#pestilence — Public Fediverse posts

Jim Cramer: market negativity is creating buying opportunities!

John Stewart: (sharing video of a certain March 12, 2009 interview with his writers...)

#ai #aibubble #privateequity #tariffs #iranwar #tankbottom #Bondyields #inflation #stagflation

#frogswarms #lice #flies #pestilence #hail #locust etc

https://www.cnbc.com/2026/08/18/jim-cramer-market-too-negative-buying-opportunities.html

Considering I was hired 3000 years ago by the Almighty AMG Himself to be the “power metal guy,” I sure do end up reviewing a lot of moldy death metal. Toss Norway’s Horrifier on the rotpit next as I tackle their sophomore slab of purulence, Revelations of Gore. With cover art straight from the early 90s, Horrifier regale you with tales of body horror, serial killings, and unlawful graveyard carnal knowledge. Their core sound measures in at 79.5% Autopsy worship, with 12.3% Obituary and 8.2% early Pestilence influence. That means you get hammered with old school, cesspool-ready shitfun with a heavy emphasis on scuzz, crust, and scabs. Is it newfangled? Fuck no. Is it going to stain your carpet and leave a lasting stench? Absofuckinglutely! Let’s see what’s behind the gore.

After an appropriately creepy intro, Horrifer get medieval on your ass with “Compelled to Slaughter” as evil, ominous riffs and a skronky bass set the coroner’s table for you. It’s very much in the vein of early Autopsy and Adrian Risøy’s disgusting and disturbing vocals are a dead ringer for the legendary Chris Reifert. It’s a big intestine sandwich that leaps from d-beating to slow, doomy segments, and it sounds as infectious as an Ebola ward. You’ll want a shower after to disinfect, and that’s the sign of effective death. “Human Butchery” keeps the rancid times rolling, and I swear this one could have appeared on any of the first 4 Autopsy albums. Go ahead and deny that the piece starting at 3:50 wasn’t ripped directly from Chris Reifert’s diseased brain. You can’t. It’s entertaining without reinventing any wheels, and the band’s commitment to excess and a horrific atmosphere is to be commended. When this formula clicks, it works quite well. “Body Hoarder” is an especially fun bit of unhinged death with plenty of textures and moods splattering the walls. Parts even remind me of Leprosy-era Death.

Unfortunately, the writing is a bit inconsistent as the album grinds along, with some songs feeling less essential than others. “Rejoice, Children of the Flesh” reminds me of the loopy but lovable days of early Carnivore where they lurched between thrash and bombastic doom willy-nilly, and the tempo changes don’t always work in their favor as segments drag on too long. I do love that fat, clanging N.M.E.-styled bass though! “Morbid Lust” is aggressive and angry but feels fairly generic, and it also runs past its expiration date and meanders weirdly. “The Final Oblation” is even longer and feels more bloated and overstuffed, despite cool moments. Revelations of Gore does finish strong with longest track, “Blood for Ascension,” however. It puts a vaguely Voivodian spin on a ragged d-beat and makes everything feel jarring, unsteady, and exciting. The classic Autopsy asswax and maggot garden vibe is present, but with a strange new edge. There’s even a massive doom segment that feels like classic Saint Vitus, so that’s pure Steel bait. At 38 minutes, I hesitate to say Revelations of Gore feels longer than that, but it does drag at times. The production is masterful for a caveman death slab such as this. The guitars have force, the bass is fully unleashed and everything feels dangerous and murky as fook. Kudos!

Adrian Risøy and Sander Halvorsen do a very respectable job pummeling and abrading with nasty, corrosive riffs and horror movie harmonies. They hurt when they must, and torture when they like, and there’s a creepy, unsettling vibe that flashes through the material. Erik Krokan’s bass is large, in charge, and right in your face. It thumps, twangs, and bangs all over the place and adds a delicious layer of low-end extremity. Risøy is a great death croaker and brings a repulsive and inhuman stink to the coffin orgy. He’s the kind of vocalist this style of death needs, and boy does he go all in. Last but certainly not least, Andreas Langås lays the lumber hard and mean, shifting from bedragled doom trots to d-beat gallops and straight-up blastbeatery.

Horrifier live in death metal’s infamous past and evince no sign of evolutionary tendencies. Revelations of Gore could have dropped in 1990 and been a genre touchstone. Since it drops in 2026 instead, it’s entirely olde but still well worth a trip down its greasy gutslide into the body fluids. I think Horriffier could do big things in the future. Until then, play this loudly as you carve a rare and bloody roast over a public toilet. Bon Appétit!

Rating: 3.0/5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Personal Records
Websites: horrifiermetal.bandcamp.com | facebook.com/profile.php | instagram.com/horrifier_official
Releases Worldwide: August 7th, 2026

As AMG readers surely know, death metal and science fiction go together like science and fiction. Foundational and contemporary examples alike confirm that atonal riffing, guttural growling, and machine-gun drumming pair well with spaceships, aliens, and exoplanets. On the surface, Italy’s Into Darkness fit nicely into this milieu—that cover recalls the content of Spheres (Pestilence) and the color palette of The Key (Nocturnus).1 The band insists, however, that they do not play ‘sci-fi’ or ‘spacey’ death metal. Instead, Into Darkness describe Route to the Outer Side, their long-gestating debut album, as timeless death metal with a focus on ‘divulgative astronomy,’ which translates complex science into accessible language. Death metal, too, constitutes its own specialized language, with experts in the Commentariat ready to evaluate this Italian trio’s contribution to the discourse.

Route to the Outer Side took a while to arrive, but it enters the death metal stratosphere with a bang. Formed in 2011, Into Darkness released several demos, splits, and EPs before their first full-length. Doomed Warrior is the ‘Commander’ of this musical mission, handling vocals, a host of guitar duties (rhythm, lead, acoustic), and bass. Santo is ‘Pilot,’ propelling the Into Darkness ship with his dexterous drumming, while Filippo serves as ‘Mission Specialist,’ mixing more guitars into the melee.2 Despite their Italian heritage, Into Darkness claim Dutch death metal as their primary influence. Indeed, the razor-wire tones, thrash-doom fluctuations, and merciless rhythmic assaults recall Asphyx. I’m also reminded of Spiritual Healing-era Death, insofar as Into Darkness illuminates their tried-and-true murkiness with a tech/prog sensibility. For a more contemporary referent, one can cite the elevated nastiness of Horrendous, seeing as the band favors walloping production that isn’t too low-end heavy. The result is a familiar, consistent debut of quality death metal that rips, grooves, and punishes.

The big question is whether its concept elevates Route to the Outer Side. As an exercise in divulgative astronomy, each song emblematizes an object in the outer region of our solar system: the four gas/ice giants, the Kuiper belt, and—of course—little old Pluto. A peek at their lyrics proves that Into Darkness aren’t joking when they describe their songs as ‘divulgative’ (i.e. informative). In opener “Jupiter,” for example, Doomed Warrior shreds a squeal-laden guitar maelstrom while screaming quantitative data about the fifth planet: ‘Its mass alone, heavy might, outweighs what stands beside / Two and a half times the mass of the other planets combined.’ Like much death metal, the lyrics are generally inscrutable; in this way, the lyrics ‘don’t matter,’ as is frequently true in the subgenre. The informative lyrics are unique, however, seeming to map onto melodic shifts and key changes (“Saturn”). This mapping isn’t obvious, though, revealing a potential over-reading on my part.3 Lyrics aside, the songwriting doesn’t quite stick after the mission ends, but each individual journey excites in the moment.

At 41 minutes, Route to the Outer Side comprises a concisely expansive voyage, though it’s hard to see the galaxy for the celestial objects. One might expect the opening quartet of “Jupiter” through “Neptune” to grow increasingly icy; alas, the four giants play out as dynamic yet interchangeable onslaughts. Into Darkness sprinkles black-box-sounding voiceovers throughout, reinforcing the divulgative concept. “Halley” doesn’t feel especially ‘comet-like,’ but “Kuiper Belt” is a nice interlude into “Pluto,” which should be the closer. Its concluding guitar melody (akin to “For Whom the Bell Tolls”) fades out in album-ending fashion, whereas the closing title track is a brief rager that absolutely sounds like liftoff.

Into Darkness have created a debut that should please most fans of death metal. As long as listeners don’t go in expecting it to be cosmic or atmospheric (despite the cover), they’ll be fine. Route to the Outer Side isn’t terribly original, but it’s totally righteous. It also taught me a thing or two about our solar system, which I can’t say is a typical result of consuming death metal. I’ll definitely be looking to the skies for Into Darkness to reappear. Hopefully, the band won’t be like Uranus, taking ‘eighty-four years to reach the end / Of another lone journey.’

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: July 24th, 2026

We get a lot of bold claims in the promo pit. It’s understandable; writing advertisements for music sounds like a thankless task, and no one is going to submit an album telling us that it’s a smidgen above mediocrity.1 No, everything death has to be the most moldy, blackened, the most evil, stoner the most groovy, and power the most disposable and ignored album we’ve ever heard in our life. Imagine my eyebrows raising, then, to discover a new offering from Swedish mainstays Sarcasm, who simply described themselves as being more than just Swedeath. Few genres in metal have such imposed and strict limitations, from guitar tones to riff stylings, and one second sampling Feral or Lik and their ilk make the expected sound clear from the get-go. Consequently, such a bold claim of genre transcendence stands out in the face of a sea of self-aggrandizement, and all I could think was the most un-sarcastic “Sold.”

In order to be “more” than Swedeath, you still need the foundation to build on, and Sarcasm drapes their meat and lifeblood on the bones of great fossils of olde. Lifeforce Omnibound kicks off with a balls-out assault sounding composed by Vomitory but with a grasp of leads that seek to Dismember listeners far and wide. The path of the album is one that unfurls its more progressive tendencies the deeper you go, starting like a high-grade tribute to their 90s selves but getting more curious as it unfolds. “Altering the Perception” is a key example; starting off like a cut off of At the Gate’s At War With Reality, and featuring vibrant leads and a Gothenburg flavored stomp in its perpetual revolving assault. Suddenly, bursts of color reminiscent of Dark Tranquility emphasize transitional passages, and an overreliance on the stereotypical snare-and-bass drumbeat plaguing much of Swedeath is mercifully absent, instead featuring sudden aggressive riffing styles more reminiscent of New York-style brawl.

The whole of Lifeforce Omnibound is riddled with such flourishes, working hard to buck genre expectations. “The Reward of Adversity” offers listeners a relaxing Wombbath with a full piano and violin break, which slots excellently between the 6/8 violence, while “Plunged Into a Paradox” channels the more progressive melodic tremolos from Analepsy’s Quiescence.2 Speaking of tremolos, much of the album comes with a distinctly blackened edge, especially with Jesper Ojala’s Watain-influenced drumming style, and vocalist Heval Bozarslan features a much higher range and sneering shriek compared to the genre’s usual guttural fare. “Wayward Fragments of Infinite Divisibility” flirts briefly with slam tendencies before collapsing into an absolute BOP of a china-and-high-hat centric dissonant riff modern Pestilence would be proud to sign their name to, only to rush into well executed melo-death shred prowess. Sarcasm have offered up an album which is loyal to its genre roots, but under no circumstances allows itself to sit still and be confined to its labels.

All of these names and influences sound like this album could be an unfocused disaster, but nothing could be further from the truth. Compositional excellence allows Sarcasm to slide between moods like they were headbanging between the raindrops, and few elements detract from the overall experience. True, Lifeforce Omnibound does have more than a few spoken word sections, which halt the momentum as all spoken word sections in albums do. Regretfully, it also sounds like Sarcasm ran out of different ideas near the end, coasting to the finish line with a concluding track which is the most traditional sounding song on the album, albeit a quality one. Still, there’s always room for MOAR Swedeath in life, and for an ending to be merely anticlimactic is hardly the worst sin an album can commit.

To my delighted surprise, Sarcasm did it. Lifeforce Omnibound is nominally Swedeath, and yet the sheer glut of sounds I hear pouring through my headphones shows a band not content to spin their wheels and live on the laurels of vintage sounds of yore. An excellent approach to disparaging elements and a seamless fusion of neighboring ones, Sarcasm have created an album that transcends the sum of its parts to be something truly enjoyable. If you’re one of those who have turned away from Swedeath due to a lack of growth in the sound, hop on this immediately. Yes, really.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Hammerheart Records
Website: Album Bandcamp
Releases Worldwide: May 29th, 2026

#USPol #USPolitics #Screwworms #RFKJr #MAGA #MAHA #Disease #Pestilence #Fascism #Parasites

Memorial Day Weekend - "Remember"

This is a 3-day Holiday weekend in the U.S., meant to be a somber & mindful tribute to the many who served "God and Country" fighting for rights, #democracy, & "the American Way" - when it aspired towards compassion, law, rights, etc.

#StephenColbert epitomized our freedom to speak #truth & brought many smiles amid #TrumpVirus #War & #pestilence.

Last #TV Broadcast of the (late) Late Show With Stephen Colbert:

https://www.youtube.com/watch?v=c_SVdzTXdnE&list=PLiZxWe0ejyv8KfXDnd023vRcF8W8_FbDm

Take care. #StaySafe

#Infographic

"Ranked: The Animals That Kill the Most Humans"

#Science #Information #Death #Animals #Pestilence #WHO #UN #USA #MAHA #News

https://www.visualcapitalist.com/ranked-animals-that-kill-the-most-humans/

Seems like the Filtration system is overburdened once again. Normally, my minions have to scavenge much longer to pick things up this early in the year, but 2026 is proving to be rich in moderately precious metallic ore. That just means I gotta push my team even harder to pull greater loads of filth from the ducts!

As I send them in for yet another round, please enjoy the spoils thus far exploited. BEHOLD!

Kenstrosity’s Tattered Tome

Overtoun // Death Drive Anthropology [February 13th, 2026 – Time to Kill Records]

Chilean progressive death thrash outfit Overtoun is what you get when you mix old school Death and Atheist with the proggier side of Pestilence, then amp the thrash up by a half turn. At a lofty 50 minutes, you’d expect third release Death Drive Anthropology to drag on, but to make that assumption is to criminally underestimate Overtoun’s creativity and versatility. Opening up the throttle in fine form, the one-two punch of “What Unites All (ft. Max Phelps) and “The Final Beat” manages to encompass many of these Chileans’ songwriting and performance skills in a scant 10 minutes. More introspective, nuanced songwriting takes center stage throughout Anthropology’s midsection, balancing smart melodies and minimalist atmosphere with complex guitar layering, proggy structures, and shreddy wizardry (“Dur Khrod,” “Jade, Gold, Obsidian,” “Yurei,” “Weeping”). The three-part “The Waves Suite” suite adds a mystical character to the affair that blends remarkably well with Overtoun’s more overt political messaging and emotional textures, which helps carry the record through its lengthy runtime without causing fatigue. It’s a neat record that’s modestly blemished by a bass presence that begs for more weight and wildness, especially considering the raw talent on hand. Nonetheless, if you’re looking for a creative, thoughtful, and sophisticated entry into the death/thrash progosphere, Death Drive Anthropology makes a strong case.

Andy-War-Hall’s Primordial Pick-Up

The Grand Myth // Of Vultures and Dragons [February 26th, 2026 – Suncrusher Recordings]

I have a grossly limited capacity for seriousness. Yeah, I like my death metal progressive, technical, and thoughtful, much the way Brandon Bordman’s The Grand Myth deliver it on their latest record, Of Vultures and Dragons, but sometimes I just want fun, too. Of Vultures and Dragons, an adaptation of Ethan Pettus’ novel series Primitive War1 in which a rescue team searches a Vietnamese jungle for a missing platoon of Green Berets and fights for their lives against dinosaurs, has fun in spades. Utilizing a many-layered guitar attack (“Symbiotic Death”), shifting and propulsive rhythms (“Through the River Styx”), a wide cast of voice actors for brief narrative bits2 and surprisingly bright tones (“Agony”), The Grand Myth’s approach to progressive death metal isn’t revolutionary, but it’s deeply refreshing and engaging regardless. Though an absolute blast, The Grand Myth doesn’t spew embarrassingly stupid levels of campiness with their sci-fi dinosaur theming like Victorius. Rather, Of Vultures and Dragons can be fairly emotionally effective at times thanks to Bordman’s emotive clean/harsh vocals and elaborate soloing (“Pyre,” “Agony”). Nobody asks about your favorite dinosaur anymore,3 so feed your inner kid with The Grand Myth’s Of Vultures and Dragons now!

Saunders’ Sunken Shards

Puscifer// Normal Isn’t [February 6th, 2026 – Alchemy Recordings]

After losing track of recent offerings, I reacquainted myself with the latest LP from Puscifer, leaving me pleasantly surprised in the aftermath. The project featuring Tool/A Perfect Circle frontman Maynard James Keenan returned for their first hit out since 2020’s Existential Reckoning. Normal Isn’t finds the shape-shifting project embracing its quirky, gothy industrial rock and electronic elements through an angsty filter of guitar-driven arty rock, post-punk, and infectious songcraft. Age should not weary Maynard, as he still sounds angry, cynical, and on point vocally through a mostly engaging, catchy bag of tunes. The dueling vocal melodies with collaborator Carina Round’s ghostly singing work a treat amidst jittery beats, angular riffs and strong electronic overtones. Rhythmically, it is an interesting ride, drummer Gunnar Olsen putting in a top-notch performance, while there is a vaguely progressive edge underlying the hook-centric songwriting. Opener “Thrust” sets the album in motion with sticky hooks, a darkly humorous, unhinged Maynard performance, and a dose of spite. Other key highlights include “Bad Wolf,” “Self Evident,” “A Public Stoning,” and “ImpetuoUs.” Puscifer made a fine return with Normal Isn’t.

Jack Harlon & The Dead Crows // Inexorable Opposites [February 6th, 2026 – Magnetic Eye Records]

You’ve gotta love a sneaky name drop from our trusty commentariat. It has led to many great discoveries over the years. On this occasion, one of our dear commenters enlightened me to Melbourne psych-blues-doomers Jack Harlon & the Dead Crows with fourth LP, Inexorable Opposites. And it didn’t take long absorbing this latest slab of rustic Aussie coolness to be struck by the album’s slow-burning, addictive power, and gritty tones. Boasting an expansive, rugged sound built on layers of distortion and a weighty blend of psych-drenched blues and doom heaviness. Jack Harlon & the Dead Crows features old school, outlaw-driven lyrical content from mastermind and vocalist/guitarist Tim Coutts-Smith, meshing fictional tales of woe and adventure of character Jack Harlon, with relatable real-life struggles. Through the fuzz, thick jammy vibes, and Coutts-Smith distorted, menacing Aussie drawl, catchy songcraft shines through the muck and psych haze. From the tense, stoner-infected grit and catchy hooks of opener “Moss,” through to the stormy outback balladry of closer “To Die,” Inexorable Opposites is a hard-hitting, riffy delight, further evidenced through scorched earth, infectious cuts like “Venomous,” “Seer,” and the trippy, drug-addled “Mt. Macedon.”

Grin Reaper’s Reaped Recluse

Cold Communion // Monuments to Ruin [February 13th, 2026 – Self Released]

Melodic death/doom isn’t a genre I dabble in often, but every now and again, one of its bands thwarts my defenses and wraps their tendrils around my precious listening time. Durham, North Carolina’s Cold Communion is one such band, featuring Barre Gambling (Daylight Dies) on guitar and Tim Rowland (Alchemy of Flesh, Silent Vigil) on everything else. If that sounds like an unfair split, take a spin and reassess, because Gambling’s performance defines Cold Communion’s melancholic character as much as Rowland’s emotive growl. Forgoing any long-form doom epics, Monuments to Ruin’s longest song comes in at five-and-a-half minutes, with the entire album clocking just forty-five. It’s a tidy platter, and both in song composition and mood shares ample common ground with Finnish sadbois Insomnium. Besides Monuments’ superior production, songs like “A Stillness Survival” and “When the Light Breaks” wouldn’t feel out of place on Across the Dark or One for Sorrow. And despite the somber trappings one might expect from doom-adjacency, there’s plenty of lively riffing and solos to find across Monuments to Ruin, adding a touch of boom to the gloom. In the end, Cold Communion doesn’t reinvent the genre or break new ground, but Monuments to Ruin offers a comfy chair by the fireside on a freezing cold day, and I’m perfectly content with that.

Mossgiver // Renewer [February 6th, 2026 – Sij MusicArt]

Atmospheric black metal often contrasts the beautiful with the bestial, typically prioritizing moods over hooks. ‘Twas a delight, then, to unearth Mossgiver’s Renewal, which deftly combines the two. Weaving together hypnotic passages flooded with strings, piano, flute, synths, double bass rolls, and the requisite blackened tremolos,4 Mossgiver’s mastermind Tilen Šimon (Ueldes) delivers the band’s best record to date. Above all, Renewer sounds like a celebration of nature in the vein of Autrest and Cân Bardd, evoking a whispering wind whipping at leaves or sunlight dappling a brook shaded by oaks and maples. Beyond the well-crafted soundtrack for a walk through the woods, Mossgiver etches emotion into the nooks and crannies of Renewer’s five tracks. From rousing string orchestrations (“I Bring the Spring with Me”) to soft-and-heavy tradeoffs pitting clean guitar and pan pipes against distorted guitar and blast beats (“Renewer”), Mossgiver shimmers with a lush backdrop of instrumentation rife with playfulness and pensiveness. The trio of primary songs5 revolve around powerful melodies that evolve over each track’s duration, with assorted instruments coming in and out to push refrains along. Renewer’s brisk thirty-four minutes showcase Mossgiver’s sticky compositions and leave me whistling its melodies for days at a time. Now throw on your hiking boots and get lost in the Moss.

Ossomancer // Banebdjed’s Path [February 28th, 2026 – Esoteric Evocations]

Six-and-a-half years removed from Ossomancer’s debut Artes Magickae, lone wolf and mastermind Kamose returns to tread Banebjed’s Path. Bursting with references to mythology and mysticism, Banebjed’s Path rumbles and shakes with arcane thunder. Although the backdrop and track names might recall the frenzied onslaught of Nile, Ossomancer instead conceives a realm recalling Aeternam, Iotunn, and Naglfar. Despite the scant thirty-four-minute runtime, Banebjed’s Path sprawls across diverse landscapes and textures. Opener “The Ogdoad Arrangement and the Osirian Creation” oscillates between In Flames melodies and a slinky crawl that could pass for a 90s Geddy Lee bass line played over synth injections from Rush’s 80s era. Follow-up track “Sobek – Cosmic Vibrations Devoured” features Kreator-bred riffing, while closing duo “A Sea of Sand, a Silver Star” and “Retraction into Kether” synthesize the ethereal atmospheres of Iotunn with the blackened assault of Naglfar. Through it all, Ossomancer sounds fabulous, as Banebjed’s Path flaunts an enviable DR 8 and a bodacious mix that spotlights its burly bass performance. Ossomancer’s sophomore outing is crammed with meloblack goodies, and though it’s not a long trek, the journey down Banebjed’s Path far transcends its distance.

Tyme’s Danish Dalliance

Ædel Fetich // Ædel Fetich [February 20th, 2026 – Deadbanger Productions]

That blinged-out pink dish-glove-clad hand is what first drew me to Denmark outfit Ædel Fetich’s self-titled debut. Then I clicked play and was taken on one of the more compelling “black” metal rides in recent memory. With roots primarily buried in the soil of the traditional second-wave, Ædel Fetich is rife with moments of rifferous tremolodic speed (“Ridderlig Lider,” “Madras”) and absolutely berserk guitar chaos (“Sort Magi”). There’s a Trhä-like sense of experimentation, and the rawness of the production enhances the oft-changing compositions, which, like weather in the Midwest, often shift on a dime without warning. Luckily, Ædel Fetich’s adept songwriting organically smooths these transitions, which could have easily come off stilted and jarring, but makes drawing direct comparisons to the Ædel Fetich sound difficult, as there’s a spectrum of other influences at play. There are tracks packed with punky punch (“Et Liv Fuld af Fejl,” “Ildtang”) or imbued with folky reverence (“Mit Billede af Dig”) and even some 80s pop—fans of the movie Flashdance shouldn’t have a problem finding the poppy easter egg hiding near the end of “Sort Magi.”6 Far and away the star of the show, however, is singer Skvat, whose performance is filled with as much black metal bravado as it is theatrical exuberance, his arsenal of shrieks, growls, hoots, howls, and operatic baritonations a refreshing treat, akin to if Mike Patton woke up one day deciding to record a Danish black metal album. Bottom line is, I really dig Ædel Fetich and think you will too.

Creeping Ivy’s Ashen Afterthought

Belzebong // The End is High [February 20th, 2026 – Heavy Psych Sounds]

In my humble opinion, lyrics are key to making stoner metal more than novelty music. If you’re referencing reefer in your album art, band name, and song titles, at least keep the reeferisms out of the songs themselves,7 or better yet, avoid vocals altogether. Taking this latter advice to heart is instrumental Polish four-piece Belzebong, who have been at it for almost 20 years now. On The End is High, their fourth full-length, Belzebong deal 35 minutes of fuzzed-out riffery described as “a new sermon for the final days.” While not as highbrow (huh huh) as the instrumental stoner metal of Bongripper, Belzebong are similarly ominous on opener (yes) “Bong & Chain,” which caps its ten-minute burn with creepy, haunting synths. From there, the band settle into material more akin to Bongzilla; sound clips adorn the chill grooves of “420 Horsemen,” “Hempnotized,” and “Reefer Mortis,” which closes things out with some solid Electric Wizard worship. If you instinctively (and understandably) recoil from music with marijuana aesthetics but dig the meditative repetition offered by stoner metal, consider sampling The End is High. It’s not exactly the caricature it advertises itself as.

Baguette’s Bygone Bounty

Sundecay // The Blood Lives Again [February 13th, 2026 – Self Released]

Toronto’s Sundecay has been around for a while. These Canadian doomers spawned sometime prior to 2014, quietly releasing EP material every once in a blue moon. The Blood Lives Again is their first full-length release—their first signs of life since 2018 in general—and the time and care they took to develop their sound and songwriting prowess pays off here in spades. The doom and proto-doom inspirations from Black Sabbath to Saint Vitus are obvious (“Here Comes the Wizard”), complemented by other influences from proto-metal, psychedelic, and progressive music (“Silence Spoken”). The hefty, layered guitars have a nice fuzz without fully landing in stoner territory. Ambitious long-form tracks like “Will Dusk Defy Dawn” flow like water while carrying significant emotional heft. Lastly, a moody, reverb-heavy vocal performance crowns the classic doom trance the band is aiming for. At five tracks and some 43 minutes, The Blood Lives Again is a total vibe and flies by before you’ve even noticed. Fans of the ’70s should take notes!

Temple Balls // Temple Balls [February 13th, 2026 – Frontiers Music]

One of the most authentic ways you can honor rock music tradition is via questionable naming conventions. On an unrelated note, Temple Balls is a Finnish hard rock/glam rock band, and they’re fun as hell! They’re not particularly new around the block, either: the group formed in 2009, and self-titled Temple Balls is already their fifth album since debut Traded Dreams in 2017. 2023’s Avalanche felt like a watershed moment, a welcome surprise that brought some new life and energy to a fairly dated genre of Europeisms and Hanoi Rocks rehashes. Temple Balls proves that Avalanche wasn’t a one-off, continuing their extremely authentic throwback approach. The heavy/power-metal-meets-AOR direction of songwriting (“Flashback Dynamite,” “Soul Survivor”) gives it that extra guitar oomph and energy that melodic music like this requires to be anywhere near competitive. With great all-out vocals from Arde Teronen and gigantic hooks to match, it’s just a damn good time front to back. Though it will sadly be the last time we’ll hear Niko Vuorela’s guitar work on record (R.I.P., and fuck cancer), the self-titled is certainly a worthy final milestone for him—and hopefully, another beginning for his comrades.

ClarkKent’s Enchanting Earworm

Hela // A Reign to Conquer [February 27, 2026 – Ardua Music]

Just as it put a pause on many plans and projects, the COVID pandemic slowed down the output of Spain’s Hela. A Reign to Conquer marks their first record since 2019’s Vegvìsir, which was their third release since 2013. This brief hiatus brought new blood in the form of vocalist Raquel Navarro, though, in truth, the only consistency in Hela’s lineup is the other three members—Tano Giménez on bass, Miguel Fernández (The Holeum) on drums, and Julián Velasco (The Holeum) on guitars. They have a deep bond, first forged in 2009 with The Sand Collector before forming Hela just three years later. Though they brand Hela as melodic doom, and the band does have a little in common with Katatonia, I think it’s more accurate to describe them as dreamy progressive rock. Navarro is a major reason for this, with dreamy croons that guide listeners through breezy soundscapes. She bears a passing resemblance to Maud the Moth, though the music Hela plays is decidedly more metal than our Dolphin friend’s favorite nocturnal insect. Guitarist Velasco plays a hypnotizing mix of atmospheric fuzz, crushing doom, and melodic riffs that add some heft and crunch to the ethereal sound. A Reign to Conquer has plenty of layers to probe, rewarding listeners who bear with it for repeat listens. While my initial spins left me wanting, I’ve since become spellbound. Add to that some gorgeous artwork, and this is a nice addition to anyone’s vinyl collection. Hela yeah!

Spicie Forrest’s Vicious Vittles

A Wilhelm Scream8 // Cheap Heat [February 27th, 2026 – Creator-Destructor Records]

A Wilhelm Scream9 returns after a four-year hiatus with their eighth long player, Cheap Heat. Sounding like the best combination of The Story So Far and Rise Against, A Wilhelm Scream delivers an impressive tour de force so late in their career. Vocalist Nuno Pereira10 is the highlight of Cheap Heat, driving the album with urgency and passion (“Somebody’s Gonna Die,” “Fell Off”), but no one here is a slouch. The rhythm section—bassist Brian J. Robinson, rhythm guitarist Trevor Reilly, and drummer Nicholas Pasquale Angelini—gleefully tosses gas on Pereira’s bonfire (“I Got Tunnel Vision”) and delivers solid grooves (“Poison II”) and searing ragers (“Unsolving the Mystery”) that keep the energy cranked to 11 all through Cheap Heat. Hooks are by far the most common lead duty, and Ben Murray puts on a fucking clinic. Each note that rings out from his axe sounds like it fucking owns the place (“Run,” “Visitor: Unimpressed”). Cheap Heat is a smidge front-loaded with “Midnight Ghost” and “I Got Tunnel Vision” being album highlights, but no song on here is anything short of a barn burner. At a super tight 28 minutes, Cheap Heat hits hard and fast and gets the fuck out of Dodge before you’re even sure what hit you. I didn’t expect a 26-year-old hardcore outfit to knock my teeth out when I queued it up on a whim one morning, but Cheap Heat is proving to be one of my favorite albums of the year.

Lead Injector // Witching Attack [February 20th, 2026 – High Roller Records]

Who doesn’t like the combination of thrash’s unchained aggression and black metal’s cold hate? There’s never been a better pair. Lead Injector hit the ground running on debut LP Witching Attack. From the opening moments of “Siege Upon Heaven” to the closing moments of “Nuclear Antichrist,” Lead Injector is here to do two things: feed high-speed buckshot to God, skeletons, and anything else that gets in their way, and have a Hellripping good time. “Angel Destructor” and “Siege Upon Heaven” barrel pell-mell through searing riffs and blast beats, while groovier tracks like “Evil Executioner” and “Nuclear Antichrist” let black metal’s punk ancestry shine through. Heavy metal influences a la Judas Priest can be found injected into tracks like “Sacrifice This Bitch” and “M.C.C.I.” While nothing about Lead Injector’s sound is particularly new, I’m not sure that’s a bad thing. This debut is a unique and retro spin on a tried-and-true formula that bodes well for a young band. Witching Attack is a killer time that Ash Williams would gladly spin while boomsticking Deadites alongside Lord Arthur’s army.

Filling in gaps left from misspent youth. https://agoniarecords.bandcamp.com/album/consuming-impulse-remaster

#Pestilence #DeathMetal #BandcampFridayMetal #BandcampFriday

🔥 LIVE ANNOUNCEMENT 🔥

On May 10, Beyond the Pale hits the stage at Club Hell (Diest, BE) supporting death metal legends Pestilence 🤘

This show also marks our first gig with new vocalist Bram “Bolo” van Minnen (Necrotaph).

🕑 Doors: 14:00
🎟 Tickets: €20
ℹ️ More info: https://www.helldiest.com/event-info/pestilence-beyond-the-pale

#BeyondThePale #Pestilence #DeathMetal #ClubHell #Diest #Belgium #LiveMusic #metal #metalmusic #metalband #MetalCommunity

Five-headed Brazilian death metal horde Papa Necrose emerged from the promo sump with two strikes against them before Anthropomorphy Execution even began. First, if we were somehow living in an alternate metalverse where Ghost didn’t exist, then the name Papa Necrose might be passable. But we don’t. Instead, the name only evokes the theatrical imagery tied to Tobias Forge’s famous alter-ego. Second, the Saw‑meets‑Easter‑Island cover art is não é bom,1 feeling flat out undercooked. Put those surface issues aside, and you’ll find a record that soaks itself in classic 90s progressive death. The outcome of years of arduous development, Papa Necrose’s third LP once again turns its attention to the Catholic Church as its central target. However, rather than chasing reinvention, Anthropomorphy Execution embraces familiarity, seeking to recapture the qualities that have allowed this well-known strain of death to endure.

Anthropomorphy Execution wears its influences squarely on its sleeve: post Human‑era Death and early Pestilence are the clearest touchstones, with vocals that blend Obituary‑style guttural heft and Schuldiner‑like phrasing. There’s nothing here you haven’t heard before, but the performances are surprisingly astute. And it’s clear Papa Necrose has more than enough musical chops to pull off their homage. Danilo Vagner and Carlo Silva’s down‑picked, grinding riffs, Luquian Silva’s dynamic tom fills, and Eric Gusmão’s exploratory bass runs are executed with precision, coalescing into highlights like “Hammered in the Mind,” “Cathedral of Death,” and “Eighteen Years Awake.” Gusmão’s Sound of Perseverance-flavored breaks, along with the interplay between Vagner and Silva’s riffs and Silva’s fancy kit work, give the tracks plenty of groove to latch onto. James Murphy (Death, Obituary, Cancer) even shows up for a guest spot (“The Thousand Yard Gaze”). Talent-rich, but too obvious in their devotion, Papa Necrose seems comfortable being nothing less than an off-the-shelf clone of their heroes.

Anthropomorphy Execution by PAPA NECROSE

Anthropomorphy Execution’s biggest problems lie in its songwriting and overall cohesion. While the individual performances are competent, the sum rarely matches the quality of its parts, leaving Anthropomorphy Execution feeling clunky as a whole. Alessandro Necrose is a capable vocalist and effectively channels a John Tardy (Obituary) level of disgust, but a vocal mix that sits too far forward and drowns everything in delay undermines his delivery. His tendency to end his growls with an exaggerated gurgle (“Anthropomorphy Execution,” “Cathedral of Death,” “Disenchant Them”) doesn’t help matters and comes off as cheesy rather than heavy. Structurally, tracks tend to sprawl, with vocals that occasionally lag behind the instrumentation (“Fall, Die, and Break”), or overactive solos that crowd otherwise promising passages (“Disenchant Them”). And with a runtime of over 46 minutes, the album overstays its welcome by at least two songs.

While Papa Necrose lacks a distinct identity of their own, discerning musicality and a clear reverence for the classic progressive death sound produce some strong moments. “Fall, Die, and Break” is a straightforward track that leans on chunky, mid-paced riffs, fret-tapping fireworks, and dexterous drumming to establish a serviceable baseline for the record’s sound. It’s nothing special, but it demonstrates a functional grasp of structure and pacing. “Eighteen Years Awake,” “Hammered in the Mind,” and “Cathedral of Death” benefit from a sharper sense of momentum, finding Papa Necrose at their heaviest and most confident. Driven by syncopated bursts of technical shredding and frequent tempo shifts, the songs remain engaging throughout and largely sidestep the issues that drag down the rest of the record. “Anthropomorphy Execution” could have joined them as one of the record’s stronger cuts if not for its near‑lifted guitar harmony from Symbolic’s “Sacred Serenity.” To its credit, the song is one of the few moments where Papa Necrose attempts to break the mold, introducing added wrinkles like ceremonial-flavored motifs. Still, this occurrence isn’t enough to overcome the track’s mimicry, nor imbue the material with a sense of personality that gives it lasting appeal.

Papa Necrose is no doubt fluent in classic progressive death, but Anthropomorphy Execution rarely speaks in its own voice. Competently played and steeped in the right influences, the record leans too heavily on familiar tropes to ultimately feel essential. Until Papa Necrose tempers its devotion with a stronger sense of self, their work will continue to land as another well-executed homage in a genre already defined by far stronger voices.

Rating: Disappointing
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Awakening Records
Websites: awakeningrecordscn.bandcamp.com | facebook.com/papanecrosedm
Releases Worldwide: March 20th, 2026

https://youtube.com/shorts/RjdEI96kK78?si=H5vhNQA7AZajhGE7

🚨NEW ERA🚨
We’re proud to welcome Bram “Bolo” van Minnen (Necrotaph) as the new lead vocalist of Beyond the Pale 🎤. Bram joins effective immediately.
“With Bram, it felt like someone kicked the door open to a new era… Beyond the Pale sounds more alive than ever,” says Frank (bass/co-vocals).
Bram: “It clicked instantly. I can’t wait to hit the stage and show off some of the new songs.”
Welcome, Bram—let’s make it loud! 🦁

#BeyondThePale #DutchMetal #DeathMetal #ThrashMetal #Metal #Necrotaph #Pestilence #Music #Metalheads #metalvocals #metalvocalist #metalsinger #metalband

In the midst of a recent metal deep-dive, Romania’s Scythe skulked out from a Bandcamp back alley and bludgeoned me with the flat side of their blade, knocking me senseless with scuzzy shenanigans. We weren’t graced with a promo for Scythe’s self-released debut, but Boiled Alive packs in so much grimy panache that after my first listen, I had it shortlisted as someThing You Might Have Missed. Rather than wait several months before bringing attention to Boiled Alive, though, I volunteered to burn some midnight oil and write about this quartet from Constanța. Why did Boiled Alive get me so hot and bothered? Scythe’s brand of death metal grips you by the throat and never relents, evoking many influences while creating something uniquely their own. After the dry spell I’ve had with death metal lately, I finally found something I unapologetically adore. So step right up, put your head on the chopping block, and let Scythe have a whack at your earhole.

Scythe doesn’t make grand statements about existentialism or introspection, nor do they redefine a genre. First and foremost, Scythe is here to serve up sickly, sticky licks with blithe recklessness. This fearsome foursome drops track titles that ooze with enough viscera (“Liquified Entrails,” “Of Pure Goriness”) to squelch onto a Cannibal Corpse setlist while harkening to soundscapes defined by Pestilence and Autopsy. Throughout Boiled Alive, the pace oscillates between frenzied paroxysms and plodding crawls, often within the same song (“Necrophilic Corpse Orgies”). Though it would be easy for these dynamics to jostle listeners, the savvy songwriting avoids clumsy transitions and affords an entrancing experience. Ultimately, Scythe guides listeners through a curated gallery of horror that’s as thrilling as it is fulfilling.

Boiled Alive by Scythe

Interweaving Asphyxiating drudges with Mercilessly hectic eruptions, Scythe concocts a unique brew all their own. Boiled Alive simmers with ever-shifting tempos, imbuing the album with vivacity and a disarming blend of chops and accessibility.1 Where “Liquified Entrails” opens with a cannonade evoking an unholy union of Priest’s “Riding on the Wind” and Merciless’ “Souls of the Dead,” “Of Pure Goriness” flits between a mid-paced slink and rabid surges of hostility, and sounds like the crossbred bastard of Cannibal Corpse and Dismember. “Necrophilic Corpse Orgies” and “Tenebrous Decease” expose Scythe’s ability to nimbly jump between accelerated clips and more measured velocities, electrifying with their seamless agility as they navigate whipsawing tempo changes with a sophistication that is all the more impressive considering the band has no other projects or credits to their names.2

The musicianship on Boiled Alive is especially tight for a band formed just three years ago, and the mix highlights the band’s technical acumen. Rather than feature the glossy veneer popular with bigger labels, Boiled Alive sports a dry, natural texture that allows Scythe’s instrumentation to glisten. Reminiscent of the production on Invictus’s release last month, every whack on a tom and clang on the bass is afforded an organic timbre, imparting a raw aesthetic that lets Scythe sizzle. Whether rattling off meticulous snare rolls (“Necrophilic Corpse Orgies”), punky, snare-kick combos (“Plastered in Phlegm”), or playful cymbal splashes (“Of Pure Goriness”), David Rolea flays the skins on every track. Meanwhile, bassist and vocalist Andrei Constandache wields a gorgeously fat low-end tone3 as he assaults the mic with a menacing rasp. Not to be outdone, guitarists Mihai Panait and Andrei Oglan buzzsaw their way through Boiled Alive’s eight tracks, focusing on knotty riffs over wankfest solos. While the drums are the star of the show, Scythe suffers no weak links.

Part-thrashy, part-doomy, and all deathly, Scythe swings for the fences on Boiled Alive. And dammit, it’s Great. This beast writhes and squirms with purulent pizzazz, and I’m guilty many times over of restarting Boiled Alive as soon as the final track concludes. I wish solos were more prevalent across the album, and Constandache’s vocals, while effective, could use some variety, but these nitpicks should be taken as wishlist items for ol’ Grin rather than anything inherently off with Boiled Alive. Scythe discharges riffs and fun with an enviable effortlessness that should have death metal dealers and appreciators paying attention. In a genre with so much competition, Boiled Alive stands above the rabble, and I anxiously await the next time the Scythe comes down.

Rating: Great
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Self-Released
Websites: Bandcamp | Instagram
Releases Worldwide: February 1st, 2026

Five years ago, I highlighted Invictus’ 2020 debut LP Catacombs of Fear as part of our year-end death metal roundup feature. Since then, the Japanese death metal trio toiled under the ground with a brutal live schedule and steadily wrote what might very well be my most highly anticipated follow-up in the death metal realm. Hot on the heels of killer releases from personal favorites like Depravity, and jumping just ahead of another highly anticipated salvo from Eximperitus, Invictus’ upcoming Nocturnal Visions has big shoes to fill and stiff competition to combat. But if anybody has the chops and the balls to do it, it’s Invictus.

Having only one previous album and a few scattered demos/singles to their name, Invictus haven’t messed with their formula very much since their inception. Boasting a killer combo of Demolition Hammer nastiness and Consuming Impulse-era Pestilence attack, Nocturnal Visions pushes 35 minutes of pure adrenaline. Nary a second faffs about with filler, fluffy atmosphere, or anything else that could be construed as something other than devout reverence to The Almighty Riff™. With each twist of phrase or shift in movement, guitarist/vocalist Takehitopsy Seki tears through an unrelenting assault of intense grooves, speedy thrashes, and writhing rhythms that don’t just open up pits, but rather rip open dimensional rifts straight to hell itself (“Altar of Devoted Slaughter,” “Wandering Ashdream”). Instead of relying on blasts for intensity, Haruki Tokutake’s percussive strategy focuses on machine-gun double-bass runs and thrashy skanks so brutally exacted upon my spine that I needed a back brace and headgear just to approach the second half—accommodations which in no way deterred my summary bodily encrushment (“Persecution Madness”). Bassist Toshihiro Seki clunks and clangs beneath the surface with a violent, hammering tone that, while not always as audible as it ought to be, nonetheless deepens the tonal quality of the record’s warm, slightly swampy production (“Nocturnal Visions”). Unlike many of those acts from whom Invictus draws inspiration, Seki’s vocals operate squarely inside the Incantation/Tomb Mold school of subterranean monstrosity. Counterintuitively, this sets the trio apart from their influences by hiding in plain sight with their contemporaries.

Nocturnal Visions by Invictus

Regardless of where you fall in the greater scope of metallic fandom, Nocturnal Visions is a magnificent showcase of energetic songwriting and devastating hookcraft. While the formula opener proper “Abyssal Earth Eradicates” utilizes feels and sounds familiar, Invictus executes it with a youthfulness, voracity, and dare I say exuberance that makes me forget for a moment the entirety of death metal’s history. As Nocturnal Visions progresses through its early movements, boasting killer tracks in “Altar of Devoted Slaughter,” “Lucid Dream Trauma,” and “Persecution Madness,” my ability to care about anything other than banging my head, grimacing like a gargoyle, and stomping my poor abused feet against the floor vanishes. What’s left is a mind-broken sponge reduced to primal instincts, with a vocabulary of one word, “Fuck!” exclaimed exclusively with each new swaggering groove or pummeling riff. Even after several dozen spins, pit monsters “Persecution Madness,” “Dragged Beneath the Grave,” and later highlight “Wandering Ashdream” received such frequent and aggressive verbal confirmation of their sheer awesomeness and perpetual energy that my coworker had to perform a wellness check. Even the daunting eight-minute closer “Nocturnal Visions” earns its keep here, switching up themes and reprising refrains just enough to keep my interest up and my engagement high.

That doesn’t leave much room for negatives, and indeed, few found purchase in my evaluation. Obviously, Nocturnal Visions exhibits nothing new or innovative; it’s simply doing classic death metal far better than most. Consequently, Invictus left some creativity and novelty on the table. They could easily pick up bits and bobs from that stack of potential ideas and bring an extra dimension to future efforts without sacrificing their core sound. Additionally, pacing Nocturnal Visions at such a blistering rate of speed so consistently across 35 minutes leaves a little to be desired in the way of songwriting dynamics. Tokutake in particular makes the most of his arsenal of patterns, fills, and tumbles to alleviate this condition, but not quite enough to cure it—see the otherwise ripping “Frozen Tomb.” Seki’s somewhat one-note vocal approach doesn’t always help matters in that respect, but his performance is rock-solid and dependable enough not to hurt either.

Of course, these critiques amount to mere nitpicks in the truest sense of the term. Nocturnal Visions is, simply put, a staggering monument to old-school death molded for the modern era. Invictus blasted my skull apart with their debut, but this sophomore effort is more than a worthy successor. Hear it!

Rating: Great!
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Me Saco Un Ojo Records
Websites: invictus3.bandcamp.com | facebook.com/Invictus
Releases Worldwide: January 26th, 2026

New post: Pestilence welcome new bassist ahead of ‘Echoes of Horror’ UK tour https://www.moshville.co.uk/news/2025/11/pestilence-welcome-new-bassist-ahead-of-echoes-of-horror-uk-tour/ #Pestilence

Stuck in the Filter: September 2025’s Angry Misses

By Kenstrosity

At last, a burst of cool calms the blood after a brutal summer, and the leaves are turning. Which means I was able to recruit a bunch of grubby little leaf-lookers off the highway to serve as minions to my ever-needy Filter! With a temporarily replenished staff of fools who are unwittingly risking their lives for mere nuggets, I conduct with renewed vigor the search for quality finds.

Today, I bring you those finds, in all of their sparkly glory. WITNESS THEM!

Kenstrosity’s Jaunty Juke

Jordsjuk // Naglet til livet [September 19th, 2025 – Indie Recordings]

The lack of conversation I’ve seen surrounding this Norwegian black metal riff machine is highly disconcerting. Brought to my attention by my wonderfully wise—and devilshly handsome—owlpal1 from… GASP… another blog, Jordsjuk’s debut LP Naglet til livet has my spine whipping to a fro from the onset of ripping opener “Kollaps.” The whiplash doesn’t stop there as thrashy numbers “Grovt skadeverk” and “Skreddersøm” body me against several walls and even a couple of ceilings. For 36 relentless minutes, with only one song pushing the four minute mark, Naglet til livet is an unqualified triumph of editing and tight, effective songwriting. My immediate comparison is 2007-2013 Skeletonwitch, but some of these riffs, like the turbobangers on “Parasitt,” “Rottebitt,” “Klarhet og dybde,” and “Rennestein,” give those hallowed skellybois a serious run for their money. When they aren’t thrashing, Jordsjuk shift into a dour, but still ravenous black metal shadow. Wraiths like “Riv skorpen av såret” and “Svikter din neste” showcase this looming character quite well, and prove Jordsjuk to be dynamic, versatile songwriters. In short, Naglet til livet is a raucous good time for anyone craving black metal with sharp teeth and limitless energy.

Baguette’s Bouncy Blessing

Arjen Anthony Lucassen // Songs No One Will Hear [September 12th, 2025 – Inside Out Music]

A year without an Arjen record would be a much lesser one. It’s not often the crazy Dutchman reuses a non-Ayreon project title, but here we have his fourth solo album becoming the second under the full Arjen Anthony Lucassen name! Dropping 13 years after the previous one, Songs No One Will Hear announces the end of the world is a mere five months away, its tracks depicting the resulting stages of chaos, disarray, and human silliness. It doesn’t fall far off the catchy and melodic Arjen tree but casts a wider net than prior prog rock adventures. Much of the record reflects different eras of Ayreon, including the ’70s prog whimsy of Into the Electric Castle (“Dr. Slumber’s Blue Bus”) and the fun ’80s metal edge of The Source (“Goddamn Conspiracy”). Closing epic “Our Final Song” is a microcosm of his musical breadth, shapeshifting from Jethro Tull flute shenanigans to analog synth ambience to dramatic riff bombast at will. But it’s “The Clock Ticks Down” that steals the spotlight, marking a brief return to the dark, somber grit of Guilt Machine and 01011001. It’s an unusually normal-sized album from Mr. Lucassen as well, the regular, unnarrated version being only 46 minutes and change. A condensed, jovial jack-of-all-trades showcase with many of the usual great guest musician and vocalist selections! And it’s always nice to hear him sing more, too.

Thus Spoke’s Lurid Leftovers

Fauna // Ochre and Ash [September 26th, 2025 – Lupus Lounge/Prophecy Productions]

It’s been 13 years since Cascadian black metal duo Fauna released Avifauna, to quiet yet great acclaim. Given their preoccupation with human prehistory, they might just be operating on a larger timescale than you or I. Ochre and Ash—the two main ingredients used in ancient cave paintings—is an attempt to invoke the spirit of forgotten ceremonies during which the stories of the people were immortalised on stone. Building on an atmospheric black metal base familiar in their better-known exemplars Wolves in the Throne Room and Agalloch, Fauna give Ochre and Ash a distinctive edge by roaming further afield into the experimental. For every metal-dominated track (“Nature & Madness,” “Labyrinths,” “Eternal Return”), there is an ambient, decidedly unsettling counterpart (“A Conjuring,” “Femoral Sun,” “Mockery”), and the latter are not interludes, but integral parts of the ritual. Each infuses skin-prickling drone with eerie chimes and rattles, and uncomfortable vocalisations ranging from moans and wails to laughter and the howling, yipping cries of animals—or humans mimicking them. In their repetition of haunting, hollow sounds, they are both frightening and trance-inducing. Ochre and Ash’s metallic segments are no less ominous, treading as they do between confrontationally turbulent atmoblack2 and diSEMBOWELMENT-adjacent death doom that puts me right back in the void of madness last year’s Spectral Voice generated. This is not a casual listen, and Fauna could have helped it a bit with some editing, as the weirdness combined with an excessive 70-minute runtime makes some longer passages feel tired and could be off-putting to some. Still, it’s an experience I’d recommend trying at least once.

Spicie Forrest’s Sautéed Surplus

Piece // Rambler’s Axe [September 5th, 2025 – This Charming Man Records]

Finding gym metal has always proven difficult for me. It’s not about the fastest or loudest, but about striking a balance between weight and pace. Rambler’s Axe fits the bill nicely. Influenced by the likes of Crowbar and High on Fire, these Berlin-based doomsters peddle raucous and sludgy heavy metal. There’s a bit of Conan in Piece’s DNA, too, making sure to worship each riff long enough for you to make it through any given set. Beefy basslines and aggressive, chiseled drums make it easy to drop into a groove and get your pump on. Faster cuts like “Demigod” and “Rambler’s Axe” go great with chest flies and leg press, but they’ve got tracks for bench press and deadlifts too. “Bastard Sword” and “Owl Eyes” rumble forward like the slow but inevitable rise of the barbell at max weight. Whether marching or running, baritone shouts like tank treads hang over riffs just looking for an excuse to blow off steam. Whatever your reason for visiting the glorious house of gains, Piece has your soundtrack covered.

Heruvim // Mercator [September 12th, 2025 – Self-Release]

As each passing year leaves the almighty Bolt Thrower further in the past, the yearning for that sound grows. I was quite surprised to find a small amount of solace in Heruvim, hailing from Odesa, Ukraine. I say small solace, because debut LP Mercator is more than just a clone. Augmented with the unsettling atmosphere of early Pestilence and the vocal malevolence of Sinister, this platter of old school death metal carves its own niche in a storied scene. Off-kilter leads bubble up and spew out of a murky, tarred rhythm section like prehistoric gases in a primordial soup (“Gnosis,” “Lacrimae Rerum”). Lachrymose, doom-laden passages and violent death threats trade back and forth, anchored by volatile blast beats and percussive assaults in the vein of Cannibal Corpse (“Nulla Res,” “Mercator”). Stitched together with eerie, short-and-sweet interludes, Mercator’s lean 30 minutes fly by and always leave me itching for more. Heruvim riffs on a slew of classic sounds, creating a casual brutality and primal barbarism that is both compelling and uniquely their own.

ClarkKent’s Melodic Monstrosities

Galundo Tenvulance // Insomnis Somnia [September 17th, 2025 – Spiritual Beast Records]

Falling somewhere between symphonic deathcore acts Assemble the Chariots and Grimnis enters Japan’s Galundo Tenvulance. On their second full-length LP, Insomnis Somnia, the sextet demonstrates raw power and frenetic energy throughout its 41-minute runtime. Songs are anchored by catchy melodic leads, atmospheric symphonies, and punishing, relentless kitwork (no drummer is credited, so hopefully it’s not programmed). Galundo Tenvulance’s new vocalist, Sao, delivers the goods, bringing a spirited energy to her performance that elevates the already terrific material. While the symphonics don’t quite elevate the music the same way they do for Assemble the Chariots, it’s the melodic riffs that make these guys stand out. “Noble Rot” is the highlight, with a killer lead riff that uses harmonics to add just that extra bit of oomph. Other highlights include the catchy “Regret Never Sleeps,” evoking Character-era Dark Tranquillity, and “In The Realms of the Unreal,” which demonstrates their ability to transform solos into surprising melodies. This might be too good to have landed in the filter, but with my TYMHM slots filled up, it’s better than nothing.

Mortal Scepter // Ethereal Dominance [September 9th, 2025 – Xtreem Music]

As if we didn’t have enough thrash floating in the filter, French outfit Mortal Scepter finds itself as yet another piece of thrash dredged from the muck. This quartet has been around since 2012, yet Ethereal Dominance is only their second full-length release. Their sound lands somewhere between the melodic thrash of Bloodletter and the mania of Deathhammer—though a touch less zany. The persistent level of energy these bands can maintain never ceases to amaze me. While the constant beat of drum blasts threatens to make thrash songs sound too similar, the variety of melodies Mortal Scepter delivers ensures that things never grow repetitive. They have a raw, blackened sound that feels immediate and in your face. Drummer Guillaume keeps an impressive pace with fresh-sounding, nonstop blast beats, while vocalist Lucas Scellier snarls with enthusiasm, with a voice comparable to Deathhammer’s Sergeant Salsten. However, it’s the guitars by Maxime and Scellier that really bring the band to life, from the noodly melodies to the dynamic, lengthy, and impressive solos on each song. These guys prove they are more than just simple thrash metallers on the epic thrash, ten-minute finale, “Into the Wolves Den,” which uses a mix of tempo shifts and hooky melodies to make the song just fly by. With this second LP under their belts, these guys have proven themselves an exciting newish band on the thrash scene.

Grin Reaper’s Woodland Windfall

Autrest // Burning Embers, Forgotten Wolves [September 5th, 2025 – Northern Silence Productions]

Burning Embers, Forgotten Wolves merges atmospheric black metal with nature, resuming Autrest’s vision from debut Follow the Cold Path. Like Saor or Falls of Rauros, stunning melodies play across untamed backdrops that stir heartstrings in unexpected ways. Ethereal keys, mournful strings, and rapid-fire tremolos impeccably capture Burning Embers, Forgotten Wolves’ autumnal artwork, bringing Autrest’s imagery to life. Harsh vocals sit back in the mix, evoking windswept trees as cool harvest gusts leach branches of color, while sporadic baritone cleans add variation. “Lobos (Offering)” sets the stage with melancholic guitar plucks bolstered by forlorn strings, giving way to a controlled spark as “Ashes from the Burning Embers” ratchets up roiling vigor. Through forty-two minutes, Autrest expertly guides listeners across shifting landscapes that are delightful in their earnestness. Mastermind Matheus Vidor establishes himself as a preeminent architect of mood, channeling transitions from gentle, wonder-filled serenity to unyielding wrath. The dynamic between aggression and introspection is marvelous, permeating the album with emotion. While I could understand a complaint that some songs blur together, the spirit of Burning Embers, Forgotten Wolves is never stale or disposable. Rather, Autrest has taken what began two years ago and enriched it, composing an ode to self-discovery and transformation.3 My own experience with the music conjures wilderness’s last hurrah before succumbing to winter’s embrace. As days grow shorter and temperatures drop,4 I encourage you to seek refuge and draw warmth from these Burning Embers.

Dolphin Whisperer’s Very Not Late Novella

Sterveling // Sterveling [September 26th, 2025 – Self Release]

Between the world of atmospheric and post-tinged black metal, there exists a twisted form of progressive music that teeters about brooding moods and crackling tones to explore shrieking sadness and profound sorrow. Michiel van der Werff (Prospectors, Weltschmerz), primary Dutch proprietor of Sterveling, places his expressive guitar runs and lurching rhythm clangs in the company of trusted friends to carry out his tortured, baroque vision of black metal. Against the hissing design of synth maestro and Prospectors bandmate Matthias Ruijgrok, a fullness and warping warmth pervades the spacious amp textures and muscular rhythmic framework of each piece. And through the bloodied cries of Weltschmerz bandmate Hreim, a vocal lightning flashes to illuminate the nooks between pulsing synth lines and deathly bursts of full tremolo assault. In three longform pieces, all still totaling a generous forty-two minutes, Sterveling tints a monochrome narrative with vibrant shades from thoughtful tones and well-timed, emotional escalations. Committed to each careful iteration on a melody, the woven Sterveling web grows ever stickier with every passing moment, none of the ten-minute-plus excursions ever feeling even close to their declared runtimes. And with a sound construction that hits delicate yet forceful, creaking yet incising, it’s easy to wander through several journeys on this debut outing before realizing what time has passed. Fans of equally forlorn acts like Tongues or Andalvald will feel more at home here than others. But with a tonal palette that’s as inviting as it is crushing, Sterveling should attract the ears of fans across the extreme spectrum.

#2025 #agalloch #americanMetal #andavald #arjenAnthonyLucassen #assembleTheChariots #atmosphericBlackMetal #autrest #ayreon #blackMetal #bloodletter #boltThrower #brazillianMetal #burningEmbersForgottenWolves #cannibalCorpse #conan #crowbar #darkTranquillity #deathDoom #deathMetal #deathcore #deathhammer #disembowelment #doomMetal #dutchMetal #etherealDominance #fallsOfRauros #fauna #frenchMetal #galundoTenvulance #grimnis #guiltMachine #heruvim #highOnFire #independentRelease #indieRecordings #insideoutMusic #insomnisSomnia #japaneseMetal #jethroTull #jordsjuk #lupusLounge #melodicBlackMetal #melodicDeathMetal #melodicThrashMetal #mercator #mortalScepter #nagletTilLivet #northernSilenceProductions #norwegianMetal #ochreAndAsh #pestilence #piece #postBlackMetal #progressiveBlackMetal #progressiveMetal #progressiveRock #prophecyProductions #ramblersAxe #review #reviews #saor #selfRelease #selfReleased #sep25 #sinister #skeletonwitch #sludge #sludgeMetal #songsNoOneWillHear #spectralVoice #sterveling #stuckInTheFilter #stuckInTheFilter2025 #symphonicDeathcore #thisCharmingManRecords #thrashMetal #tongues #ukrainianMetal #wolvesInTheThroneRoom

Thaumaturgy – Pestilential Hymns Review

By Spicie Forrest

Changing your sound must be equal parts thrilling and intimidating. On the one hand, it’s an opportunity to explore and flex your creative muscles, to see what else you can do. On the other hand, it may alienate your listeners, but more simply, it may just be unsuccessful. This is the crossroads at which we find Kansas-based Thaumaturgy. While their debut, Tenebrous Oblations, was a cavernous voyage through Mortiferum’s lightless catacombs, sophomore effort Pestilential Hymns, is a notable departure from that sound. Founder KT has brought on the equally mysterious TG and DS to realize this new sound.1 Is this evolution a confident step forward or an ill-conceived stumble?

Thaumaturgy’s sophomore effort is indeed a big change from their debut, but it’s got the same bones. The reverberous cobwebs that swaddled Tenebrous Oblations may be gone, but the murky, serpentine structures remain, often taking on a blackened char in the clearer production. “The Oncologist’s Hymn” and “Awaken Ares” showcase this well, employing textures that evoke SVRM or Wolves in the Throne Room, although more sinuous than Cascadian. Pestilential Hymns further departs from its predecessor with new vocalist, TG. KT still provides deep, cavernous roars as a backing vocalist, but TG looks to Death and Pestilence for inspiration, employing more howl than scream or growl. This would be concerning were it not for the added classic death/thrash riffcraft of those forebearers that complements TG’s performance. The last major change in Thaumaturgy’s sound is the inclusion of synths, most often used to augment or reinforce the atmosphere fostered by their newly blackened edge (“Plague Ritual,” “Neuroticism Triumphant”).

The deployment of these new elements on Pestilential Hymns is a bit of a mixed bag. Riffs and leads seared black bring a compelling gothic tone to the album that pairs well with that classic death metal sound (“Forced March”). Thaumaturgy’s two main styles—classic death and cavernous death—largely alternate as TG and KT pass the mic, creating a shifting landscape that keeps me invested through Pestilential Hymns’ 46-minute runtime. This separated approach does, however, encourage comparison between such regimented styles and passages, and I tend to gravitate toward and appreciate one over the other. An approach more melting pot and less mosaic may have alleviated this pain point. In a rare attempt at a more cohesive whole, “Entropic Hegemony” features a great deal of interplay between vocalists, but the Beastie Boys call-and-response style employed can be distracting.

Each element of Thaumaturgy’s new sound holds its own in isolation, but solid combination or incorporation is an area where the band could improve. Synths sprinkled throughout Pestilential Hymns do succeed in establishing atmosphere and evoking intended emotions, but only when embedded within tracks rather than serving as outros to them. Throughout the album, there’s a combined four minutes of synthy outros that don’t do much more than delay the oncoming track or blunt a strong finish (“The Oncologist’s Hymn,” “Awaken Ares,” “Forced March”). Add a handful of instrumental passages that linger overlong (“The Shadow Approaches,” “Plague Ritual”), and bloat and pacing become real issues. This is exacerbated by interlude “An Ignominious End.” I like the atmosphere it builds—I immediately thought of Evoken’s exhausted shuffles—but at 2:30 and as the penultimate track, it kills any momentum leading into the album’s end. Smaller doses of this energy could have been incorporated into the meat of proper tracks to better effect.

Pestilential Hymns feels like a step back from Thaumaturgy’s debut, but one made out of exploration and experimentation. It’s a dip in cohesion, not a dip in quality. Everything here succeeds individually, and the majority does so holistically as well. But there are a few fundamentals—pacing, synthesis, bloat—that this broadened focus neglects. That said, Pestilential Hymns is still a fun listen and shows much promise toward a more unified future vision. My complaints seem easily attributable to growing pains and self-discovery, which, of all possible faults, are among the more commendable ones. And if there’s a choice between taking risks and retreading solid ground, I’ll support evolution every time.

Rating: 3.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Memento Mori
Websites: Bandcamp | Instagram
Releases Worldwide: October 20th, 2025

#2025 #30 #AmericanMetal #BeastieBoys #Death #DeathMetal #Evoken #MementoMori #Mortiferum #Oct25 #Pestilence #PestilentialHymns #Review #Reviews #Svrm #Thaumaturgy #WolvesInTheThroneRoom

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

The US is on the verge of a civil war, a drugged-up billionaire misanthrope is trying to taunt the UK into the same thing, and Russia is invading Poland and Romania's airspace.

But there will always be Paris.

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

#TakeaBreak and #Relax in #Paris #Queen #BohemianRhapsody #FlashMob #Music #War #Pestilence #Plague and #Destruction #Russia #USA #UK #TommyRobinson #Nazis #ElonMusk #CivilWar

I have written a write up of the rebranding across the government. Very much looking forward to the rationing app the Ministry of Plenty is sure to roll out so we can get food. stuff.davidaugust.com/government-r... #USpol #dictator #war #famine #pestilence #death #satire #truth #plenty #love

Government Rebranding Continue...

I have written a write up of the rebranding across the government.

Very much looking forward to the rationing app the Ministry of Plenty is sure to roll out so we can get food.

https://stuff.davidaugust.com/government-rebranding-continues/

#USpol #dictator #war #famine #pestilence #death #satire #truth #plenty #love

The Guardian: ‘Petri dish for disease’: attorney raises alarm of possible Covid outbreak at ‘Alligator Alcatraz’

https://www.theguardian.com/us-news/2025/aug/12/attorney-covid-outbreak-alligator-alcatraz

#fascism #disease #pestilence #ice #racism

Viogression – Thaumaturgic Veil Review

By Angry Metal Guy

By: Nameless_n00b_602

For every well-known, successful band, countless similar acts haven’t caught the same break or enjoyed the same recognition.1 For every Thou, there’s an Indian; every Abigail Williams, a Crepuscle; and every Obituary, a Viogression. One of the original but unsung stalwarts of death metal’s earliest days, Viogression formed in 1988 and released a well-received debut, Expound & Exhort, in 1991. The 1992 follow-up, Passage, failed to meet expectations, leading the band to take a three-decade hiatus. Their third full-length, 2022’s 3rd Stage of Decay, was praised for its old-school core and modern flair. Three years and a major lineup shuffle later, they return with their fourth full-length and first self-release, Thaumaturgic Veil. Promising a transcendent discourse on the interconnectivity of infinity and individuality, can this new version of Viogression maintain its momentum and deliver?

Like the good doctor, Vickie Franks, Viogression stitches together the genre’s most recognizable touchstones, but parts of themselves peek through, distinct from their influences. Sole remaining founder and vocalist, Brian DeNeffe, exhumes Obituary and Pestilence for his unintelligible rasps and howls, but employs impressive gutturals and layered screams of his own on “Vulnus Sclopetarium” and “Summon.” Guitarists Lief Larson and Johnathon Ibarra evoke the doomy vibe and disorienting, whip-crack tempo shifts of Autopsy and Asphyx (“Jinx,” “Light Extinguisher”), but the western dust on “Superposition” belongs to Viogression alone. An uncharacteristically twangy chorus and heavy distortion build an atmosphere for a clean, soulful guitar to cut through. Larson, Ibarra, and drummer Erik Schultek halve and double their tempos on “Renumeration” to create a pace both consistent and in flux. Punky album high point, “Pummeled,” sees DeNeffe acting as a rare counterpoint for a jazz-infused solo.2 These moments showcase the band’s excellent synthesis of influence and individuality when the stitches hold and the heart pumps strongly.

But the stitches don’t always hold; Thaumaturgic Veil suffers from indiscretionary inclusion, or poor compositional choices. Bassist Jason Hellman provides Cannibal Corpse-esque hooks (“Jinx,” “Travesty öv Darkness”) and a palpable heft to the album, but his performance often feels like parody. The opening basslines of “Superposition” and “As the Light Fades” plod and meander in ways that recall the tongue-in-cheek parts of Green Day’s catalogue. A recurring nasally guitar tone tries to instill unease but is instead repetitive and annoying (“Jinx,” “As the Light Fades”). “Eaten by Flies” invokes Polka and, like “Superposition” and “Summon,” is paratactical in its lyrical delivery, imitating amateur slam poetry. This disharmonious construction hamstrings Viogression’s ability to cultivate the philosophical and contemplative tone their subject matter requires.

Even with more consistent songwriting, Thaumaturgic Veil would still feel stitched together and disjointed. The album presents less as a coherent work and more as a series of vignettes. Each proper track (save closer, “Light Extinguisher”) is paired with an intro, giving the sensation of moving from painting to painting in a gallery rather than viewing one grand tapestry. It’s an interesting idea, but it fails for three reasons. First, these intros don’t bleed into their songs. I struggled to find a correlation in these pairings, whether musically, thematically, or lyrically. Second, without stronger connective tissue, these intros only add bloat to a relatively lean record.3 Third, and most damning, they prohibit the listener from building any momentum throughout Thaumaturgic Veil. This start-stop-start-stop structure makes the album feel twice as long as it is and turns every spin into a test of endurance.

While I can applaud the ambition of Thaumaturgic Veil, the execution ultimately falls short. “Pummeled,” “Renumeration,” and “Vulnus Sclopetarium” show that Viogression has the chops to write and perform a great, concise album, but uneven songwriting quality and an interrupted flow mar what could have been a prime offering from the old guard. Either of these flaws in isolation would have been manageable, but taken together, their impact compounds. There’s potential here, and with tighter threading and a more cohesive structure, I have no doubt Viogression could achieve the recognition they deserve.

Rating: 2.0/5.0
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Self-Released
Websites: viogression.info | Bandcamp | Instagram | Facebook
Releases Worldwide: July 11th, 2025

#20 #2025 #AbigailWilliams #Asphyx #Autopsy #Autospy #CannibalCoprse #CannibalCorpse #Crepuscle #DeathMetal #GreenDay #Independent #Indian #Jul25 #Obituary #Pestilence #Review #Reviews #SelfRelease #ThaumaturgicVeil #Viogression

Got #Mosquitos this summer? Want to get rid of those pesky blood-suckers without spraying? Of course you do. Nobody likes sitting outside and being eaten alive. Try THE MOSQUITO BUCKET OF DEATH to rid your yard of #pestilence in an organic, pet-friendly manner. Here’s all you need to know… You’re welcome 😎 #BBQ #Summer #SummerTime

https://www.energyvanguard.com/blog/try-the-mosquito-bucket-of-death/

2025 has brought us Floods, Fire, War, Pestilence, and now Plague.

It's odd that the religious right, who love their signs, are only holding onto the one where a bullet missed Trump.

#Trump #Politics #Assassination #Plague #Flood #Fire #War #Pestilence #USPol #Religion #Christian #Fascism

Quadvium – Tetradōm Review

By Dolphin Whisperer

Who needs two guitar players when you could have two master bass players at the helm? Quadvium seeks to answer this question with the fiery fingerwork of metal legends Steve DiGiorgio and Jeroen Paul Thesseling. DiGiorgio revolutionized bass playing in the metalsphere through radical death works with Autopsy, Death,1 and his own band, Sadus. Even if you don’t know his name, you may recognize these hallmarks of percussive and frenetic bass engineering, or any number of the thrashy, deathly, or progressive albums to which he has lent a wild, throbbing pulse. Likewise, Thesseling has weaved his way around celebrated releases, designing a style equally tricky but heavier in jazz-indebted fusion. Both Pestilence’s Spheres and Obscura’s breakout albums Cosmogenesis and Omnivium would not have seen the same light without his buttery and bleeping presence.

In the collision of these two thick-stringed giants, Tetradōm weaves and wobbles in delectable harmony. The role of bass in rock and metal arrangements rarely settles into that of the lead. But with conductors of this caliber on fretless, and extended-range bass devices,2 nasally slides, flatulent thumps, and snarling shuffles rumble about this airy but grounded soundstage. Despite the low-end firepower at play, each accompanying performer brings flair and experience to their respective lanes. Guitarist (and engineer for Tetradōm) Eve (Kaathe) brings a flowing touch and additional melodic guide—opener “Moksha” even leads with her crystalline phrasing—that borrows from her tenure with instrumental progressive outlet Myth of I. And kitmeister Yuma van Eekelen has a storied rhythmic history with understated bands Our Oceans and Exivious that allows his textural phrasing to embolden the space between flying frequencies. No shortage of talent befalls Quadvium’s calculated stride.

Though a tag of supergroup may follow Quadvium, Tetradōm leads with an ear for the tasteful and impactful rather than one deafened by excess. All members of Quadvium possess an overwhelming prowess and creativity that edges toward the funky fresh technicality of a fusion act like Tribal Tech. Yet, with a djent-like groove, Quadvium reclaims the sterile nature of scooped drop-F chugging against glitchy electronic backings with panned wide, warm bass massaging (“Apophis,” “Adhyasa”). Popping harmonics blare3 in a glory as flighty interruptions amongst Animals as Leaders-knotted riffage, all while capturing the exploratory jazz feel of the iconic and influential Jaco Pastorius (“Náströnd”). Howling and whinnying melodies signal a path around which Eve and van Eekelen can prance in touch-and-go solo flutters and cymbal-savvy atmosphere (“Sarab,” “Eidolon”). The breadth of techniques and tones on display requires an open and engaged mind to enjoy. But Quadvium’s resonant, interwoven throughput tied fast to ever-unfolding refrains never drifts into solo-laden, wandering note tedium.

Such a bass-forward presentation—and not in the subwoofer booming way that modern hip-hop or electronic music can be—requires a listening setup with an extra oomph through the low and mid range. I remember the first time I listened to Gordian Knot’s “Arsis,” a subtle solo bass intro to 2003’s classic, Emergent, I could have sworn nothing emerged from my crackling Logitech speakers, its subtle hum nary an auditory blip. Quadvium doesn’t render their instrumental dialogue quite as soft-spoken, with performers’ metal edges and jazzy chatter (and Eve’s cybersynth sound design) filling the room with bright, up-front, persistent movement. But to hear the nuances, and fall into a fuller love with Tetradōm, you may have to reach for your richest listening mode so that you lose neither the delicate drum teasing intro to “Ghardus”—and the bass duo’s subsequent descent to the lowest range of the experience—nor the delicate floor-scraping harmonies of “Apophis.” Of course, you could just crank that volume knob, lay out on the floor, and let the braying call-and-response bends of “Sarab” or the modulated stacked-track bliss of “Eidolon” vibrate your being to a higher existence.

Without a single word, Quadvium manages to conjure the esoteric nature that Tetradōm and its philosophy-inspired titles promise. Its strike, though, takes full shape, eschewing the potential for amorphous free jazz tone flexing that fusion music can embody. DiGiorgio and Thesseling have a vision of what bass can be in a rock and metal context, and Tetradōm realizes that with every squeaking slide, pattering finger roll, cascading chord. Masters don’t always produce hungry music, but Quadvium has shown their appetite remains growling.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Agonia Records | Bandcamp
Website: facebook.com/quadviumofficial
Releases Worldwide: May 30th, 2025

Show 3 footnotes

1. Session bass for Autopsy’s Severed Survival and member of Death for Human and Individual Thought Patterns. ↩
2. DiGiorgio has been known to rock a 3-string bass too! ↩
3. Reminding me of Atheist’s claim to the coolest bass harmonic in all of metal. ↩

#2025 #40 #AgoniaRecords #AnimalsAsLeaders #Atheist #Autopsy #Death #Exivious #GordianKnot #InstrumentalMetal #InternationalMetal #JacoPastorius #JazzFusion #May25 #MythOfI #Obscura #OurOceans #Pestilence #ProgressiveMetal #Quadvium #Review #Reviews #Sadist #Sadus #Tetradōm #TribalTech

#America regarding #medical #science and #assistence
with #Trump returned to the 14th century
Let #pestilence and #diseases propagate in the #population
vaccine are for the 'woke'
God will decide who survives
The 'state' must not spend money for those
who have not.

#Famine and #war are mighty horsemen, but #pestilence is *patient*.