption on the job, though.

#2025 #Aeternus #AmericanMetal #Americana #AnOceanOvPutridStinkyVileDisgustingHell #Aug25 #Bask #BlackMetal #BlackenedDeathMetal #BurningWitches #CelestialTwilightBeyondTheCrimsonVeil #CelticFrost #Clutch #CosmicMother #CrimsonDawn #Danzig #DarkAmbient #DeathMetal #Deathhammer #DefLeppard #Defacement #Demilich #DigitalPlague #Doomed #DryDrunk #DutchMetal #EdgedCircleProductions #Emperor #Enslaved #Fellship #FinnishMetal #FrozenCrown #FuManchu #GermanMetal #GiantHaze #Glassing #Hardcore #HeavyMetal #Hellbutcher #HellsHeadbangersRecords #HotGraves #Huntsmen #Incantation #Inquisition #IronMaiden #JudasPriest #Kallias #Kraków #Kyuss #MelodicBlackMetal #Meshuggah #MoonlightSorcery #MorbidAngel #Motörhead #NapalmRecords #NorwegianMetal #OldNick #PersonalRecords #PhantomFire #Plasmodulated #PowerMetal #ProgressiveDeathMetal #RawBlackMetal #Review #Reviews #SelfRelease #SilentMillenia #Slayer #Sludge #SludgeMetal #SomaliYachtClub #SpeedMetal #StonerRock #Stormkeep #StreetSects #StuckInTheFilter #StuckInTheFilter2025 #SwissMetal #SymphonicBlackMetal #TechnicalDeathMetal #TheTurning #TonzonenRecords #Turian #Voivod #Voyager #Wharflurch

Plague Curse – Verminous Contempt Review

By Spicie Forrest

We’ve all been told, once or thrice, not to judge a book by its cover. As a species, we’re pretty good at doing it anyway. In metal circles, band logos and album art often follow certain tropes that let us quickly identify what we’re about to hear and set expectations accordingly. Except when they don’t. When I first saw the cover art for Verminous Contempt, I thought I had it pegged. I mean, rats? Green mystery fluid? Skulls? This was sewage-drenched death metal for sure. I was, of course, wrong. For their debut, Plague Curse instead offers a highly polished platter of blackened death metal. Irregardless of genre, however, the only question that matters here is, does it slap?

The heart of Verminous Contempt beats death, but its blackened influences are plenty vital. Bolt Thrown riffs, courtesy of Joe Caswell (Burden of Ymir), and Neil Schneider’s fully automatic drums offer a tank tread massage on “In the Shadow of Hate” and “Procession of Dead,” while “Amidst the Devastation” and “Hate Fuck Of Fornication and Malice” get their meat hooks in you like Cattle Decapitation in an asylum. Guitar licks in the skeletal, dissonant veins of Morbid Angel or Pestilence add a hunted sense of unrest (“Nocturnal Cruelty,” “Callous Abomination”). This would make for a decent record on its own, but well-placed blackened tremolos coalesce and melt away throughout the album like specters in a fog. “Umbrage Earned” and “Of Fornication and Malice” open with hellish, blackened salvos of Archspired urgency, but what’s particularly noteworthy about the former—and true to varying degrees across all of Verminous Contempt—is the way the band twists and warps death metal instrumentation to fit over black metal structures. While much of this record sounds like death metal, “Umbrage Earned” reminds me more of Watain from a compositional standpoint. Verminous Contempt isn’t just black metal and death metal played next to each other; Plague Curse creates a true blend of the two.

The instrumentals on Verminous Contempt are nothing to sneeze at, and neither is Nick Rossi’s vocal performance. His lows evoke Suffocation or Septicflesh, while highs are closer to Cattle Decapitation or Mental Cruelty. Rossi even gets brutally low on “In the Shadow of Hate” and “Callous Abomination.” He’s got an impressive toolkit. And whether low, high, or somewhere in between, he’s phlegmy and wet, not unlike Lik. It brings an unrefined, unhinged edge to an album whose production is otherwise pretty clean. The added grit does wonders for Plague Curse’s sound, creating much-needed texture across Verminous Contempt. Rossi’s standout performance is occasionally a detriment, however, as a few instrumental sections struggle to hold their own in his absence (“Procession of Dead,” “Reigning in Ruin”).

Verminous Contempt is an energetic and dynamic album. Riffs abound, both searing like Spectral Wound (“Most Vile”) and crushing like Immolation (“Callous Abomination”). Whether slinging neoclassical hooks (“Most Vile”), creating blackened tension (“In the Shadow of Hate”), or expertly shifting tempo (“Reigning in Ruin”), Caswell can count on Schneider and bassist George Van Doorn to provide a solid foundation upon which to drive each track. Transitions are well-timed and flow seamlessly, making the album an enjoyable and smooth listen end to end. Even tastefully and sparingly added dissonance incorporates well into the broader picture (“Reigning in Ruin,” “Nocturnal Cruelty”). But with such obvious songwriting prowess and tight construction, it’s a little frustrating to trudge through several minutes that should have been left on the cutting room floor, including the last third of “Reigning in Ruin” and the entire outro “Oderint Dum Metuant.”

I picked up Verminous Contempt expecting Foetal Juice, but was instead treated to an impressive mix of some of metal’s meanest sounds. Like being blindsided with a brick, Plague Curse comes out swinging and, with the exception of a couple of competent slowdowns, never lets up. Between noteworthy vocals and frenetic yet controlled instrumentation, Verminous Contempt is an enjoyable and easily consumed album. On their debut, Plague Curse establish themselves as a vicious but accessible contender in blackened death circles. With a more enthusiastic scalpel and a little more attention paid to instrumental passages, Plague Curse could easily be a future cornerstone of the genre.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Adirondack Black Mass
Websites: Bandcamp | Facebook
Releases Worldwide: October 10th, 2025

#2025 #35 #AdirondackBlackMass #Archspire #BlackMetal #BlackenedDeathMetal #BoltThrower #BurdenOfYmir #CattleDecapitation #DeathMetal #FoetalJuice #Immolation #InternationalMetal #LIK #MentalCruelty #MorbidAngel #Oct25 #Pestilence #PlagueCurse #Review #Reviews #SepticFlesh #SpectralWound #Suffocation #VerminousContempt #Watain

Evilyn – Mondestrunken Review

By Dear Hollow

At first glance, it appears that international death metal act Evilyn only has your demise and destruction in mind. Mondestrunken is uncompromisingly heavy, riffs pushed to their shimmering limits like oil from the collapsing god machine, hellish growls from beyond the stars, and drums funneled through warp speed directly into the collapsing horror of a black hole. It feels like a background of cosmic noise, lifeless, unfriendly, and directionless, but patience yields results: obelisks emerge into the view. Not that they were ever absent, but that our eyes could not behold them. Beneath the fray of entropy, the eyeless stars, and the unending weight of time, patterns emerge. Lifelessness itself resurrects. The dead shall rise again. We were never alone, and that should make us more terrified than ever.

Evilyn was originally founded by Coma Cluster Void’s Jeanne Comateuse, attempting to make cosmic-themed old school death metal with a substantial hit of dissonance. With debut EP Inside Shells, the template was set: devastating death metal with shifting nebulae of tempos and time signatures alongside ruthless discordance. Evilyn’s lineup has shifted,1 its sole remaining member, guitarist/vocalist Anthony Lipari of Thoren, now including bassist Alex Weber of Malignancy and drummer Robin Stone of Norse and Ashen Horde, but the emphasis is as uncompromising as ever. First full-length Mondestrunken (German for “moon-drunk”) is as punishing as it is puzzling, a relentless bombast of death metal insanity fractured and splattered across the face of infinity.

Across thirty-seven minutes, Evilyn creates an OSDM template that is splintered through the fractured light of an alien prism, the result just as chaotic and alienating as you would expect – dissonance is relentless, the tempos and rhythms are constantly shifting, and Lipari’s vocals remain in deep growl mode. Initially overwhelming in terms of utter saturation, repeated listens unearth more and more. Contrary to the dissonance-for-dissonance’s-sake screeching of Mithridatum or Scarcity, or the improvised assaults of Acausal Intrusion or Ar’lyxkq’wr, Evilyn’s palette emerges in the form of motifs. While initially an apparent clusterfuck of discordance and chugs, blastbeats, and aggressing plodding, the motif gradually reveals itself and the song suddenly makes sense – these take several forms. While the off-kilter morphogenetic riffs of “Dread,” “Limits,” “Penance,” and “Slithering” ground their respective sounds like a traditional Morbid Angel blueprint, the pinch harmonics of “Omission” and “Forgotten” are a flaying reminder of pain. “Forgotten” and “Eat the Elite” explore their riffs with careful precision, each rendition more warped and rusted than the last.

The most tantalizing tracks aboard Mondestrunken are the ones with whom only a framework or structure becomes the motif, Evilyn soaring in mood and madness. The album title is most apparent in “Forgotten,” which truly feels like a cosmic drunken dissodeath passage, deepening in intricacy as it continues – its pinch harmonics nearly a misdirect to the approaching doom – while “Interwoven” lives up to its name with a dynamic structure of growing dissonance with each worming riff. “Bloviate” approaches its sound with a “traditional” proto-chorus, a midsection of contemplative open strums that add greater monolithic weight to the obliteration surrounding it. Resounding highlights are centerpieces “Penance” and “Vacuous,” their mercilessly mechanical sound achieving a hypnotic effect. The clockwork guitar plucking in the former collapses to dizzying shredding and animalistic blastbeats that rend planets, while the dissonance achieves a distinctly dying warble. The latter’s constant shifting between 6/8 and 4/4 enacts a cosmic pendulum, swaying between destruction and creation, the clarity of its cohesive conclusion feeling more punishing than the chaos surrounding it. Overall, Mondestrunken’s viciousness is palpable, the breadth organic – continuous and relentless hiss against the breath of life – each instrument organic and audible through the alien shimmering. Evilyn embraces experimentation with just a kernel of a tenet that keeps the mind secured to mortal realms.

Don’t be surprised if you hate Evilyn’s brand of bombastic saturation off the bat. Its dissonance is unending, its vocals one-dimensional, and shifting passages feel like cosmic whiplash again and again. However, it’s a surefire slow burn in spite of its relentless attack, its revelations feeling like the solution of a difficult cosmic puzzle and the kernel of accessibility blooming into monolithic significance. Its audience is limited, but fans of Fractal Generator, Artificial Brain, Aseitas, and Asystole – rejoice! For those willing to ride Evilyn’s warped spiral of the abstract and maddening, Mondestrunken’s secrets are revealed with tantalizing fulfillment.

Rating: 4.0/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Transcending Obscurity Records
Websites: evilyndm.bandcamp.com | facebook.com/evilyndeath
Releases Worldwide: August 16th, 2024

#2024 #40 #AcausalIntrusion #ArLyxkqWr #ArtificialBrain #Aseitas #AshenHorde #Asystole #Aug24 #AvantGardeDeathMetal #ComaClusterVoid #DeathMetal #DissonantDeathMetal #Evilyn #FractalGenerator #InternationalMetal #Malignancy #Mithridatum #Mondestrunken #MorbidAngel #Norse #OldSchoolDeathMetal #OSDM #Review #Reviews #Scarcity #TechnicalDeathMetal #Thoren #TranscendingObscurityRecords

Evilyn – Mondestrunken Review

By Dear Hollow

At first glance, it appears that international death metal act Evilyn only has your demise and destruction in mind. Mondestrunken is uncompromisingly heavy, riffs pushed to their shimmering limits like oil from the collapsing god machine, hellish growls from beyond the stars, and drums funneled through warp speed directly into the collapsing horror of a black hole. It feels like a background of cosmic noise, lifeless, unfriendly, and directionless, but patience yields results: obelisks emerge into the view. Not that they were ever absent, but that our eyes could not behold them. Beneath the fray of entropy, the eyeless stars, and the unending weight of time, patterns emerge. Lifelessness itself resurrects. The dead shall rise again. We were never alone, and that should make us more terrified than ever.

Evilyn was originally founded by Coma Cluster Void’s Jeanne Comateuse, attempting to make cosmic-themed old school death metal with a substantial hit of dissonance. With debut EP Inside Shells, the template was set: devastating death metal with shifting nebulae of tempos and time signatures alongside ruthless discordance. Evilyn’s lineup has shifted,1 its sole remaining member, guitarist/vocalist Anthony Lipari of Thoren, now including bassist Alex Weber of Malignancy and drummer Robin Stone of Norse and Ashen Horde, but the emphasis is as uncompromising as ever. First full-length Mondestrunken (German for “moon-drunk”) is as punishing as it is puzzling, a relentless bombast of death metal insanity fractured and splattered across the face of infinity.

Across thirty-seven minutes, Evilyn creates an OSDM template that is splintered through the fractured light of an alien prism, the result just as chaotic and alienating as you would expect – dissonance is relentless, the tempos and rhythms are constantly shifting, and Lipari’s vocals remain in deep growl mode. Initially overwhelming in terms of utter saturation, repeated listens unearth more and more. Contrary to the dissonance-for-dissonance’s-sake screeching of Mithridatum or Scarcity, or the improvised assaults of Acausal Intrusion or Ar’lyxkq’wr, Evilyn’s palette emerges in the form of motifs. While initially an apparent clusterfuck of discordance and chugs, blastbeats, and aggressing plodding, the motif gradually reveals itself and the song suddenly makes sense – these take several forms. While the off-kilter morphogenetic riffs of “Dread,” “Limits,” “Penance,” and “Slithering” ground their respective sounds like a traditional Morbid Angel blueprint, the pinch harmonics of “Omission” and “Forgotten” are a flaying reminder of pain. “Forgotten” and “Eat the Elite” explore their riffs with careful precision, each rendition more warped and rusted than the last.

The most tantalizing tracks aboard Mondestrunken are the ones with whom only a framework or structure becomes the motif, Evilyn soaring in mood and madness. The album title is most apparent in “Forgotten,” which truly feels like a cosmic drunken dissodeath passage, deepening in intricacy as it continues – its pinch harmonics nearly a misdirect to the approaching doom – while “Interwoven” lives up to its name with a dynamic structure of growing dissonance with each worming riff. “Bloviate” approaches its sound with a “traditional” proto-chorus, a midsection of contemplative open strums that add greater monolithic weight to the obliteration surrounding it. Resounding highlights are centerpieces “Penance” and “Vacuous,” their mercilessly mechanical sound achieving a hypnotic effect. The clockwork guitar plucking in the former collapses to dizzying shredding and animalistic blastbeats that rend planets, while the dissonance achieves a distinctly dying warble. The latter’s constant shifting between 6/8 and 4/4 enacts a cosmic pendulum, swaying between destruction and creation, the clarity of its cohesive conclusion feeling more punishing than the chaos surrounding it. Overall, Mondestrunken’s viciousness is palpable, the breadth organic – continuous and relentless hiss against the breath of life – each instrument organic and audible through the alien shimmering. Evilyn embraces experimentation with just a kernel of a tenet that keeps the mind secured to mortal realms.

Don’t be surprised if you hate Evilyn’s brand of bombastic saturation off the bat. Its dissonance is unending, its vocals one-dimensional, and shifting passages feel like cosmic whiplash again and again. However, it’s a surefire slow burn in spite of its relentless attack, its revelations feeling like the solution of a difficult cosmic puzzle and the kernel of accessibility blooming into monolithic significance. Its audience is limited, but fans of Fractal Generator, Artificial Brain, Aseitas, and Asystole – rejoice! For those willing to ride Evilyn’s warped spiral of the abstract and maddening, Mondestrunken’s secrets are revealed with tantalizing fulfillment.

Rating: 4.0/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Transcending Obscurity Records
Websites: evilyndm.bandcamp.com | facebook.com/evilyndeath
Releases Worldwide: August 16th, 2024

#2024 #40 #AcausalIntrusion #ArLyxkqWr #ArtificialBrain #Aseitas #AshenHorde #Asystole #Aug24 #AvantGardeDeathMetal #ComaClusterVoid #DeathMetal #DissonantDeathMetal #Evilyn #FractalGenerator #InternationalMetal #Malignancy #Mithridatum #Mondestrunken #MorbidAngel #Norse #OldSchoolDeathMetal #OSDM #Review #Reviews #Scarcity #TechnicalDeathMetal #Thoren #TranscendingObscurityRecords

Evilyn – Mondestrunken Review

By Dear Hollow

At first glance, it appears that international death metal act Evilyn only has your demise and destruction in mind. Mondestrunken is uncompromisingly heavy, riffs pushed to their shimmering limits like oil from the collapsing god machine, hellish growls from beyond the stars, and drums funneled through warp speed directly into the collapsing horror of a black hole. It feels like a background of cosmic noise, lifeless, unfriendly, and directionless, but patience yields results: obelisks emerge into the view. Not that they were ever absent, but that our eyes could not behold them. Beneath the fray of entropy, the eyeless stars, and the unending weight of time, patterns emerge. Lifelessness itself resurrects. The dead shall rise again. We were never alone, and that should make us more terrified than ever.

Evilyn was originally founded by Coma Cluster Void’s Jeanne Comateuse, attempting to make cosmic-themed old school death metal with a substantial hit of dissonance. With debut EP Inside Shells, the template was set: devastating death metal with shifting nebulae of tempos and time signatures alongside ruthless discordance. Evilyn’s lineup has shifted,1 its sole remaining member, guitarist/vocalist Anthony Lipari of Thoren, now including bassist Alex Weber of Malignancy and drummer Robin Stone of Norse and Ashen Horde, but the emphasis is as uncompromising as ever. First full-length Mondestrunken (German for “moon-drunk”) is as punishing as it is puzzling, a relentless bombast of death metal insanity fractured and splattered across the face of infinity.

Across thirty-seven minutes, Evilyn creates an OSDM template that is splintered through the fractured light of an alien prism, the result just as chaotic and alienating as you would expect – dissonance is relentless, the tempos and rhythms are constantly shifting, and Lipari’s vocals remain in deep growl mode. Initially overwhelming in terms of utter saturation, repeated listens unearth more and more. Contrary to the dissonance-for-dissonance’s-sake screeching of Mithridatum or Scarcity, or the improvised assaults of Acausal Intrusion or Ar’lyxkq’wr, Evilyn’s palette emerges in the form of motifs. While initially an apparent clusterfuck of discordance and chugs, blastbeats, and aggressing plodding, the motif gradually reveals itself and the song suddenly makes sense – these take several forms. While the off-kilter morphogenetic riffs of “Dread,” “Limits,” “Penance,” and “Slithering” ground their respective sounds like a traditional Morbid Angel blueprint, the pinch harmonics of “Omission” and “Forgotten” are a flaying reminder of pain. “Forgotten” and “Eat the Elite” explore their riffs with careful precision, each rendition more warped and rusted than the last.

The most tantalizing tracks aboard Mondestrunken are the ones with whom only a framework or structure becomes the motif, Evilyn soaring in mood and madness. The album title is most apparent in “Forgotten,” which truly feels like a cosmic drunken dissodeath passage, deepening in intricacy as it continues – its pinch harmonics nearly a misdirect to the approaching doom – while “Interwoven” lives up to its name with a dynamic structure of growing dissonance with each worming riff. “Bloviate” approaches its sound with a “traditional” proto-chorus, a midsection of contemplative open strums that add greater monolithic weight to the obliteration surrounding it. Resounding highlights are centerpieces “Penance” and “Vacuous,” their mercilessly mechanical sound achieving a hypnotic effect. The clockwork guitar plucking in the former collapses to dizzying shredding and animalistic blastbeats that rend planets, while the dissonance achieves a distinctly dying warble. The latter’s constant shifting between 6/8 and 4/4 enacts a cosmic pendulum, swaying between destruction and creation, the clarity of its cohesive conclusion feeling more punishing than the chaos surrounding it. Overall, Mondestrunken’s viciousness is palpable, the breadth organic – continuous and relentless hiss against the breath of life – each instrument organic and audible through the alien shimmering. Evilyn embraces experimentation with just a kernel of a tenet that keeps the mind secured to mortal realms.

Don’t be surprised if you hate Evilyn’s brand of bombastic saturation off the bat. Its dissonance is unending, its vocals one-dimensional, and shifting passages feel like cosmic whiplash again and again. However, it’s a surefire slow burn in spite of its relentless attack, its revelations feeling like the solution of a difficult cosmic puzzle and the kernel of accessibility blooming into monolithic significance. Its audience is limited, but fans of Fractal Generator, Artificial Brain, Aseitas, and Asystole – rejoice! For those willing to ride Evilyn’s warped spiral of the abstract and maddening, Mondestrunken’s secrets are revealed with tantalizing fulfillment.

Rating: 4.0/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Transcending Obscurity Records
Websites: evilyndm.bandcamp.com | facebook.com/evilyndeath
Releases Worldwide: August 16th, 2024

#2024 #40 #AcausalIntrusion #ArLyxkqWr #ArtificialBrain #Aseitas #AshenHorde #Asystole #Aug24 #AvantGardeDeathMetal #ComaClusterVoid #DeathMetal #DissonantDeathMetal #Evilyn #FractalGenerator #InternationalMetal #Malignancy #Mithridatum #Mondestrunken #MorbidAngel #Norse #OldSchoolDeathMetal #OSDM #Review #Reviews #Scarcity #TechnicalDeathMetal #Thoren #TranscendingObscurityRecords

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#MetalSucks
12 'Must Listen' Albums from the Last Ten Years
The last ten years have seen some truly innovative, kick-ass releases from bands of all genres.

https://www.metalsucks.net/2023/12/26/12-must-listen-albums-from-the-last-ten-years/

#AnAbstractIllusion
#CannibalCorpse
#MorbidAngel
#BlackCrownInitiate
#Suffocation
#DefeatedSanity
#Archspire
#Heilung
#Wormrot
#RiversOfNihil
#Dyscarnate
#RejoiceTheLightHasCome

@Josiah_Mannion

#TheBeatles #TheWho #IkeandTina #Aerosmith #LedZeppelin #Kiss #HarryNilsson #PatTravers #VanHalen #Motorhead #BlackSabbath #IronMaiden #JudasPriest #Saxon #Ozzy #Metallica #Slayer #Anthrax #Fugazi #RunDMC #LLCoolJ #EPMD #BDP #PublicEnemy #Godflesh #BoltThrower #Carcass #BeastieBoys #MorbidAngel #Suffocation #Soundgarden #Tad #NIN #Tool #Primus #Failure #Nile #Meshuggah #Nasum #Opeth #Converge #DeathGrips #Sulaco #SubRosa #Magrudergrind #CaveIn