#pantera — Public Fediverse posts

https://www.europesays.com/at/130568/ Accept holen 50 Musiker (u.a. Metallica/Ghost) für Jubiläumsalbum #50Jubiläum #accept #AT #Austria #Entertainment #Ghost #Jubiläum #JudasPriest #korn #Metallica #Music #Musik #Österreich #pantera #Scorpions #Unterhaltung

https://www.europesays.com/es/522347/ Accept regraba sus canciones más míticas por su 50º aniversario con músicos de Judas Priest, Metallica, Motörhead, Scorpions, Ghost, Pantera, Blind Guardian y muchos más en «Teutonic Titans 1976-2026” #50ºAniversario #Accept #BLINDGUARDIAN #Entertainment #Entretenimiento #ES #España #ghost #JudasPriest #Metallica #Motörhead #MR2022 #Music #Música #Pantera #Scorpions #Spain #TeutonicTitans19762026 #WolfHoffmann

almost 22 years ago, Dimebag was mudered live on stage and Machine Head played the same day here in Belgrade. When this song came in the setlist, it broke everyone in the audience and the band.

https://www.youtube.com/watch?v=l04_3mx-AdQ

#metal #music #rock #pantera #dimebag #machinehead

almost 22 years ago, Dimebag was mudered live on stage and Machine Head played the same day here in Belgrade. When this song came in the setlist, it broke everyone in the audience and the band.

https://www.youtube.com/watch?v=l04_3mx-AdQ

#metal #music #rock #pantera #dimebag #machinehead

almost 22 years ago, Dimebag was mudered live on stage and Machine Head played the same day here in Belgrade. When this song came in the setlist, it broke everyone in the audience and the band.

https://www.youtube.com/watch?v=l04_3mx-AdQ

#metal #music #rock #pantera #dimebag #machinehead

almost 22 years ago, Dimebag was mudered live on stage and Machine Head played the same day here in Belgrade. When this song came in the setlist, it broke everyone in the audience and the band.

https://www.youtube.com/watch?v=l04_3mx-AdQ

#metal #music #rock #pantera #dimebag #machinehead

almost 22 years ago, Dimebag was mudered live on stage and Machine Head played the same day here in Belgrade. When this song came in the setlist, it broke everyone in the audience and the band.

https://www.youtube.com/watch?v=l04_3mx-AdQ

#metal #music #rock #pantera #dimebag #machinehead

Lately, I’ve been listening to quite a bit of depressing music. Between Meadowlands, Qroba, and Exequiae, the themes of melancholy, death, and despair have been having quite the run ’round these parts. So it figures my review of the day is Embrace the Death—why turn away from a theme that’s doing well? This is the sophomore full-length release from U.S.-based Mother Crone, over a decade after their debut Awakening, and, if my research is accurate, with a completely different lineup. The topic of the day is clear, and Mother Crone approach it with a blend of doom, stoner, progressive, and groove metal. It’s always exciting to see what a band can do with a refreshed vision, lineup, and style, and apparently, grim topics are strong performers these days. How do Mother Crone compare to their contemporaries?

That my depend on how we define “contemporaries;” while Mother Crone share subject matter with the aforementioned groups, stylistically they have more in common with their own stated influences, Pink Floyd, Pantera, and Alcest (among others). As mentioned earlier, the sound on Embrace the Death is fairly well-rooted in stoner metal, with elements of doom, progressive, and groove naturally creeping in to fit the topic. Guitarists Edoardo Curatolo and Joe Frothingham (also vocals) oscillate between light, introspective play and a burlier, more aggressive approach, and Frothingham’s singing is the same. A lot of the album’s stoner and doom metal leanings actually owe to bassist Preston Wilson and drummer Charlier Romano, whose slower, grimier playing grounds the music in a progressive sort of styling. Together, the result is something at times aggressive, at times introspective, and always atmospheric in some way.

Embrace the Death by Mother Crone

But the best parts of “Embrace the Death” are unquestionably the album’s quieter moments, where Mother Crone embraces the doom and the atmosphere fully. The title track is the best example; here, Frothingham takes a break from what my father would affectionately call shouting in tune to do his best Mikael Åkerfeldt (Opeth) impression and guide the listener through a somber acceptance of the inevitable. The plaintive guitars, soft singing, and rumbling bass give way to subtle, beautiful melodies that grow organically. Not that the heavier moments are not welcome ones—”Fever Stone” is a more traditional, groove-led rocker that demonstrates a nearly opposite side of Mother Crone’s sound, the one that channels Pantera more than Opeth or Alcest. “Eye of Providence” is the middle track for the sound, best blending riffs, atmosphere, and heaviness. In all, Mother Crone don’t really sound like any of their influences, but bring forth something in the odd space between them all, something surprisingly affecting, sometimes heavy, sometimes airy, and often both at once.

Another thing I can say about Embrace the Death is that it is a fairly front-loaded album. In particular, the trio of “Fever Stone,” “Embrace the Death,” and “Unto the Dawn” is a powerful one-two-three hit of Mother Crone’s sound, from burly, melodic aggression to more plaintive, introspective atmospheres. Towards the end of Embrace the Death, however, I think Mother Crone loses sight of their strengths. “Inner Keep” in particular is an example of a song that could have used more editing than it received, clocking in at eleven minutes without making the impression I think it means to. “Celestial Light” is a beautiful closer for the album, but tonally feels a bit out of place. Perhaps if more of Embrace the Death leaned towards its title track sound it would fit better, but as is, it feels like the two extremes of the Mother Crone sound are more in competition with each other than blending into a unified listening experience. It’s all good music, but as a full album, I think there’s too much back and forth between aggressive and plaintive music to feel as “complete” as it could have felt.

Still, there is a clear journey through Embrace the Death, and, despite its grim title and concept, it’s a fun and reasonably thought-provoking listen. Mother Crone was not on my radar before now, but I’ll be paying attention to them for certain in the future. At best, this sophomore is a beautiful, compelling, and contemplative work of atmospheric metal; and otherwise, it is “only” good. Hopefully this new lineup sticks around for a bit—I’ll be looking forward to album three for sure.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Self-release
Websites: mothercrone.bandcamp.com | facebook.com/mothercronemusic
Releases Worldwide: March 4th, 2026

What do you get when you mix a popular American ’80s sitcom, a ragtag group of brewers, and the Scottish term for the cut to the face of Heath Ledger’s Joker?1 Apparently, some Greek groove metal. Since Vagelis Karzis (former live bassist for Rotting Christ) formed Full House Brew Crew in 2009, the band has had a fairly consistent lineup. They’ve also been somewhat consistent with album releases, as Glasgow Grin marks their fifth, though there was a seven-year gap between their second, Bet it All (2011), and third, Me Against You (2018). Karzis appears to have formed the band in order to channel an inner rage, which comes out through the lyrics and aggressive performances. In Texas hold ’em, you love to have a full house in hand—let’s see if a Full House Brew Crew brings the same joy.

Glasgow Grin channels a red-hot, violent anger through a mix of groove metal, hardcore, metalcore, and nu-metal. This anger emanates from Karzis’s loud, punky vocal style. He shouts all sorts of angry, violent proclamations, letting us know he’s “ready for war / It’s time to fight” on opener “Glasgow Grin.” On “No Gods, No Chains,” he sounds like an angry version of the Beastie Boys when he shouts, “every breath I take, it just fuels my / Rage.” There’s a sort of macho nihilism in the lyrics as Karzis portrays a world requiring violence, or the threat of it, in order to survive. This comes off in the straight-for-the-throat instrumentation as well, with mid-paced blast beats pounding mercilessly and guitars buzzing angrily. Full House Brew Crew unsuccessfully emulate the swagger of Pantera with lines like “Welcome to the other side / You fucking bitch” used as a mic drop (“The Other Side”). The anger often serves less as a cathartic outlet than an expression of meanness.

Full House Brew Crew struggle to write any hooks to help the music stand out. Right off the bat, “Glasgow Grin” sounds like little more than a mood piece lacking melody and structure. Not only that, but many of the songs are surprisingly low energy for material that’s so irate. Glasgow Grin also provides a mixed bag in the chorus department. Some songs sound so uniform that the chorus goes by without notice (“The Tear”), or they have a clear chorus that’s just not very good (“The Other Side”). “No Gods, No Chains” has some success with its memorable, chant-y chorus, and there are moments where Full House Brew Crew shows flashes of hooks, such as the guitar lead on “No Gods, No Chains” and some djenty riffs that channel After the Burial and Born of Osiris (“The Tear,” “Distant Star”). Unfortunately, these moments are few and often fail to land.

The second half of Glasgow Grin starts off as though it’s going to redeem the record’s rather bland first half. Two tunes, “Rain” and “Distant Star,” make use of cleans for some pretty catchy choruses that break up the monotonous rage. Full House Brew Crew is also more experimental on these tracks, going into some progressive spells with a warbly, dreamy solo on “Rain” and an arpeggiated bridge on “Distant Star” that reveal some depth to their songwriting. “From the Gutter” probably best demonstrates where the band could succeed with its more aggressive songwriting. It has a lively, energetic feel missing on much of the album, but unfortunately, it fails to stick the landing when the final minute devolves into random, Gojira-style harmonics. From there, Glasgow Grin struggles to find its footing again. “Crawling” plays a grating guitar tone for almost its entirety, and “Reign of Terror” has a weird breakdown in its final moments that concludes the record on a deflatingly flat note.

Rather than a grin, this risks painting a permanent Glasgow Scowl on your face. Fortunately, Full House Brew Crew cuts enough fat that the album’s over in a brief 34 minutes. There are certainly glimpses here and there of where they could take their groove metal in a more successful direction. However, the pure rage channeled through piss-poor production values often feels like an angry version of Steve Carell mindlessly yelling, “I love lamp.” Maybe there’s some catharsis, but mostly it’s just a headache.



Rating: 1.5/5.0
DR: 4 | Format Reviewed: 320 kbps mp3
Label: Roar! Rock of Angels Records
Websites: Bandcamp | Facebook | Official Site
Releases Worldwide: February 6th, 2026

https://www.europesays.com/es/352043/ Ian Hill, desde la sombra a la excelencia: 10 temas que marcan su importancia en el sonido de Judas Priest #Annihilator #BlackSabbath #DEEPPURPLE #DefLeppard #Entertainment #Entretenimiento #ES #España #Exciter #IanHill #IronMaiden #JudasPriest #LedZeppelin #Metallica #MR2022 #Music #Música #OVERKILL #Pantera #SAXON #Slayer #Spain #VICIOUSRUMORS

https://www.europesays.com/ie/280123/ St. Unholyness – Through High Holy Haze Review #1.5 #2025 #BlackMetal #Dec25 #DoomMetal #Éire #Entertainment #FreedomCall #GermanMetal #IE #Ireland #Manowar #Music #Pantera #Review #Reviews #SelfReleased #St.Unholyness #StonerMetal #ThroughHighHolyHaze

As a non-musician, writing music and playing an instrument is always impressive to me, but I am in awe of the successful solo artist. The knowledge and skill required must be staggering. St. Unholyness, hailing from Pfarrkirchen, Germany, is essentially one such project. Aside from conscripting Mac Carrigan to play bass, debut Through High Holy Haze is the singular vision of guitarist/vocalist Christina Earlymorn.1 Does Earlymorn come through with some truly holy loud, or is Through High Holy Haze all stems and seeds?

As far back as 2008, Earlymorn has been playing in various black metal projects, mostly solo, but Through High Holy Haze is a much wider-ranging affair. St. Unholyness does incorporate blackened components in its sound, like the riffing and blast beats in “Hate Response” or the full-fledged black metal passages of the title track and “Alchemist Blues,” but Through High Holy Haze is a stoner record at its core. Injecting a novel grittiness via HM-2 buzzsaw, Earlymorn creates a dirty but pliable foundation to decorate with a myriad of other styles. “Black Tooth Brothers (Abbott Brothers Tribute)” incorporates some groove sensibility, much like a stoned-out Cowboys from Hell, while the macho, brotherhood-centered antics of Manowar or Freedom Call find a place on “Loud and Proud.” “Hate Response” might be the most varied track on the album, oscillating between heavy metal, death metal, and black metal. Through High Holy Haze has a lot going on, and although not all of it fits together well, it speaks to the ambition and raw vision Earlymorn has for St. Unholyness.

Blacktooth Brothers (Abbott Brothers Tribute) by St. Unholyness

Unfortunately, raw drive and interesting ideas don’t make a good record. While Earlymorn is obviously a proficient guitarist—I was particularly impressed by the bluesy hooks and licks on “Through High Holy Haze” as well as the swedeath-influenced riffage on “Hate Response”—but she’s not as talented vocally. Her cleans are stiff and monotone, and her blackened rasps sound weak and half-hearted. From the promo material, I understand the lyrics are deeply personal to Earlymorn, but to do them justice, they needed to be passed off to someone with more range and experience. The same can be said of the programmed drums. A live musician could have breathed life and emotion into an element that, as is, feels like little more than a beefed-up metronome. There are very interesting ideas on Through High Holy Haze, like the way St. Unholyness mixes black metal and stoner metal together or uses a swedeath tone to play stony, bluesy riffs, but they needed more input than Earlymorn’s alone to come to life truly.

A lack of refinement isn’t the only problem plaguing Through High Holy Haze. Artifacts and clipping are pervasive throughout the album, and the mix often fumbles potential high points. “Dampflok des Todes” and “Alchemist Blues” both feature vocals that seem pitched to soar, but in such a flat mix, come across unremarkable at best, weak and poorly written at worst. Carrigan’s bass sounds excellent when it gets some time in the spotlight (“Black Tooth Brothers,” “St. Unholyness”), but otherwise it’s all but buried. The songwriting on Through High Holy Haze is challenging, as well. Mismatches between intros and the meat of songs are frequent, as are mismatches between leads/solos and rhythm sections, creating a dischordant listening experience (“Dampflok des Todes,” “Black Tooth Brothers,” “Alchemist Blues,” “Hate Response”). Bloat is also an issue. “Black Tooth Brothers” and “Alchemist Blues” both feature aimless interludes, and “St. Unholyness” employs a great deal of repetition to fill its six minutes and change.

St. Unholyness’ debut is, start to finish, the product of a single mind. As a result, Through High Holy Haze feels more like a rough draft than a final, polished product. An unfocused approach, poor mixing, and jarring, disjointed songwriting conspire together to utterly hamstring some decent potential. There are compelling ideas here, of that I am sure, but without the support of other skilled artists to workshop, refine, temper, and realize them, ideas are all they’ll ever be.

Rating: 1.5/5.0
DR: 8 | Format Reviewed: ~190kbps VBR mp3
Label: Self-released
Websites: Official | Facebook | Instagram
Releases Worldwide: December 25th, 2025

As a non-musician, writing music and playing an instrument is always impressive to me, but I am in awe of the successful solo artist. The knowledge and skill required must be staggering. St. Unholyness, hailing from Pfarrkirchen, Germany, is essentially one such project. Aside from conscripting Mac Carrigan to play bass, debut Through High Holy Haze is the singular vision of guitarist/vocalist Christina Earlymorn.1 Does Earlymorn come through with some truly holy loud, or is Through High Holy Haze all stems and seeds?

As far back as 2008, Earlymorn has been playing in various black metal projects, mostly solo, but Through High Holy Haze is a much wider-ranging affair. St. Unholyness does incorporate blackened components in its sound, like the riffing and blast beats in “Hate Response” or the full-fledged black metal passages of the title track and “Alchemist Blues,” but Through High Holy Haze is a stoner record at its core. Injecting a novel grittiness via HM-2 buzzsaw, Earlymorn creates a dirty but pliable foundation to decorate with a myriad of other styles. “Black Tooth Brothers (Abbott Brothers Tribute)” incorporates some groove sensibility, much like a stoned-out Cowboys from Hell, while the macho, brotherhood-centered antics of Manowar or Freedom Call find a place on “Loud and Proud.” “Hate Response” might be the most varied track on the album, oscillating between heavy metal, death metal, and black metal. Through High Holy Haze has a lot going on, and although not all of it fits together well, it speaks to the ambition and raw vision Earlymorn has for St. Unholyness.

Blacktooth Brothers (Abbott Brothers Tribute) by St. Unholyness

Unfortunately, raw drive and interesting ideas don’t make a good record. While Earlymorn is obviously a proficient guitarist—I was particularly impressed by the bluesy hooks and licks on “Through High Holy Haze” as well as the swedeath-influenced riffage on “Hate Response”—but she’s not as talented vocally. Her cleans are stiff and monotone, and her blackened rasps sound weak and half-hearted. From the promo material, I understand the lyrics are deeply personal to Earlymorn, but to do them justice, they needed to be passed off to someone with more range and experience. The same can be said of the programmed drums. A live musician could have breathed life and emotion into an element that, as is, feels like little more than a beefed-up metronome. There are very interesting ideas on Through High Holy Haze, like the way St. Unholyness mixes black metal and stoner metal together or uses a swedeath tone to play stony, bluesy riffs, but they needed more input than Earlymorn’s alone to come to life truly.

A lack of refinement isn’t the only problem plaguing Through High Holy Haze. Artifacts and clipping are pervasive throughout the album, and the mix often fumbles potential high points. “Dampflok des Todes” and “Alchemist Blues” both feature vocals that seem pitched to soar, but in such a flat mix, come across unremarkable at best, weak and poorly written at worst. Carrigan’s bass sounds excellent when it gets some time in the spotlight (“Black Tooth Brothers,” “St. Unholyness”), but otherwise it’s all but buried. The songwriting on Through High Holy Haze is challenging, as well. Mismatches between intros and the meat of songs are frequent, as are mismatches between leads/solos and rhythm sections, creating a dischordant listening experience (“Dampflok des Todes,” “Black Tooth Brothers,” “Alchemist Blues,” “Hate Response”). Bloat is also an issue. “Black Tooth Brothers” and “Alchemist Blues” both feature aimless interludes, and “St. Unholyness” employs a great deal of repetition to fill its six minutes and change.

St. Unholyness’ debut is, start to finish, the product of a single mind. As a result, Through High Holy Haze feels more like a rough draft than a final, polished product. An unfocused approach, poor mixing, and jarring, disjointed songwriting conspire together to utterly hamstring some decent potential. There are compelling ideas here, of that I am sure, but without the support of other skilled artists to workshop, refine, temper, and realize them, ideas are all they’ll ever be.

Rating: 1.5/5.0
DR: 8 | Format Reviewed: ~190kbps VBR mp3
Label: Self-released
Websites: Official | Facebook | Instagram
Releases Worldwide: December 25th, 2025

As a non-musician, writing music and playing an instrument is always impressive to me, but I am in awe of the successful solo artist. The knowledge and skill required must be staggering. St. Unholyness, hailing from Pfarrkirchen, Germany, is essentially one such project. Aside from conscripting Mac Carrigan to play bass, debut Through High Holy Haze is the singular vision of guitarist/vocalist Christina Earlymorn.1 Does Earlymorn come through with some truly holy loud, or is Through High Holy Haze all stems and seeds?

As far back as 2008, Earlymorn has been playing in various black metal projects, mostly solo, but Through High Holy Haze is a much wider-ranging affair. St. Unholyness does incorporate blackened components in its sound, like the riffing and blast beats in “Hate Response” or the full-fledged black metal passages of the title track and “Alchemist Blues,” but Through High Holy Haze is a stoner record at its core. Injecting a novel grittiness via HM-2 buzzsaw, Earlymorn creates a dirty but pliable foundation to decorate with a myriad of other styles. “Black Tooth Brothers (Abbott Brothers Tribute)” incorporates some groove sensibility, much like a stoned-out Cowboys from Hell, while the macho, brotherhood-centered antics of Manowar or Freedom Call find a place on “Loud and Proud.” “Hate Response” might be the most varied track on the album, oscillating between heavy metal, death metal, and black metal. Through High Holy Haze has a lot going on, and although not all of it fits together well, it speaks to the ambition and raw vision Earlymorn has for St. Unholyness.

Blacktooth Brothers (Abbott Brothers Tribute) by St. Unholyness

Unfortunately, raw drive and interesting ideas don’t make a good record. While Earlymorn is obviously a proficient guitarist—I was particularly impressed by the bluesy hooks and licks on “Through High Holy Haze” as well as the swedeath-influenced riffage on “Hate Response”—but she’s not as talented vocally. Her cleans are stiff and monotone, and her blackened rasps sound weak and half-hearted. From the promo material, I understand the lyrics are deeply personal to Earlymorn, but to do them justice, they needed to be passed off to someone with more range and experience. The same can be said of the programmed drums. A live musician could have breathed life and emotion into an element that, as is, feels like little more than a beefed-up metronome. There are very interesting ideas on Through High Holy Haze, like the way St. Unholyness mixes black metal and stoner metal together or uses a swedeath tone to play stony, bluesy riffs, but they needed more input than Earlymorn’s alone to come to life truly.

A lack of refinement isn’t the only problem plaguing Through High Holy Haze. Artifacts and clipping are pervasive throughout the album, and the mix often fumbles potential high points. “Dampflok des Todes” and “Alchemist Blues” both feature vocals that seem pitched to soar, but in such a flat mix, come across unremarkable at best, weak and poorly written at worst. Carrigan’s bass sounds excellent when it gets some time in the spotlight (“Black Tooth Brothers,” “St. Unholyness”), but otherwise it’s all but buried. The songwriting on Through High Holy Haze is challenging, as well. Mismatches between intros and the meat of songs are frequent, as are mismatches between leads/solos and rhythm sections, creating a dischordant listening experience (“Dampflok des Todes,” “Black Tooth Brothers,” “Alchemist Blues,” “Hate Response”). Bloat is also an issue. “Black Tooth Brothers” and “Alchemist Blues” both feature aimless interludes, and “St. Unholyness” employs a great deal of repetition to fill its six minutes and change.

St. Unholyness’ debut is, start to finish, the product of a single mind. As a result, Through High Holy Haze feels more like a rough draft than a final, polished product. An unfocused approach, poor mixing, and jarring, disjointed songwriting conspire together to utterly hamstring some decent potential. There are compelling ideas here, of that I am sure, but without the support of other skilled artists to workshop, refine, temper, and realize them, ideas are all they’ll ever be.

Rating: 1.5/5.0
DR: 8 | Format Reviewed: ~190kbps VBR mp3
Label: Self-released
Websites: Official | Facebook | Instagram
Releases Worldwide: December 25th, 2025

As a non-musician, writing music and playing an instrument is always impressive to me, but I am in awe of the successful solo artist. The knowledge and skill required must be staggering. St. Unholyness, hailing from Pfarrkirchen, Germany, is essentially one such project. Aside from conscripting Mac Carrigan to play bass, debut Through High Holy Haze is the singular vision of guitarist/vocalist Christina Earlymorn.1 Does Earlymorn come through with some truly holy loud, or is Through High Holy Haze all stems and seeds?

As far back as 2008, Earlymorn has been playing in various black metal projects, mostly solo, but Through High Holy Haze is a much wider-ranging affair. St. Unholyness does incorporate blackened components in its sound, like the riffing and blast beats in “Hate Response” or the full-fledged black metal passages of the title track and “Alchemist Blues,” but Through High Holy Haze is a stoner record at its core. Injecting a novel grittiness via HM-2 buzzsaw, Earlymorn creates a dirty but pliable foundation to decorate with a myriad of other styles. “Black Tooth Brothers (Abbott Brothers Tribute)” incorporates some groove sensibility, much like a stoned-out Cowboys from Hell, while the macho, brotherhood-centered antics of Manowar or Freedom Call find a place on “Loud and Proud.” “Hate Response” might be the most varied track on the album, oscillating between heavy metal, death metal, and black metal. Through High Holy Haze has a lot going on, and although not all of it fits together well, it speaks to the ambition and raw vision Earlymorn has for St. Unholyness.

Blacktooth Brothers (Abbott Brothers Tribute) by St. Unholyness

Unfortunately, raw drive and interesting ideas don’t make a good record. While Earlymorn is obviously a proficient guitarist—I was particularly impressed by the bluesy hooks and licks on “Through High Holy Haze” as well as the swedeath-influenced riffage on “Hate Response”—but she’s not as talented vocally. Her cleans are stiff and monotone, and her blackened rasps sound weak and half-hearted. From the promo material, I understand the lyrics are deeply personal to Earlymorn, but to do them justice, they needed to be passed off to someone with more range and experience. The same can be said of the programmed drums. A live musician could have breathed life and emotion into an element that, as is, feels like little more than a beefed-up metronome. There are very interesting ideas on Through High Holy Haze, like the way St. Unholyness mixes black metal and stoner metal together or uses a swedeath tone to play stony, bluesy riffs, but they needed more input than Earlymorn’s alone to come to life truly.

A lack of refinement isn’t the only problem plaguing Through High Holy Haze. Artifacts and clipping are pervasive throughout the album, and the mix often fumbles potential high points. “Dampflok des Todes” and “Alchemist Blues” both feature vocals that seem pitched to soar, but in such a flat mix, come across unremarkable at best, weak and poorly written at worst. Carrigan’s bass sounds excellent when it gets some time in the spotlight (“Black Tooth Brothers,” “St. Unholyness”), but otherwise it’s all but buried. The songwriting on Through High Holy Haze is challenging, as well. Mismatches between intros and the meat of songs are frequent, as are mismatches between leads/solos and rhythm sections, creating a dischordant listening experience (“Dampflok des Todes,” “Black Tooth Brothers,” “Alchemist Blues,” “Hate Response”). Bloat is also an issue. “Black Tooth Brothers” and “Alchemist Blues” both feature aimless interludes, and “St. Unholyness” employs a great deal of repetition to fill its six minutes and change.

St. Unholyness’ debut is, start to finish, the product of a single mind. As a result, Through High Holy Haze feels more like a rough draft than a final, polished product. An unfocused approach, poor mixing, and jarring, disjointed songwriting conspire together to utterly hamstring some decent potential. There are compelling ideas here, of that I am sure, but without the support of other skilled artists to workshop, refine, temper, and realize them, ideas are all they’ll ever be.

Rating: 1.5/5.0
DR: 8 | Format Reviewed: ~190kbps VBR mp3
Label: Self-released
Websites: Official | Facebook | Instagram
Releases Worldwide: December 25th, 2025

As a non-musician, writing music and playing an instrument is always impressive to me, but I am in awe of the successful solo artist. The knowledge and skill required must be staggering. St. Unholyness, hailing from Pfarrkirchen, Germany, is essentially one such project. Aside from conscripting Mac Carrigan to play bass, debut Through High Holy Haze is the singular vision of guitarist/vocalist Christina Earlymorn.1 Does Earlymorn come through with some truly holy loud, or is Through High Holy Haze all stems and seeds?

As far back as 2008, Earlymorn has been playing in various black metal projects, mostly solo, but Through High Holy Haze is a much wider-ranging affair. St. Unholyness does incorporate blackened components in its sound, like the riffing and blast beats in “Hate Response” or the full-fledged black metal passages of the title track and “Alchemist Blues,” but Through High Holy Haze is a stoner record at its core. Injecting a novel grittiness via HM-2 buzzsaw, Earlymorn creates a dirty but pliable foundation to decorate with a myriad of other styles. “Black Tooth Brothers (Abbott Brothers Tribute)” incorporates some groove sensibility, much like a stoned-out Cowboys from Hell, while the macho, brotherhood-centered antics of Manowar or Freedom Call find a place on “Loud and Proud.” “Hate Response” might be the most varied track on the album, oscillating between heavy metal, death metal, and black metal. Through High Holy Haze has a lot going on, and although not all of it fits together well, it speaks to the ambition and raw vision Earlymorn has for St. Unholyness.

Blacktooth Brothers (Abbott Brothers Tribute) by St. Unholyness

Unfortunately, raw drive and interesting ideas don’t make a good record. While Earlymorn is obviously a proficient guitarist—I was particularly impressed by the bluesy hooks and licks on “Through High Holy Haze” as well as the swedeath-influenced riffage on “Hate Response”—but she’s not as talented vocally. Her cleans are stiff and monotone, and her blackened rasps sound weak and half-hearted. From the promo material, I understand the lyrics are deeply personal to Earlymorn, but to do them justice, they needed to be passed off to someone with more range and experience. The same can be said of the programmed drums. A live musician could have breathed life and emotion into an element that, as is, feels like little more than a beefed-up metronome. There are very interesting ideas on Through High Holy Haze, like the way St. Unholyness mixes black metal and stoner metal together or uses a swedeath tone to play stony, bluesy riffs, but they needed more input than Earlymorn’s alone to come to life truly.

A lack of refinement isn’t the only problem plaguing Through High Holy Haze. Artifacts and clipping are pervasive throughout the album, and the mix often fumbles potential high points. “Dampflok des Todes” and “Alchemist Blues” both feature vocals that seem pitched to soar, but in such a flat mix, come across unremarkable at best, weak and poorly written at worst. Carrigan’s bass sounds excellent when it gets some time in the spotlight (“Black Tooth Brothers,” “St. Unholyness”), but otherwise it’s all but buried. The songwriting on Through High Holy Haze is challenging, as well. Mismatches between intros and the meat of songs are frequent, as are mismatches between leads/solos and rhythm sections, creating a dischordant listening experience (“Dampflok des Todes,” “Black Tooth Brothers,” “Alchemist Blues,” “Hate Response”). Bloat is also an issue. “Black Tooth Brothers” and “Alchemist Blues” both feature aimless interludes, and “St. Unholyness” employs a great deal of repetition to fill its six minutes and change.

St. Unholyness’ debut is, start to finish, the product of a single mind. As a result, Through High Holy Haze feels more like a rough draft than a final, polished product. An unfocused approach, poor mixing, and jarring, disjointed songwriting conspire together to utterly hamstring some decent potential. There are compelling ideas here, of that I am sure, but without the support of other skilled artists to workshop, refine, temper, and realize them, ideas are all they’ll ever be.

Rating: 1.5/5.0
DR: 8 | Format Reviewed: ~190kbps VBR mp3
Label: Self-released
Websites: Official | Facebook | Instagram
Releases Worldwide: December 25th, 2025

Upon a Burning Body – Blood of the Bull Review

By Dear Hollow

Upon a Burning Body is back, baby. Your favorite groovy Texans are ready to lay on the hurt with as many riffs as your ears can muster. Predecessor 2022’s Fury offered a no-frills attack that more substantially simplified the attack, recalling more the groove-oriented likes of Pantera or Lamb of God, as opposed to the longstanding comparisons to deathcore’s partyharders Attila and “fight everyone” breakdowners Emmure to whom they’ve been compared in the past. It seemed like a new direction for the San Antonio quartet, even if hindered by some grunge-inspired cleans and sporadic and uneven homages to their deathcore roots. Blood of the Bull tries to reconcile a new direction and a past that still haunts them.

Blood of the Bull is indeed Upon a Burning Body firing on all cylinders – although its direction remains questionable. Ruben Alvarez’s guitar work is immediately recognizable, a bluesy edge and layered rhythms with manic solos to boot, Tito Felix’s drumming is as unhinged as you’d expect,1 while Danny Leal’s vocals have returned to peak form, honed mids to complement his vicious lows – even bassist/vocalist Thomas Alvarez’s cleans are better than last go. In Blood of the Bull, poppier choruses contrast heavier to its breakneck riffs and metalcore leanings, leaving it slightly below Fury in its effectiveness but remaining a solid installment in Upon a Burning Body’s rodeo of a discography.

In many ways, Blood of the Bull exists as the band’s most experimental outing. While it channels Fury’s propensity for groove, Thomas Alvarez forgoes on the grungy tone almost entirely for the most soulful choruses the band has ever offered, tracks which often feature newfound synth in creeping intros or interludes (“Daywalker,” “Another Ghost,” “Living in a Matrix”). While the presence of these assets could potentially dull the teeth that Upon a Burning Body’s sound naturally possesses, they refuse to let that stop them. Their cleaner tracks feel bigger and more significant than ever before, albeit imperfect: the soaring melodies can feel shoehorned alongside groove or deathcore beatdowns, although the lyricism (for once) sometimes improves this issue (“Another Ghost”) and ruins it for others (“Reckless Love”). The mariachi returns full-force, a welcome homage to the group’s roots (“Sangre del Toro,” “An Insatiable Hunger”).

If the tracks with clean singing are risks with mixed payoff, then, when Upon a Burning Body conjures syncopated grooves and commanding vocals with memorable one-liners offer the best listening on Blood of the Bull. Furious shredding, wild solos, and Leal’s signature vocal attack offer a trifecta of headbanging goodness. No one growls profanity the way Leal does, and while it was noticeably absent in Fury, the “fucking” one-liners pump adrenaline (“Killshot,” “Curse Breaker”) while other tracks manage to feel kickass and brooding simultaneously (“Hand of God”), highlighting Upon a Burning Body’s vocal return to deathcore’s intensity. It can be odd and off-putting when songs that feature the most intense groove riffs can also feature those soulful choruses (“Daywalker,” “Living in a Matrix”), but aside from the aforementioned, these don’t feel as awkward as I expected.

Upon a Burning Body amps almost everything in its attempt to reconcile the old with the new, and if nothing else, the effort is noted. There is more than enough corny lyrics, ham- beef-fisted anthems, and soaring clean choruses aboard Blood of the Bull, but in this way, it feels more like Upon a Burning Body than they’ve been in a hot minute. Thankfully, if you can look past the flaws, the band’s seventh full-length is at its worst full of crunchy grooves, mind-numbing breakdowns, and jarring tonal shifts, but if that’s its worst – with Danny Leal and Ruben Alvarez leading the attack – that’s a worst I can get behind. Also, highlights like “Another Ghost” or “Daywalker” feel like flashes of potential not yet seen in lyrics or songwriting. For now, it’s Upon a Burning Body, love ’em or hate ’em: a whole lotta bull.

Rating: 3.0/5.0
DR: N/A | Format Reviewed: Stream
Label: Self-Released
Websites: uponaburningbody.bandcamp.com | uabbtx.com | facebook.com/uponaburningbody
Releases Worldwide: December 5th, 2025

#2025 #30 #AmericanMetal #Attila #BloodOfTheBull #Deathcore #Dec25 #Emmure #GrooveMetal #LambOfGod #Metalcore #Pantera #Review #Reviews #SelfReleased #UponABurningBody

Eddie Van Halen’s opinion on Pantera and Dimebag Darrell

https://rockandrollgarage.com/eddie-van-halen-opinion-on-pantera-and-dimebag-darrell/

#eddievanhalen #vanhalen #Rock #pantera #dimebagdarrell #metal

PANTERA Drummer VINNIE PAUL’s Recipes To Be Served At Rainbow Bar & Grill https://www.diningandcooking.com/2386982/pantera-drummer-vinnie-pauls-recipes-to-be-served-at-rainbow-bar-grill/ #Damageplan #HellYeah #Pantera #RainbowBarAndGrill #RecipeTopics #Recipes #VinniePaul

G-Nitro’s Daily Music Wrap-Up – 11/07/25

I skip a Pantera album, cuz screw racism. I do check out the latest albums by TimeMachine1985, and Danny Brown.

Favorite Videos include Haruki Hamano Live a YouTube Music Night Indonesia 2025, Sunmi's On The Spot, and more!

https://g-nitro.com/g-nitros-daily-music-wrap-up-11-07-25

#Music #MusicVideo #1001Albums #Pantera #TimeMachine1985 #DannyBrown #HarukiHamano #YoutubeMusicNightIndonesia #Sunmi #OnTheSpot

Pantera-Backed Solana Company Brings Forward PIPE Unlock as Stock Price Plunges 60% - The firm said it is "ripping the band-aid off" by allowing early investors to sell shares... - https://www.coindesk.com/markets/2025/10/20/pantera-backed-solana-company-brings-forward-pipe-unlock-as-stock-price-plunges-60 #markets #pantera #solana #news #sol #dtc

Nine Treasures – Seeking the Absolute Review

By Andy-War-Hall

Nine Treasures has been around since 2010, and yet has always seemed like the new kid on the block. Hailing from Inner Mongolia, China, founder Ashkan Avagchuud pursued the integration of traditional Mongolian instrumentation with heavy metal since day one. Nine Treasures saw success with their first three independent releases, but also saw The Hu steal a bit of their black thunder by becoming a global hit with their take on Mongolian folk metal.1 Eventually, Nine Treasures grew dissatisfied with their own sound and disowned their previous records almost entirely in a bid for rebirth. Now, they place their future in Seeking the Absolute, their first partnership with Metal Blade Records and first global release, where Nine Treasures attempts both a greater cohesion of folk instrumentation and heavy metal and to “capture the things that truly excite [them] deep inside.” Fresh starts can make all the difference, but does it make enough of one for Nine Treasures to finally fulfill their potential?

Seeking the Absolute continues Nine Treasures’ pursuit of Mongolian folk metal, but ditches their previous full-throttle metal approach in favor of a more progressive, alternative philosophy. Tracks forgo the verse-chorus structure in favor of songs that ebb and flow, preferring groove over speed (“Indecision,” “The Ultimate Evolution.”). More so than ever before, drummer Namra and bassist Orgil are unleashed on Seeking the Absolute, laying out hypnotic beats (“Real Dream”) and pulsing grooves (“Until Now”) with an expertise that feels effortless. Saina’s balalaika and Nars’ morin khurr,2 while always good, now feel essential to Nine Treasures’ sound, with balalaika providing a percussive role to “Indecision” and morin khurr used for both drone notes and leads on “Steel Falcon.” Seeking the Absolute thrives off repetition, with expert musicianship and clever songwriting keeping the slow progressions more meditative than monotonous. But nowhere does main-man Ashkan forget to bring the big guitars or big vocals when they matter most, dishing out riffs reminiscent of TOOL and alt-era Metallica from opener “Until Now” to the closing title track. Their reinvention succeeded; Nine Treasures landed on a style that works for them.

Nine Treasures are more distinct and interesting than ever on Seeking the Absolute, but not without their shortcomings. Though they reject conventional pop/rock structure, songs on Seeking the Absolute still follow certain patterns of quiet starts, loud verses, quiet bridges and loud finishes. While electrifying on “Until Now” or “Steel Falcon,” even reaching its best execution in the closing title track, there’s nonetheless a sense that you’ve heard it all before by then. A lack of solos also contributes to this issue; a guitar solo here or there would help differentiate things. Further, Seeking the Absolute’s approach to alt-prog draws too much from TOOL for comfort, particularly in its delay-heavy bass lines played high on the fret board that makes me wonder if Justin Chancellor has some missing pages in his notebook (“The Ultimate Evolution”). Seeking the Absolute has all the pieces of a great album, and I know the pieces fit, but in Nine Treasures discovering their sound, they may have played too closely into it.

Regardless, for a band drastically changing sound, Nine Treasures has crafted a remarkably engaging and re-listenable album. Seeking the Absolute sounds much better than its brick-walled DR score would suggest, with every instrument and voice sounding clear and well-balanced in the mix. This lets the fantastic performances shine within Seeking the Absolute’s tight, immediate songwriting, such as the folk-forward groove of “Just Like You,” the 10,000 Days-but-lean “Indecision,” and the thrashy morin-khurr-and-guitar assault on “Lonely Old Horse.” Vocally, Ashkan has the range and control to make lighter moments like “Indecision” and “Just Like You” soar, and the grit and power to belt out the heavier tunes like “Until Now” and “Steel Falcon.” Even though I don’t understand a word of what he’s saying, he still commands ateention like the best frontmen can. Both progressive and concise, easy-listening and inventive, Nine Treasures give Seeking the Absolute broad appeal and artistic depth.

Nine Treasures was always good, but Seeking the Absolute sounds like what the band was always meant to be. Like Pantera with Cowboys from Hell, Nine Treasures exudes confidence in their transformation, crafting a fun, approachable chunk of metal without compromise to their new vision. There’s still room to grow; TOOL will be expecting some compensation/credits for a few of those bridges. But for fans of folk, progressive, and alternative metal, Seeking the Absolute is a joy to behold. Nine Treasures has arrived.

Rating: Very Good
DR: 4 | Format Reviewed: 256 kbps mp3
Label: Metal Blade Records
Websites: ninetreasures.bandcamp.com | ninetreasures.net | facebook.com/ninetreasuresofficial
Releases Worldwide: October 24th, 2025

#2025 #35 #AltMetal #ChineseMetal #FolkMetal #MetalBladeRecords #Metallica #NineTreasures #Oct25 #Pantera #ProgressiveMetal #Review #Reviews #SeekingTheAbsolute #TheHu #Tool

Pantera Backs TransCrypts with $15M Seed Round to Expand Blockchain Identity Platform - TransCrypts, a blockchain startup building tools for people to own and share verified cre... - https://www.coindesk.com/markets/2025/10/08/pantera-backs-transcrypts-with-usd15m-seed-round-to-expand-blockchain-identity-platform #fundraise #markets #pantera #news

Pantera Backs TransCrypts with $15M Seed Round to Expand Blockchain Identity Platform - TransCrypts, a blockchain startup building tools for people to own and share verified cre... - https://www.coindesk.com/markets/2025/10/08/pantera-backs-transcrypts-with-usd15m-seed-round-to-expand-blockchain-identity-platform #fundraise #markets #pantera #news

Pantera Backs TransCrypts with $15M Seed Round to Expand Blockchain Identity Platform - TransCrypts, a blockchain startup building tools for people to own and share verified cre... - https://www.coindesk.com/markets/2025/10/08/pantera-backs-transcrypts-with-usd15m-seed-round-to-expand-blockchain-identity-platform #fundraise #markets #pantera #news

Pantera Backs TransCrypts with $15M Seed Round to Expand Blockchain Identity Platform - TransCrypts, a blockchain startup building tools for people to own and share verified cre... - https://www.coindesk.com/markets/2025/10/08/pantera-backs-transcrypts-with-usd15m-seed-round-to-expand-blockchain-identity-platform #fundraise #markets #pantera #news

Incite – Savage New Times Review

By Steel Druhm

Written By: Nameless_n00b_602

Within metal circles, one does not simply invoke the Cavalera name. Its crest is adorned with more than just the seminal works of Sepultura. There is ambition there that does not sleep. That great name is ever pushing boundaries, creating new sounds. This is no barren wasteland riddled with fire and ash and dust. There is no poisonous fume for inspiration to choke on. Not with 10,000 artists could you accomplish what those brothers have done; it is folly. Thus, it is with great interest—and a little skepticism—that I was assigned Incite’s seventh LP. Fronted by Max Cavalera’s stepson, Richie Cavalera, Savage New Times promises to be the band’s truest-to-self offering yet. Let’s see how deep the roots go.

For those unfamiliar, Incite majors in groove metal. A familiar southern aggression suffuses Layne Richardson’s axe work and Cavalera’s contentious lyrical delivery. Mid-paced tracks like “Used and Abused” or “Savage New Times” take a cue from Lamb of God or Exhorder, while rager “No Mercy, No Forgiveness” could easily fit on an early DevilDriver record. Bassist EL knows his craft well, building tension and promising violence with well-placed, threatening basslines (“Chucked Off,” “Never Die Once”). The instruments make room in verses for Cavalera’s vocal aggression to brew before crashing together in a choral release, and it is here that drummer Lennon Lopez shines. His energetic drumming steals the spotlight on the choruses of “Used and Abused” and “Chucked Off.” With such strong adherence to the tenets of groove metal, Savage New Times makes it clear that Incite has never missed a class at Pantera’s Vulgar School of Power.

Incite meets with mixed success when they venture outside their core sound. Richardson shows real prowess on “Used and Abused,” where he evokes both Amon Amarth in the bridge and the spiraling tones of System of a Down in the chorus. “Savage New Times” features leads reminiscent of Cannibal Corpse in the verse and, like “Feel This Shit (I’m Fired Up),” sports a militant burst fire tempo around the midpoint. On the other hand, “Doubts and the Fear” falters with a murky, pseudo-psychedelic bridge and nasally Agnostic Front-tinged vocals. Longest song “Dolores” also struggles. Unlike Phil Anselmo’s softer cleans that match the verses of Pantera’s “This Love,” Cavalera barely dulls his edge for the parallel sections of “Dolores,” creating a sonic disconnect between the instruments and himself. This is exacerbated by a similar divide between the rhythm section and the sprawling, idyllic solo recalling “Hotel California.”

More generally, Savage New Times suffers from unambitious songwriting. Except for the neoclassical intro of “Chucked Off” and the solo in “Used and Abused,” Richardson’s lead sections feel lethargic and unremarkable. Song structures feature minimal variation and fall into cyclical verse-chorus-verse-chorus patterns. While this isn’t a problem individually, ten songs of it feels repetitive. Additionally, several tracks lack a satisfying conclusion and feel half-baked. “Dolores” ends with a well-performed piano melody, but it feels tacked on after such a strong finish from the band. Similarly, by cutting their outros, “Lies,” “Feel This Shit (I’m Fired Up),” and “No Mercy, No Forgiveness” could have all ended powerfully rather than aimlessly.

While Savage New Times isn’t a terrible album, because of its deficiencies, I often found myself listening to Incite’s influences rather than Incite themselves. There’s plenty to critique between unmoving songcraft and mixed experimentation, but the final nail in the coffin is the production.1 There’s a slight sibilance and several artifacts throughout Savage New Times. It’s most egregious on “Used and Abused,” ruining one of the record’s best cuts.2 This is the common trend of the album—otherwise good tracks flawed by preventable missteps. I’ve spun this record dozens of times, and I’m sure that with more confidence and a clearer vision, Incite has a good record in them. Savage New Times just isn’t it.

Rating: 2.0/5.0
DR: 8 | Format Reviewed: 192 kbps mp3
Label: Reigning Phoenix Music
Websites: Bandcamp | Instagram | Facebook
Releases Worldwide: August 15th, 2025

#20 #2025 #AgnosticFront #AmericanMetal #AmonMarth #Aug25 #CannibalCorpse #DevilDriver #Exhorder #GrooveMetal #HeavyMetal #Incite #LambOfGod #Pantera #ReigningPhoenixMusic #Review #Reviews #SavageNewTimes #Sepultura #SystemOfADown #ThrashMetal

190,500 ETH in Seven Days: BitMine’s Buying Spree Pushes Its Ethereum Treasury Past $8B - TLDR:

BitMine Immersion now holds 1.71M ETH worth $8.23B, claiming the top spot as the l... - https://blockonomi.com/190500-eth-in-seven-days-bitmines-buying-spree-pushes-its-ethereum-treasury-past-8b/ #foundersfund #wallstreet #ethereum #coinbase #jpmorgan #bitcoin #bitmine #pantera #buying #crypto #stock #ark #eth

LOMMI – 667788 Review

By ClarkKent

LOMMI first formed in 2007, but these Swedes are essentially digital ghosts. You’d think an 18-year history would at least come with a multi-album discography, but I have no idea what these guys have done between then and the release of their latest (and possibly only) album, 667788. A Google search mostly pulls results for Tommy Iommi; they have no dedicated page on Metal Archives; and even their label, Majestic Mountain Records, has zilch about them on their site. This lack of a written history leads me to have some doubts about the promo’s claim that these guys are a “formidable force in [Sweden]’s heavy metal underground.” Still, I’ll give them the benefit of the doubt that maybe they’re just too trve to have built up a digital presence. The promo blurb also states that 667788 was a “decade in the making,” so maybe these guys were just really busy with life. With these scant details at our fingertips, it’s time to play a dangerous, but exciting, game of promo bin roulette.

Turns out my doubts were ill-founded: 667788 is a blast. The promo describes LOMMI as traditional/groove metal, and while this isn’t the first style that popped into my head when I pressed play, it’s also not inaccurate. They rely on heavy, low-tuned guitars and chunky bass riffs to lay down infectious grooves. The bass line on “Down” carries strong influences of Pantera’s groove classic “Walk,” if Pantera were stoner doom. Stoner doom, to my ears, best describes their sound. The opening guitars on “Sayonara” bring to mind a cleaner, less fuzzy High on Fire, and the epic riffs and cymbal-drenched percussion on “Rather” conjure The Sword. They also sprinkle a little blues and a not-insignificant pinch of grunge, from Alice in Chains to Stone Temple Pilots. I can’t help but think of “Vaseline” when Jens Florén sings “There’s a fly in my room and it keeps me awake” on “Wish.”

While this might make them sound like a clumsily cobbled-together Frankensteinian monster, LOMMI plays with a high level of swagger. This swagger is apparent when Florén cackles on “Sayonara” and throws out a “yeah!” here and there. It’s also there in his thick and meaty guitar riffs, such as those that open the raucous “Blood Moon.” Florén’s voice evokes the spirit of Lemmy from Motorhead and his riffs carry the energy of Rob Zombie. He’s not the only source of the swagger, though. Dennis Österdal’s other band, Transport League, may have been trashed by Grier six years ago, but his bass serves as the backbone on “Down” and “Children,” adding healthy doses of heft and groove. To quote the BFG, that blues-y bass line on “Children” is “scrumdiddlyumptious.” Jörgen Tjusling proves a formidable presence behind the kit. He sets a disciplined, mid-tempo pace, though he occasionally goes ape-wild on the cymbals. There’s a moment on the back half of “Sayonara” where he summons Black Sabbath a lá “War Pigs.”

From the simple song titles to the tight songwriting, this trio seeks to prove the mantra that “less is more,” no matter how many times Angry Metal Guy quotes Yngwie Malmsteen’s “more is more” counterpoint. Over 8 songs, LOMMI provides 38 minutes of no-frills, high-octane fun. However, there are a few momentum-killing moments where songs meander with little purpose. Unsurprisingly, these moments occur on the only two tracks that surpass 5 minutes. While “Blood Moon” has some of my favorite riffs, the final few minutes go into freestyle jam session mode, where your mileage may vary. On “Children,” the bookends are terrific, but the middle portion feels like an entirely different, more sluggish song, a rare moment where the band seems unsure how to fill the time. These few minutes are just a minor issue, however, on an otherwise rollicking record.

667788 just may have put LOMMI on the map; at the very least, it put them on my map. It proves not just the prowess of the individual performers, but their songwriting acumen. Despite their limited credentials, they play as if they were masters of the craft, and that’s saying something for what is possibly a debut album. This one took me completely by surprise, and it’s one of those records where 750 words just isn’t enough to say everything I want to. Hopefully, it doesn’t take another decade to write the follow-up, but if you put out a record this good, who’s to dispute the process? If you love big riffs and big fun, don’t miss out on these guys.

Rating: 4.0/5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Majestic Mountain Records
Websites: Bandcamp | Facebook
Releases Worldwide: August 1st, 2025

#2025 #40 #667788 #AliceInChains #Aug25 #BlackSabbath #Blues #DoomMetal #GrooveMetal #Grunge #HighOnFire #LOMMI #MajesticMountainRecords #Motörhead #Pantera #Review #Reviews #RobZombie #StoneTemplePilots #StonerMetal #SwedishMetal #TheSword #TransportLeague #YngwieMalmsteen

Cordyceps – Hell Inside Review

Written By: Nameless-N00b_604 Artists don’t necessarily need to draw deep from their inner lives to make enjoyable art,…
#NewsBeep #News #Music #2025 #3.0 #Afterbirth #AscendedDead #AU #Australia #BrutalDeathMetal #CannibalCorpse #Cordyceps #DeathMetal #Entertainment #Evenfall #HellInside #Jul25 #Pantera #review #reviews #TrevorStrnad #UniqueLeaderRecords
https://www.newsbeep.com/au/35535/

Cordyceps – Hell Inside Review

Written By: Nameless-N00b_604 Artists don’t necessarily need to draw deep from their inner lives to make enjoyable art,…
#NewsBeep #News #Music #2025 #3.0 #Afterbirth #AscendedDead #AU #Australia #BrutalDeathMetal #CannibalCorpse #Cordyceps #DeathMetal #Entertainment #Evenfall #HellInside #Jul25 #Pantera #review #reviews #TrevorStrnad #UniqueLeaderRecords
https://www.newsbeep.com/au/35535/

Cordyceps – Hell Inside Review

By Angry Metal Guy

Written By: Nameless-N00b_604

Artists don’t necessarily need to draw deep from their inner lives to make enjoyable art, but they do to make great art. Denver, Colorado’s Cordyceps—whose debut EP drew acclaim from the late, great Trevor Strnad—have dug deep on their sophomore album Hell Inside and dredged up something nasty. A meditation on struggle, pain, and the time an ex-friend stabbed vocalist Rafael Gonzalez three times in the chest, Hell Inside portrays the tortured psyche by way of a metaphorical cordyceps fungus infecting and ravaging the mind. Cordyceps have done the soul searching needed for something special. But is it something special?

The title Hell Inside isn’t only a declaration of the album’s themes: it’s also an apt description. Paces shift frenziedly on “Filth” and “I Am Hate” while riffs chug and squeal on “Obliterate” and “Flock of Sheep.” Hell Inside’s guitar solos evoke Slayer with DeLorean Nero’s dive-happy antics (“Murder All,” “Flock of Sheep”) while drummer Michael Nolan commits percussion abuse with concussive and groovy octopus-handed drum fills. Meanwhile, bassist Chris Rosset brings a clicky, bludgeoning Cannibal Corpse-like tone and aggression throughout the runtime. Though death metal to the core, Hell Inside emits the occasional whiffs of thrash (“Flock of Sheep,”) doom (“Diseased Mind”), and even a little Panteraesque groove metal qualities (“I Am the Plague”) to stir up the mix. Much of Hell Inside’s appeal is that – bear with me – of deathcore, reveling in ridiculously down-tuned riffs, start-stop rhythms, and brown-note vocals. But Cordyceps isn’t beholden to deathcore’s reliance on breakdowns and instead fuels their pandemonium with a near-relentless fervor at times reminiscent of Ascended Dead’s Evenfall of the Apocalypse. Instrumentally, Hell Inside possesses the callousness of industrial machinery biting through fingers and is sure to nuke any unprepared listeners into fine assdust.1

But where Cordyceps’ vulnerability – their volatility – originates is Gonzalez’s vocals, the easy highlight of Hell Inside. He hardly sounds human, spitting wet, unhinged gurgles that at times sound like Lovecraftian squid-men (“Diseased Mind”), dying animals (“Obliterate”), Afterbirth’s Will Smith (“Regret”), and, at 2:14 in “Obliterate,” the nightmare echoes from the truck stop toilet bowl of Hell. But there’s a technicality behind Gonzalez’s vocals, too: see the obscene low notes of “Diseased Mind” or the twenty-six-second run in “Obliterate” taken in what sounds like one breath. Through it all, Gonzalez seems to muster every negative thought he’s ever had, evoking feelings of inner turmoil, misanthropy, and betrayal in manners both disturbing and cathartic. In short, Gonzalez’s vocals are the lifeblood in Cordyceps’ candidemia-ridden arteries.

The blood runs somewhat cold, however, when crafting standout moments. No song is a stinker, and runtimes never drag, but the formula of chug-chug-trem-GUUUUUURGLE dilutes eventually. While the closer “Regret” is as good as the opener “Filth” in a vacuum, it’s not as engaging forty minutes later. The band also over-employs start-stop breaks to transition between movements, which are effective on early tracks like “Filth” but become predictable with overuse. The few atmospheric bookends on Hell Inside, like the piano-closing “Suffocating,” feel superfluous. Rather than merging one novel idea with another, they just bridge one onslaught of death metal to the next. Generously, they can be seen as breaks for your ears, an unfortunate necessity given the album’s strident, undynamic mix. It’s got its memorable moments – the singular synth tone in “Diseased Mind,” Gonzalez’s declaration that he’s “GONNA BLOW [his] FUCKING BRAINS OUT” in “Murder All” and the aforementioned toilet deluge from “Obliterate” – but Cordyceps found something good on Hell Inside and perhaps did too much of it.

Hell Inside is a buckshot to the brain of visceral death goodness, an unbending divulsion into mankind’s worst tendencies. Though I don’t think it’ll draw in many who aren’t already sold on brutal death metal, its fans are sure to embrace this entry into the subgenre. Monotony issues notwithstanding, Hell Inside is a twistedly fun listen, and hopefully Cordyceps will one day take the rage and talent they brought here and turn it into something even more adventurous and memorable that’ll grow fungi in my brain. After what they did in there already, there’s room enough for a new growth.

Rating: Good
DR: 5 | Review Format: V0 MP3
Label: Unique Leader Records
Website: uniqueleaderrecords.bandcamp.com | facebook.com/cordycepslv | Instagram.com/cordycepslv
Release Date: July 25, 2025

#2025 #30 #Afterbirth #AscendedDead #BrutalDeathMetal #CannibalCorpse #Cordyceps #DeathMetal #Evenfall #HellInside #Jul25 #Pantera #Review #Reviews #TrevorStrnad #UniqueLeaderRecords

Cordyceps – Hell Inside Review

By Angry Metal Guy

Written By: Nameless-N00b_604

Artists don’t necessarily need to draw deep from their inner lives to make enjoyable art, but they do to make great art. Denver, Colorado’s Cordyceps—whose debut EP drew acclaim from the late, great Trevor Strnad—have dug deep on their sophomore album Hell Inside and dredged up something nasty. A meditation on struggle, pain, and the time an ex-friend stabbed vocalist Rafael Gonzalez three times in the chest, Hell Inside portrays the tortured psyche by way of a metaphorical cordyceps fungus infecting and ravaging the mind. Cordyceps have done the soul searching needed for something special. But is it something special?

The title Hell Inside isn’t only a declaration of the album’s themes: it’s also an apt description. Paces shift frenziedly on “Filth” and “I Am Hate” while riffs chug and squeal on “Obliterate” and “Flock of Sheep.” Hell Inside’s guitar solos evoke Slayer with DeLorean Nero’s dive-happy antics (“Murder All,” “Flock of Sheep”) while drummer Michael Nolan commits percussion abuse with concussive and groovy octopus-handed drum fills. Meanwhile, bassist Chris Rosset brings a clicky, bludgeoning Cannibal Corpse-like tone and aggression throughout the runtime. Though death metal to the core, Hell Inside emits the occasional whiffs of thrash (“Flock of Sheep,”) doom (“Diseased Mind”), and even a little Panteraesque groove metal qualities (“I Am the Plague”) to stir up the mix. Much of Hell Inside’s appeal is that – bear with me – of deathcore, reveling in ridiculously down-tuned riffs, start-stop rhythms, and brown-note vocals. But Cordyceps isn’t beholden to deathcore’s reliance on breakdowns and instead fuels their pandemonium with a near-relentless fervor at times reminiscent of Ascended Dead’s Evenfall of the Apocalypse. Instrumentally, Hell Inside possesses the callousness of industrial machinery biting through fingers and is sure to nuke any unprepared listeners into fine assdust.1

But where Cordyceps’ vulnerability – their volatility – originates is Gonzalez’s vocals, the easy highlight of Hell Inside. He hardly sounds human, spitting wet, unhinged gurgles that at times sound like Lovecraftian squid-men (“Diseased Mind”), dying animals (“Obliterate”), Afterbirth’s Will Smith (“Regret”), and, at 2:14 in “Obliterate,” the nightmare echoes from the truck stop toilet bowl of Hell. But there’s a technicality behind Gonzalez’s vocals, too: see the obscene low notes of “Diseased Mind” or the twenty-six-second run in “Obliterate” taken in what sounds like one breath. Through it all, Gonzalez seems to muster every negative thought he’s ever had, evoking feelings of inner turmoil, misanthropy, and betrayal in manners both disturbing and cathartic. In short, Gonzalez’s vocals are the lifeblood in Cordyceps’ candidemia-ridden arteries.

The blood runs somewhat cold, however, when crafting standout moments. No song is a stinker, and runtimes never drag, but the formula of chug-chug-trem-GUUUUUURGLE dilutes eventually. While the closer “Regret” is as good as the opener “Filth” in a vacuum, it’s not as engaging forty minutes later. The band also over-employs start-stop breaks to transition between movements, which are effective on early tracks like “Filth” but become predictable with overuse. The few atmospheric bookends on Hell Inside, like the piano-closing “Suffocating,” feel superfluous. Rather than merging one novel idea with another, they just bridge one onslaught of death metal to the next. Generously, they can be seen as breaks for your ears, an unfortunate necessity given the album’s strident, undynamic mix. It’s got its memorable moments – the singular synth tone in “Diseased Mind,” Gonzalez’s declaration that he’s “GONNA BLOW [his] FUCKING BRAINS OUT” in “Murder All” and the aforementioned toilet deluge from “Obliterate” – but Cordyceps found something good on Hell Inside and perhaps did too much of it.

Hell Inside is a buckshot to the brain of visceral death goodness, an unbending divulsion into mankind’s worst tendencies. Though I don’t think it’ll draw in many who aren’t already sold on brutal death metal, its fans are sure to embrace this entry into the subgenre. Monotony issues notwithstanding, Hell Inside is a twistedly fun listen, and hopefully Cordyceps will one day take the rage and talent they brought here and turn it into something even more adventurous and memorable that’ll grow fungi in my brain. After what they did in there already, there’s room enough for a new growth.

Rating: Good
DR: 5 | Review Format: V0 MP3
Label: Unique Leader Records
Website: uniqueleaderrecords.bandcamp.com | facebook.com/cordycepslv | Instagram.com/cordycepslv
Release Date: July 25, 2025

#2025 #30 #Afterbirth #AscendedDead #BrutalDeathMetal #CannibalCorpse #Cordyceps #DeathMetal #Evenfall #HellInside #Jul25 #Pantera #Review #Reviews #TrevorStrnad #UniqueLeaderRecords

Cordyceps – Hell Inside Review

By Angry Metal Guy

Written By: Nameless-N00b_604

Artists don’t necessarily need to draw deep from their inner lives to make enjoyable art, but they do to make great art. Denver, Colorado’s Cordyceps—whose debut EP drew acclaim from the late, great Trevor Strnad—have dug deep on their sophomore album Hell Inside and dredged up something nasty. A meditation on struggle, pain, and the time an ex-friend stabbed vocalist Rafael Gonzalez three times in the chest, Hell Inside portrays the tortured psyche by way of a metaphorical cordyceps fungus infecting and ravaging the mind. Cordyceps have done the soul searching needed for something special. But is it something special?

The title Hell Inside isn’t only a declaration of the album’s themes: it’s also an apt description. Paces shift frenziedly on “Filth” and “I Am Hate” while riffs chug and squeal on “Obliterate” and “Flock of Sheep.” Hell Inside’s guitar solos evoke Slayer with DeLorean Nero’s dive-happy antics (“Murder All,” “Flock of Sheep”) while drummer Michael Nolan commits percussion abuse with concussive and groovy octopus-handed drum fills. Meanwhile, bassist Chris Rosset brings a clicky, bludgeoning Cannibal Corpse-like tone and aggression throughout the runtime. Though death metal to the core, Hell Inside emits the occasional whiffs of thrash (“Flock of Sheep,”) doom (“Diseased Mind”), and even a little Panteraesque groove metal qualities (“I Am the Plague”) to stir up the mix. Much of Hell Inside’s appeal is that – bear with me – of deathcore, reveling in ridiculously down-tuned riffs, start-stop rhythms, and brown-note vocals. But Cordyceps isn’t beholden to deathcore’s reliance on breakdowns and instead fuels their pandemonium with a near-relentless fervor at times reminiscent of Ascended Dead’s Evenfall of the Apocalypse. Instrumentally, Hell Inside possesses the callousness of industrial machinery biting through fingers and is sure to nuke any unprepared listeners into fine assdust.1

But where Cordyceps’ vulnerability – their volatility – originates is Gonzalez’s vocals, the easy highlight of Hell Inside. He hardly sounds human, spitting wet, unhinged gurgles that at times sound like Lovecraftian squid-men (“Diseased Mind”), dying animals (“Obliterate”), Afterbirth’s Will Smith (“Regret”), and, at 2:14 in “Obliterate,” the nightmare echoes from the truck stop toilet bowl of Hell. But there’s a technicality behind Gonzalez’s vocals, too: see the obscene low notes of “Diseased Mind” or the twenty-six-second run in “Obliterate” taken in what sounds like one breath. Through it all, Gonzalez seems to muster every negative thought he’s ever had, evoking feelings of inner turmoil, misanthropy, and betrayal in manners both disturbing and cathartic. In short, Gonzalez’s vocals are the lifeblood in Cordyceps’ candidemia-ridden arteries.

The blood runs somewhat cold, however, when crafting standout moments. No song is a stinker, and runtimes never drag, but the formula of chug-chug-trem-GUUUUUURGLE dilutes eventually. While the closer “Regret” is as good as the opener “Filth” in a vacuum, it’s not as engaging forty minutes later. The band also over-employs start-stop breaks to transition between movements, which are effective on early tracks like “Filth” but become predictable with overuse. The few atmospheric bookends on Hell Inside, like the piano-closing “Suffocating,” feel superfluous. Rather than merging one novel idea with another, they just bridge one onslaught of death metal to the next. Generously, they can be seen as breaks for your ears, an unfortunate necessity given the album’s strident, undynamic mix. It’s got its memorable moments – the singular synth tone in “Diseased Mind,” Gonzalez’s declaration that he’s “GONNA BLOW [his] FUCKING BRAINS OUT” in “Murder All” and the aforementioned toilet deluge from “Obliterate” – but Cordyceps found something good on Hell Inside and perhaps did too much of it.

Hell Inside is a buckshot to the brain of visceral death goodness, an unbending divulsion into mankind’s worst tendencies. Though I don’t think it’ll draw in many who aren’t already sold on brutal death metal, its fans are sure to embrace this entry into the subgenre. Monotony issues notwithstanding, Hell Inside is a twistedly fun listen, and hopefully Cordyceps will one day take the rage and talent they brought here and turn it into something even more adventurous and memorable that’ll grow fungi in my brain. After what they did in there already, there’s room enough for a new growth.

Rating: Good
DR: 5 | Review Format: V0 MP3
Label: Unique Leader Records
Website: uniqueleaderrecords.bandcamp.com | facebook.com/cordycepslv | Instagram.com/cordycepslv
Release Date: July 25, 2025

#2025 #30 #Afterbirth #AscendedDead #BrutalDeathMetal #CannibalCorpse #Cordyceps #DeathMetal #Evenfall #HellInside #Jul25 #Pantera #Review #Reviews #TrevorStrnad #UniqueLeaderRecords

Cordyceps – Hell Inside Review

By Angry Metal Guy

Written By: Nameless-N00b_604

Artists don’t necessarily need to draw deep from their inner lives to make enjoyable art, but they do to make great art. Denver, Colorado’s Cordyceps—whose debut EP drew acclaim from the late, great Trevor Strnad—have dug deep on their sophomore album Hell Inside and dredged up something nasty. A meditation on struggle, pain, and the time an ex-friend stabbed vocalist Rafael Gonzalez three times in the chest, Hell Inside portrays the tortured psyche by way of a metaphorical cordyceps fungus infecting and ravaging the mind. Cordyceps have done the soul searching needed for something special. But is it something special?

The title Hell Inside isn’t only a declaration of the album’s themes: it’s also an apt description. Paces shift frenziedly on “Filth” and “I Am Hate” while riffs chug and squeal on “Obliterate” and “Flock of Sheep.” Hell Inside’s guitar solos evoke Slayer with DeLorean Nero’s dive-happy antics (“Murder All,” “Flock of Sheep”) while drummer Michael Nolan commits percussion abuse with concussive and groovy octopus-handed drum fills. Meanwhile, bassist Chris Rosset brings a clicky, bludgeoning Cannibal Corpse-like tone and aggression throughout the runtime. Though death metal to the core, Hell Inside emits the occasional whiffs of thrash (“Flock of Sheep,”) doom (“Diseased Mind”), and even a little Panteraesque groove metal qualities (“I Am the Plague”) to stir up the mix. Much of Hell Inside’s appeal is that – bear with me – of deathcore, reveling in ridiculously down-tuned riffs, start-stop rhythms, and brown-note vocals. But Cordyceps isn’t beholden to deathcore’s reliance on breakdowns and instead fuels their pandemonium with a near-relentless fervor at times reminiscent of Ascended Dead’s Evenfall of the Apocalypse. Instrumentally, Hell Inside possesses the callousness of industrial machinery biting through fingers and is sure to nuke any unprepared listeners into fine assdust.1

But where Cordyceps’ vulnerability – their volatility – originates is Gonzalez’s vocals, the easy highlight of Hell Inside. He hardly sounds human, spitting wet, unhinged gurgles that at times sound like Lovecraftian squid-men (“Diseased Mind”), dying animals (“Obliterate”), Afterbirth’s Will Smith (“Regret”), and, at 2:14 in “Obliterate,” the nightmare echoes from the truck stop toilet bowl of Hell. But there’s a technicality behind Gonzalez’s vocals, too: see the obscene low notes of “Diseased Mind” or the twenty-six-second run in “Obliterate” taken in what sounds like one breath. Through it all, Gonzalez seems to muster every negative thought he’s ever had, evoking feelings of inner turmoil, misanthropy, and betrayal in manners both disturbing and cathartic. In short, Gonzalez’s vocals are the lifeblood in Cordyceps’ candidemia-ridden arteries.

The blood runs somewhat cold, however, when crafting standout moments. No song is a stinker, and runtimes never drag, but the formula of chug-chug-trem-GUUUUUURGLE dilutes eventually. While the closer “Regret” is as good as the opener “Filth” in a vacuum, it’s not as engaging forty minutes later. The band also over-employs start-stop breaks to transition between movements, which are effective on early tracks like “Filth” but become predictable with overuse. The few atmospheric bookends on Hell Inside, like the piano-closing “Suffocating,” feel superfluous. Rather than merging one novel idea with another, they just bridge one onslaught of death metal to the next. Generously, they can be seen as breaks for your ears, an unfortunate necessity given the album’s strident, undynamic mix. It’s got its memorable moments – the singular synth tone in “Diseased Mind,” Gonzalez’s declaration that he’s “GONNA BLOW [his] FUCKING BRAINS OUT” in “Murder All” and the aforementioned toilet deluge from “Obliterate” – but Cordyceps found something good on Hell Inside and perhaps did too much of it.

Hell Inside is a buckshot to the brain of visceral death goodness, an unbending divulsion into mankind’s worst tendencies. Though I don’t think it’ll draw in many who aren’t already sold on brutal death metal, its fans are sure to embrace this entry into the subgenre. Monotony issues notwithstanding, Hell Inside is a twistedly fun listen, and hopefully Cordyceps will one day take the rage and talent they brought here and turn it into something even more adventurous and memorable that’ll grow fungi in my brain. After what they did in there already, there’s room enough for a new growth.

Rating: Good
DR: 5 | Review Format: V0 MP3
Label: Unique Leader Records
Website: uniqueleaderrecords.bandcamp.com | facebook.com/cordycepslv | Instagram.com/cordycepslv
Release Date: July 25, 2025

#2025 #30 #Afterbirth #AscendedDead #BrutalDeathMetal #CannibalCorpse #Cordyceps #DeathMetal #Evenfall #HellInside #Jul25 #Pantera #Review #Reviews #TrevorStrnad #UniqueLeaderRecords

Mawiza – ÜL Review

By ClarkKent

Mawiza, an indigenous band from Wallmapu, a territory out of South America’s Mapuche Nation (spanning Chile and Argentina), has seen a sudden rise in recent years. Formed in 2014 as Nunca Seremos Dichosos, their second album, 2019’s Kollong, would go on to win them Chile’s version of the Grammy awards (called the Pulsar Award) for Best Metal Artist. In 2021, they adopted the name Mawiza and decided to sing entirely in their ancestral language, Mapuzungum, instead of Spanish. Their music garnered enough attention from Gojira, Mastodon, and Mercyful Fate to open shows for them in front of large crowds, and Gojira’s Joe Duplantier even collaborates on a song with them. To top it off, Seasons of Mist saw enough in Mawiza to sign them ahead of the release of their debut, ÜL. 1 They’ve got quite a story, and now we find out if they have the goods.

The word ÜL means chant, and that’s a good description for their overall musical approach. Lead singer Awka Mondaka delivers a chant-like vocal performance, and the guitars and drums play a start-stop rhythm that complements Mondaka’s chants. Gojira’s influence is undeniable in the form of pinch harmonics and slides that constitute major instrumental techniques. The intro to “Wingkawnoam” sets the stage for the harmonics, and hardly a minute passes on ÜL without hearing them. Mawiza uses the combination of pinch harmonics, guitar riffs, and heartbeat-like drums to create a groovy sound that’ll get you bouncing and swaying side to side. A couple of breakdowns (“Ngulutu,” “Nawelkünuwnge”) lend a metalcore touch, though their overall sound defies simple genre tags. Nature is also an important component, both thematically and aurally. With a good pair of headphones, you can hear birds tweeting (“Wingkawnoam”) and insects trilling (“Pinhza Ñi Pewma”).

While the early songs have moments of groove to keep things fun, it’s the middle of ÜL that shines the most. These tracks stand out as more melodic than the rest. “Mamüll Reke” is a slower, ballad-like tune, but it’s also one of the catchier tracks, with a chorus that’ll make you want to learn Mapuzungum so you can sing along. It’s the closest to having a traditional structure of any song on ÜL, which makes its selection as one of the lead singles no surprise. Perhaps my favorite is “Wenu Weychan,” which creates some great energy with a combination of thumping, heavy guitar riffs and powerful blast beats. In particular, Txalkan’s rhythmic drum work makes this so much fun that you want to get up and dance. Yet these songs also display some of Mawiza’s songwriting pitfalls. As much as I love “Wenu Weychan,” it goes on for two minutes too long with some weird instrumental shenanigans. “Nawelkünuwnge,” which opens with an enjoyable Pantera-like riff, eventually devolves into an unusual drop beat breakdown. Decisions like these kill the momentum on otherwise killer tunes.

The final third of ÜL highlights its true weaknesses. “Lhan Antü” and “Kalli Lhayay” feel like half-baked rough drafts instead of well-tuned, coherent tracks. There’s a moment three minutes into “Lhan Antü” where it begins to transform into a different, far more interesting song, but the rest of it sounds like aimless banging on the drum and noise-making with guitars. “Kalli Lhayay” makes use of cybernetic-sounding riffs and vocals that sound like Skynet hacked into Mawiza’s recording session. The conclusion of “Kalli Lhayay” demonstrates how grating those pinch harmonics can be from overuse–at the most extreme, they sound like a simulation of tinnitus. The inability to write memorable hooks and melodies leads to inconsistencies throughout ÜL.

Perhaps it’s my Western concept of music that is getting in the way of enjoying Mawiza’s ÜL as much as I should. I like hooks and melodies, and it’s not as if the album is entirely devoid of these things, but it’s not as hooky or melodic as I’d like. There’s plenty to enjoy, though. The energy on display provides almost enough momentum to carry throughout the entirety of the record. And even if the songwriting is uneven, the musicianship is top-notch. I’m not a guitar player, but I can appreciate the difficulty of playing pinch harmonics, especially to the extent that Mawiza employs them here. I see ÜL as a good start, and with some better songwriting, the next one could be something special.

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Seasons of Mist
Website: Bandcamp
Releases Worldwide: July 18th, 2025

#25 #2025 #ChileanMetal #DeathMetal #Gojira #GrooveMetal #Jul25 #Mastodon #Mawiza #MercyfulFate #Metalcore #Pantera #Review #Reviews #SeasonsOfMist #UL

❄️🥰❄️🥰❄️🥰❄️⁣
⁣
⁣
⁣
Via @luna_the_pantera⁣
⁣
⁣
⁣
#PawMan #RottweilerLove #PanterAnegra⁣
#Rott #Rottweilers #BlackPantera #Pantera ⁣

Concert Calendar (05/25-06/07) Who’s Ready for a Dirty Black Summer?: Metallica, John Fogerty, & more

#Concerts #Gigs #NYCEvents #Metallica #JohnFogerty #Pallbearer #Pantera

Link: https://metalinsider.net/touring/concert-calendar-05-25-06-07-whos-ready-for-a-dirty-black-summer-metallica-john-fogerty-more

Concert Calendar (05/25-06/07) Who’s Ready for a Dirty Black Summer?: Metallica, John Fogerty, & more

#Concerts #Gigs #NYCEvents #Metallica #JohnFogerty #Pallbearer #Pantera

Link: https://metalinsider.net/touring/concert-calendar-05-25-06-07-whos-ready-for-a-dirty-black-summer-metallica-john-fogerty-more

Cake - Friend is a Four Letter Word
https://song.link/i/254347878

Iced Earth - Watching Over Me
https://song.link/i/1119636255

Pantera - Good Friends and a Bottle of Pills
https://song.link/i/1163813319

Placebo - Pure Morning
https://song.link/i/961067388

Body Count - The Winner Loses
https://song.link/i/862275519

#ThursdayFiveList #FriendOrFoe #Cake #IcedEarth #Pantera #Placebo #BodyCount

Détournement de logo / Réinterprétation de la pochette de l'album "Vulgar Display of Power" de Pantera - 1992, avec un detail de "La Naissance de Vénus" de Sandro Boticelli - 1485. La tempera (latin : temperare, « détremper ») est une technique de peinture fondée sur une émulsion diluable à l'eau, qu'elle soit grasse ou maigre : la peinture « a tempera ».

#art #pantera #tempera #boticelli #paint #logo #detournement

instagram.com/lord_of_terrils
pixelfed.social/Lord_ofterrils

The special guitar Eddie Van Halen gave to be buried with Dimebag Darrell

https://www.youtube.com/watch?v=wQi6xHIMsBI

#eddievanhalen #vanhalen #rock #hardrock #pantera #dimebagdarrell #heavymetal #metal

#pantera #kingparrot #powertrip #glasgowhydro #thekenden

Here's some crappy photos of the mighty Pantera gig up the Hydro in Glasgow on Tuesday night. It's been 25 years since I last seen them so this was a long time coming plus my first time seeing Zakk Wylde. Him and Charlie are both doing Dimebag and Vinnie proud. And, of course, I couldn't resist a couple of tour shirts.

King Parrot and Power Trip were also cool 🤘😎🏴󠁧󠁢󠁳󠁣󠁴󠁿

#pantera #glasgowhydro #kingparrot #powertrip #thekenden #metalmusic

Gig Review: Pantera / Power Trip / King Parrot – Hydro, Glasgow (18th February 2025)

It's tempting to jump straight to the headliner and start going on about them, but let's build up to them. I mean, that's half the fun isn't it? I got to the venue nice and early to catch up with our photographer Alan (his d

https://www.moshville.co.uk/reviews/gig-review/2025/02/gig-review-pantera-power-trip-king-parrot-hydro-glasgow-18th-february-2025/

#GigReviews #KingParrot #Pantera #PowerTrip

[r] _ post-1968 o post-1974? forse la domanda ha senso

leggere questa intervista ad E. Donzelli è a mio avviso importante, per vari motivi, anche come addendum non secondario a un suo precedente intervento, che si può trovare qui: https://t.ly/sTgY.
tuttavia segnalo, allo stesso tempo, un punto di dubbio per me cruciale, non solo in riferimento a un discorso sulla poesia contemporanea.
riguarda l’idea di una possibile uniformità o somiglianza di identità (e di biografie) tra autori “nati dopo il ’68”.
ecco: sono convinto del fatto che (soprattutto se si stringe il focus sul versante politico e sul rapporto tra vicenda collettiva e imprinting individuale, e tra questi e una qualsiasi attività linguistica orale e scritta intesa alla produzione di senso) l’onda lunga di una generazione ancora politicamente connotata continua, a mio avviso, almeno fino al 1974. (come scrivevo in 6070).
ovvero: sostituirei a “i nati dopo il 1968” l’espressione “i nati dopo il 1974”.
e mi spiego: fino almeno al 1974, in linea di massima, chi nasceva sarebbe stato (volente o nolente) esposto, negli anni della sua maggiore plasticità e sensibilità (proprio neuronale), a situazioni estremamente diverse, radicalmente diverse, rispetto a quelle che avrebbero vissuto i nati negli anni successivi. (non voglio con questo stabilire una barriera netta & adamantina, né deterministica, ma solo identificare un terminus post quem, che so arbitrario come tutte le schematizzazioni, spostato in qua di almeno cinque-sei anni rispetto al ’68).

cliccare per ingrandire

chi ha formato il proprio lessico e le proprie strutture mentali di base nell’amnio avvelenato dei pieni Ottanta (diciamo dal 1984, anno scelto non a caso: cfr. https://t.ly/MlXa e https://t.ly/P98e) ha avuto a che fare con un mostro di non poco conto.
diversamente, chi giocoforza, per anagrafe, ha vissuto la fine degli anni Settanta e l’inizio degli Ottanta da preadolescente o adolescente, critico [magari pure clinico-disturbato] e pieno di insofferenze e rifiuti, e quindi politicamente nemico del proprio tempo, magari in sodalizio (eccome!) con compagn* di riflessione e azione politica [magari esplicitatesi, queste azioni, con la Pantera nel 1990], non può in nessun modo essere accostato con troppa facilità a chi, bambino, è stato letteralmente aggredito e sommerso dal contesto del decennio maledetto, e dalle radiazioni delle nascenti tv private in Italia, oltre che dall’aria di “normalità” della corruttela craxiana che le ha fatte prosperare.

[da non dimenticare, poi: il 1990 di Ruberti è anche l’anno della legge Mammì, e della rivelazione dell’esistenza di Gladio. ergo, l’adolescente inquieto di metà anni Ottanta non poteva non essere – parlo da testimone, non voglio imporre un’autobiografia – un adulto infuriato, nel 1990]
senza parlare del clima politico mondiale.
ovvio, credo. inutile nominare i due criminali di spicco, targati ’80: Tatcher, Reagan. chi già era politicamente insofferente, oltre che ormonalmente fibrillante (!), nel tempo dell’ascesa del liberismo scatenato, non poteva in nessun modo accettare la deriva post-1980, fosse pure nella mera forma estetica. chi invece era bambino, difficilmente era in grado di non assorbire le tossine del decennio. anche linguistiche. drogate, sedative.
(per altro fatte proprie e rilanciate dall’editoria di grande distribuzione, che in libreria mandava e promuoveva solo e soltanto gli autori di cui parlavo qui: https://slowforward.net/2022/02/21/poesia-per-il-pubblico-a-k/). (chi compiva 20 anni nel 1990, aveva trovato nell’adolescenza e trovava ancora in libreria testi che, meno di dieci anni dopo, cioè entro il 1999 e prima, la distribuzione generalista, la protervia o pavidità dei direttori di collana e l’editoria dell’ormai maturo riflusso [nonché – perché no? – il primo quinquennio forzitaliota] avrebbero spazzato via dagli scaffali).

*

in conclusione.
per il bambino del 1980-90 la ribellione sarebbe (forse) arrivata dopo.
bon.
ma, nello stesso decennio, per l’adolescente o giovane adulto veniva vissuta già e ancora (per quanto con difficoltà e diversità rispetto a chi aveva fatto il ’77) dentro quel periodo storico, in conflitto, e con un insieme di esperienze e impressioni (e imprinting, sì) stabilmente presenti ormai, in termini di formazione individuale/collettiva. era insomma una inquietudine fattiva possibile, praticabile e praticata: esisteva.
così come in letteratura, negli stessi anni, nonostante tutto, esisteva la ricerca (letteraria).
(e non solo perché ne scriveva Antonio Porta: https://slowforward.net/2022/08/20/ricerca-letteraria-spazio-di-ricerca-antonio-porta-1983/).

cliccare per ingrandire

nel 1984 nascevano “L’ombra d’Argo” e “l’immaginazione”, per dire.
nel 1989 si stampava Poesia italiana della contraddizione, per dire.
la rivista “Baldus” sarebbe uscita per sette anni: 1990-1996.
ma gli esempi sarebbero dozzine. (tutti regolarmente ignorati da editoria e intellettuali mainstream, e da parecchi critici di scarsa – intenzionalmente scarsa – memoria; scarsi anche in termini di sguardo sul presente, se è per questo).

…
(e infine, e appunto, fra parentesi: la ricerca esiste anche oggi. ma questo è un discorso che affronteremo poi).
_

#1974 #1990 #77 #allegoria #analisiDelContemporaneo #Anni70 #anni80 #anniOttanta #anniSettanta #AntonioPorta #AntonioRuberti #Baldus #corruzione #Craxi #criminali #CriticaEClinica #criticaLettteraria #decretiBerlusconi #ElisaDonzelli #EsisteLaRicerca #esisteLaRicercaLetteraria #generazioni #gladio #infanziaEAdolescenza #intervista #lImmaginazione #LOmbraDArgo #LeggeMammì #letteratura #Movimento #MovimentoDel90 #natiDopoIl68 #natiDopoIl74 #NewtonCompton #occupazione #Occupazioni #opposizione #Pantera #PieroManniEditore #poesia #PoesiaItalianaDellaContraddizione #politica #produzioneDiSenso #Reagan #ricercaLetteraria #scrittureDiRicerca #scrittureSperimentali #settantasette #sperimentazioneLetteraria #Tatcher #terminusPostQuem #tvPrivate #universitàOccupate

Descubre más de 50 curiosidades sobre grandes felinos, koalas, pingüinos y muchos otros animales.
#animal #animales #animalesexóticos #lobo #guepardo #león #pantera #panteranegra #salvaje #documental #datoscuriosos #animalplanet #reinoanimal
https://www.youtube.com/watch?v=SP-gfYD3YOg

Descubre más de 50 curiosidades sobre grandes felinos, koalas, pingüinos y muchos otros animales.
#animal #animales #animalesexóticos #lobo #guepardo #león #pantera #panteranegra #salvaje #documental #datoscuriosos #animalplanet #reinoanimal
https://www.youtube.com/watch?v=SP-gfYD3YOg

Descubre más de 50 curiosidades sobre grandes felinos, koalas, pingüinos y muchos otros animales.
#animal #animales #animalesexóticos #lobo #guepardo #león #pantera #panteranegra #salvaje #documental #datoscuriosos #animalplanet #reinoanimal
https://www.youtube.com/watch?v=SP-gfYD3YOg

Descubre más de 50 curiosidades sobre grandes felinos, koalas, pingüinos y muchos otros animales.
#animal #animales #animalesexóticos #lobo #guepardo #león #pantera #panteranegra #salvaje #documental #datoscuriosos #animalplanet #reinoanimal
https://www.youtube.com/watch?v=SP-gfYD3YOg