#sixfeetunder — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #sixfeetunder, aggregated by home.social.
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Name your top 15 TV Shows, gut instincts only #Deadwood #RobinofSherwood #TrueDetective #SharpObjects #Rome #TheWire #Skins #Ultraviolet #BlueEyeSamurai #Babylon5 #Carnivale #SixFeetUnder #NormalPeople #ImAngesichtdesVerbrechens #GameofThrones #AKnightoftheSevenKingdoms #Columbo #Watchmen …
RE: https://bsky.app/profile/did:plc:q7xwcrh5k2ucdnp77ss64mmj/post/3mkuuxpvlb22s -
Name your top 15 TV Shows, gut instincts only #Deadwood #RobinofSherwood #TrueDetective #SharpObjects #Rome #TheWire #Skins #Ultraviolet #BlueEyeSamurai #Babylon5 #Carnivale #SixFeetUnder #NormalPeople #ImAngesichtdesVerbrechens #GameofThrones #AKnightoftheSevenKingdoms #Columbo #Watchmen …
RE: https://bsky.app/profile/did:plc:q7xwcrh5k2ucdnp77ss64mmj/post/3mkuuxpvlb22s -
Name your top 15 TV Shows, gut instincts only #Deadwood #RobinofSherwood #TrueDetective #SharpObjects #Rome #TheWire #Skins #Ultraviolet #BlueEyeSamurai #Babylon5 #Carnivale #SixFeetUnder #NormalPeople #ImAngesichtdesVerbrechens #GameofThrones #AKnightoftheSevenKingdoms #Columbo #Watchmen …
RE: https://bsky.app/profile/did:plc:q7xwcrh5k2ucdnp77ss64mmj/post/3mkuuxpvlb22s -
https://www.europesays.com/at/134970/ Die Videos der Woche vom 01.05. mit Europe, Six Feet Under u.v.m. #AT #Austria #Clips #Entertainment #Europe #Music #Musik #Nunslaughter #Österreich #SixFeetUnder #Unterhaltung #UweLulisProject #Videoclips #Videos
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SIX FEET UNDER (Estats Units) presenta nou àlbum: "Next to Die" #SixFeetUnder #DeathMetal #GrooveMetal #DeathNRoll #Abril2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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SIX FEET UNDER (Estats Units) presenta nou àlbum: "Next to Die" #SixFeetUnder #DeathMetal #GrooveMetal #DeathNRoll #Abril2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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Six Feet Under – Next to Die Review By Alekhines GunHere in the hall, we have a tradition called “Squatter’s Rights”. This ensures that if you had the fortune to review something good, you get first dibs on that band’s next release; it also helps prevent the staff from mass-slaughtering each other when trying to see who gets to cover bigger names. Impossibly long-running “Little Engine That Would” outfit Six Feet Under are a remarkable inversion of that rule as the only “big” name where the opposite is true. Rapidly passed about like a blunt when the cops roll up, their last seven albums reviewed here have been through no less than five writers, and now their newest “opus” has fallen to me.1 Previous album Killing for Revenge had the inimitable Iceberg shower the band with praise enough to justify upping their classification from embarrassing to “merely” bad, which is, at least, an improvement in the most scientific sense of the word. Can Barnes and the Boys keep this upward trajectory?
That Next to Die suffers from self-sabotaging of good ideas is no surprise; what may be surprising is how many good ideas there are to sabotage. Against all odds and seemingly with the sole purpose of ruining entertaining writing, Six Feet Under has managed to assemble an album I find very difficult to outright hate. From a collection of fun, tasteful solos (“Destroyed Remains”, “Next to Die”) to grooves and riffs which manage to carry a whiff of old-school authenticity without devolving completely into boneheaded ignorance (“Mutilated Corpse in the Woods”), Next to Die is mostly barren of the rage-triggering flaws of olde. There are moments in here to get my toes tapping and noggin’ joggin’, with high-energy Obituary-isms and riffs that recall the stench of the oldest of old school death.
For the most part, Chris Barnes has managed to get out of his own way, discovering high-brow concepts like hot tea and honey between takes and maybe not smoking all the time. The utter ghastliness of Nightmares of the Decomposed has been mercifully abandoned, as he turns in a performance which manages to straddle a sweet spot between The Bleeding and Butchered at Birth, albeit more sun-bleached and war-torn. True, the more open spaces do him no favors when he tries to fill them with sustained growls, and from time to time, he still sounds like he’s struggling with his pacing (“Grasped From Beyond”, “Wrath and Terror Takes Command”), but he doesn’t sound like he’s trying to talk through a tight and possibly fuzzy leather belt anymore. He’s brought a smidgen more tonal range this go-round, digging deeper for some extra lows in “Skin Coffins” and squeezing out the last drops of juice from his throat in the high-belted chorus of “Ill Wishes”. While it’s only taken a decade or three, Barnes can’t be considered the defining weak link of his band anymore.
Instead, everyone gets to have a hand in things!2 Drummer Marco Pitruzzella often zigs when he should zag, with bizarre drum arrangements and surprisingly minimal beats (“Unmistakable Smell of Death”, “Mind Hell”) which turn into real momentum killers. Some artistic ideas can’t stick the landing, like the aforementioned “Ill Wishes,” which swings for a real album climax in presentation but is ruined by Barnes licking my ears with wildly moist ASMR verses,3 and album kickoff “Approach Your Grave” tries to return death metal to its horror roots with a nifty curtain-raising styled riff that takes two and a half minutes too long to get to the point. Then there’s the paradox of the album: “Mister Blood and Guts.” Musically speaking, this is the crown jewel, with a curb stomping, pit igniting, grin-inducing wad of chug-heavy fun in the chorus, as long as you try not to think too hard about how the lyrics sound like they were written by Sid from Toy Story. Really, that’s the album in a nutshell: there’s some unexpected joy in here, but the sense of relief you feel as the average and mediocre lifts its head is palpable.
“Stand tall, score it appropriately.” That’s what my Freezer Brother Tyme said. Well, I have, and frankly, I’m angry about it. This was not the dumpster fire I was looking forward to. It is not irredeemable, it is not atrocious, and it is not appallingly terrible. It is instead a cumulative result of a surprising amount of good ideas, riddled with enough flaws and imperfections to drag the final product down to average. Many bands would find that devastating. For Six Feet Under, it is a crowning accomplishment, a continuation of their upward trajectory from the unforgivable to the merely appallingly milquetoast.
Rating: 2.5/5.0
#25 #2026 #AmericanMetal #Apr26 #DeathMetal #NextToDie #Obituary #Review #Reviews #SixFeetUnder
DR: 5 | Format Reviewed: 256 kbps mp3
Label: Metal Blade Records
Website: Album Bandcamp
Releases Worldwide: April 24th, 2026 -
Movie TV Tech Geeks #TV #Succession #SixFeetUnder #TheSopranos 10 HBO Shows That Will Keep You Hooked From Start to Finish http://dlvr.it/TS4z5z
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Movie TV Tech Geeks #TV #Succession #SixFeetUnder #TheSopranos 10 HBO Shows That Will Keep You Hooked From Start to Finish http://dlvr.it/TS4z5z
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Movie TV Tech Geeks #TV #Succession #SixFeetUnder #TheSopranos 10 HBO Shows That Will Keep You Hooked From Start to Finish http://dlvr.it/TS4z5z
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Movie TV Tech Geeks #TV #Succession #SixFeetUnder #TheSopranos 10 HBO Shows That Will Keep You Hooked From Start to Finish http://dlvr.it/TS4z5z
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U.S Military Examines the Lethality of Death Metal By Steel Druhm
The U.S. Military’s Defense Advanced Research Project Agency (DARPA) was forced to perform an emergency shutdown of its experimental combat-focused AI program after it attempted to weaponize former Cannibal Corpse and current Six Feet Under vocalist Chris Barnes’ pig squeals into a lethal sound beam. Had the AI program successfully executed this plan for a terrifying new weapons system, experts theorize it could have resulted in a global extinction-level event.
An experienced combat trauma surgeon who was willing to speak off the record explained that humans aren’t equipped physiologically to process these kinds of high-intensity, abrasive sounds, and even limited exposure could cause brain damage, organ failure, erectile dysfunction, Pygmalionism and the condition known as Hammer Smashed Ear Canal Syndrome.
Upon learning that his vocals were being used in a top-secret weapons program without his knowledge or legal consent, Chris Barnes remarked, “This should end the fucking debate over who’s the better Cannibal Corpse vocalist, right? Fuck yeah, eat it Corpsefisher! EEEEEEEEEEEEEEEE!”
HEADLINES:
Metallica’s residency in the Las Vegas Sphere cut short by the requirement that the 24 agreed-upon shows be performed in the same decade.
Arch Enemy announces new vocalist Pippa Emeritus III
#2026 #BlogPost #CannibalCorpse #SixFeetUnder -
Come at the king … HBO changed TV for ever, but is its crown under threat in the age of streaming and Trump? https://www.theguardian.com/tv-and-radio/2026/mar/22/hbo-max-alan-ball-casey-bloys-sopranos-wire-six-feet-under #Television #Hbo #Culture #TelevisionRadio #ParamountPictures #Media #TelevisionIndustry #UsTelevisionIndustry #WarnerBros #TheSopranos #TheWire #SixFeetUnder
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Kataklysm and Six Feet Under announce Summer 2026 North American co-headlining tour:
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Kataklysm and Six Feet Under announce Summer 2026 North American co-headlining tour:
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.@[email protected] set the challenge and @[email protected] set the stage. New #WWE2K26 dream match unlocked 🔓 on #SixFeetUnder!
▶️ YouTube: https://www.youtube.com/watch?v=J6UWvlCcfQo
🎧 Apple: https://apple.co/45VCRHB
🎧 Spotify: https://bit.ly/4mxLeyf -
Michael Hayes Clarifies Chelsea Green Comments From WWE: Unreal - https://www.wrestlingnewssource.com/news/97471/Michael-Hayes-Clarifies-Chelsea-Green-Comments-From-WWE-Unreal/ #wwe #michaelhayes #chelseagreen #wweunreal #sixfeetunder #undertaker
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Michael Hayes Clarifies Chelsea Green Comments From WWE: Unreal - https://www.wrestlingnewssource.com/news/97471/Michael-Hayes-Clarifies-Chelsea-Green-Comments-From-WWE-Unreal/ #wwe #michaelhayes #chelseagreen #wweunreal #sixfeetunder #undertaker
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The Undertaker Shares Concerns About Wrestling Today - https://www.wrestlingnewssource.com/news/97204/The-Undertaker-Shares-Concerns-About-Wrestling-Today/ #wwe #wweunreal #unreal #netflix #undertaker #sixfeetunder
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The Undertaker Shares Concerns About Wrestling Today - https://www.wrestlingnewssource.com/news/97204/The-Undertaker-Shares-Concerns-About-Wrestling-Today/ #wwe #wweunreal #unreal #netflix #undertaker #sixfeetunder
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Wenn Serien kommentarlos verschwinden, schreib ich mir die Enden jetzt selbst ✍️📺 Nach eurem Feedback zu Six Feet Under gibt’s bei mir künftig fiktive Serienfinals & „Was wurde aus…?“ 🔥
#Serienjunkie #Serienende #SixFeetUnder #OffenGesprochen #TV #Streaming -
Wenn Serien kommentarlos verschwinden, schreib ich mir die Enden jetzt selbst ✍️📺 Nach eurem Feedback zu Six Feet Under gibt’s bei mir künftig fiktive Serienfinals & „Was wurde aus…?“ 🔥
#Serienjunkie #Serienende #SixFeetUnder #OffenGesprochen #TV #Streaming -
Wenn Serien kommentarlos verschwinden, schreib ich mir die Enden jetzt selbst ✍️📺 Nach eurem Feedback zu Six Feet Under gibt’s bei mir künftig fiktive Serienfinals & „Was wurde aus…?“ 🔥
#Serienjunkie #Serienende #SixFeetUnder #OffenGesprochen #TV #Streaming -
Wenn Serien kommentarlos verschwinden, schreib ich mir die Enden jetzt selbst ✍️📺 Nach eurem Feedback zu Six Feet Under gibt’s bei mir künftig fiktive Serienfinals & „Was wurde aus…?“ 🔥
#Serienjunkie #Serienende #SixFeetUnder #OffenGesprochen #TV #Streaming -
Wenn Serien kommentarlos verschwinden, schreib ich mir die Enden jetzt selbst ✍️📺 Nach eurem Feedback zu Six Feet Under gibt’s bei mir künftig fiktive Serienfinals & „Was wurde aus…?“ 🔥
#Serienjunkie #Serienende #SixFeetUnder #OffenGesprochen #TV #Streaming -
House by the Cemetary – Disturbing the Cenotaph Review
By Tyme
From Imperial Doom to The Passage of Existence, Monstrosity has one of the most solid death metal discographies on record.1 And while I’ve always gravitated toward those early Corpsegrinder albums, the performance Mike Hrubovcak turned in on The Passage of Existence was brutally good. Now, when he’s not creating sick cover art or contributing to his other projects—Azure Emote, Hypoxia, or Imperial Crystalline Entombment—Hrubovcak partners with the inimitable, no-band-too-big-or-small-for-me-to-play-in, personal injury lawyer guitarist Rogga Johannson to front House by the Cemetary. Just a year and some change off the heels of HbtC’s 2024 sophomore effort, The Mortuary Hauntings, and rounded out this time by ex-The Hate Project drummer Thomas Ohlsson, House by the Cemetary is ready to stuff your holiday stocking with their third opus, Disturbing the Cenotaph. Let’s dig in and see which of Santa’s lists House by the Cemetary ends up on.
House by the Cemetary play drop-of-water-in-a-vast-ocean OSDM, so if you’re looking for something wholly original and mindblowing, you should look elsewhere. Far removed from their HM-2 abusive Rise of the Rotten debut, Disturbing the Cenotaph forgoes the fuzz, supplying a bevy of mid-paced Rogga riffs that Hot Topic kids listening to Six Feet Under or Bone Gnawer might bang their heads to (“Island of the Dead,” “Phantom Intrusions”). Foregoing scalpels, Rogga turns in a solo-less performance that bluntly forces trauma through brute-force chugs, with the occasional wade into melodic waters (“Burial Disturbance”), imparting some level of diversity. And while Rogga handles bass duties as well, there’s not a whole lot on offer that draws my attention to that instrument’s existence on Disturbing the Cenotaph. Meanwhile, Ohlsson does a decent job of keeping everything in line with a serviceable death-metal drum performance. House by the Cemetary relies almost exclusively on tropes to survive, even its influences trodding well-worn horror paths from Fulci, to Night of the Living Dead and Texas Chainsaw Massacre.
Despite House by the Cemetary’s adherence to a strict, almost Lite Brite® death metal template, there were a couple of moments on Disturbing the Cenotaph that drew my attention. One track I gladly revisited was “Massive Cadaver Resurrection,” with its very late-era Carcass vibe filled with a nice groove and some steely melodicism that spilled over into follow-up song “Undead Apocalypse,” which seemed to use the same set of notes as its predecessor but employed them at a slower, doomier pace; the track easily evoking images of a street filled with lumbering zombies. Notwithstanding these two songs, the only ones on the album that flirt around the four-minute mark as well, for what it’s worth, there’s not a lot on Disturbing the Cenotaph that elevates House by the Cemetary out of that vast ocean of also-rans.
Disturbing the Cenotaph is plagued with many of the same flaws as the last Rogga project I reviewed, Leper Colony, which also had a very paint-by-numbers approach. There are a couple of remaining factors, however, that save Disturbing the Cenotaph, albeit tenuously, from suffering a similar fate. For one, Mike Hrubovcak is a hell of a death metal vocalist, and his discernible yet deadly growls, howls, and screams go a long way toward keeping House by the Cemetary from sinking to the bottom of the death metal sea. Second, Håkan Stuvemark’s (WOMBBATH) mix is surprisingly warm and makes Disturbing the Cenotaph a pretty easy listening experience, though, comparatively speaking, “Chopsticks” is still “Chopsticks,” even if it’s mixed with a DR of 11.There’s nothing wrong with simple. In fact, I love me some simple, knuckle-dragging death metal if, even in its simplicity, it can move me. My problem with Disturbing the Cenotaph, despite its great vocals and warm production, is that it feels lifeless and void of any real power. I’m comforted in knowing I can get a quality fix of Hrubovcak’s vocals by revisiting Monstrosity or Hypoxia, and of Rogga’s riffs, by way of Ribspreader or Paganizer. As it stands, I might throw “Massive Cadaver Resurrection” on a 2025 playlist, but beyond that, I will not be returning to Disturbing the Cenotaph beyond this review’s final period.
Rating: 2.0/5.0
DR: 11 | Format Reviewed: 320 kb/s mp3
Label: Pulverised Records
Website: Bandcamp
Releases Worldwide: December 12, 2025#20 #2025 #AmericanMetal #BoneGnawer #DeathMetal #Dec25 #DisturbingTheCenotaph #HouseByTheCemetary #PulverisedRecords #Review #SixFeetUnder #SwedishMetal
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House by the Cemetary – Disturbing the Cenotaph Review
By Tyme
From Imperial Doom to The Passage of Existence, Monstrosity has one of the most solid death metal discographies on record.1 And while I’ve always gravitated toward those early Corpsegrinder albums, the performance Mike Hrubovcak turned in on The Passage of Existence was brutally good. Now, when he’s not creating sick cover art or contributing to his other projects—Azure Emote, Hypoxia, or Imperial Crystalline Entombment—Hrubovcak partners with the inimitable, no-band-too-big-or-small-for-me-to-play-in, personal injury lawyer guitarist Rogga Johannson to front House by the Cemetary. Just a year and some change off the heels of HbtC’s 2024 sophomore effort, The Mortuary Hauntings, and rounded out this time by ex-The Hate Project drummer Thomas Ohlsson, House by the Cemetary is ready to stuff your holiday stocking with their third opus, Disturbing the Cenotaph. Let’s dig in and see which of Santa’s lists House by the Cemetary ends up on.
House by the Cemetary play drop-of-water-in-a-vast-ocean OSDM, so if you’re looking for something wholly original and mindblowing, you should look elsewhere. Far removed from their HM-2 abusive Rise of the Rotten debut, Disturbing the Cenotaph forgoes the fuzz, supplying a bevy of mid-paced Rogga riffs that Hot Topic kids listening to Six Feet Under or Bone Gnawer might bang their heads to (“Island of the Dead,” “Phantom Intrusions”). Foregoing scalpels, Rogga turns in a solo-less performance that bluntly forces trauma through brute-force chugs, with the occasional wade into melodic waters (“Burial Disturbance”), imparting some level of diversity. And while Rogga handles bass duties as well, there’s not a whole lot on offer that draws my attention to that instrument’s existence on Disturbing the Cenotaph. Meanwhile, Ohlsson does a decent job of keeping everything in line with a serviceable death-metal drum performance. House by the Cemetary relies almost exclusively on tropes to survive, even its influences trodding well-worn horror paths from Fulci, to Night of the Living Dead and Texas Chainsaw Massacre.
Despite House by the Cemetary’s adherence to a strict, almost Lite Brite® death metal template, there were a couple of moments on Disturbing the Cenotaph that drew my attention. One track I gladly revisited was “Massive Cadaver Resurrection,” with its very late-era Carcass vibe filled with a nice groove and some steely melodicism that spilled over into follow-up song “Undead Apocalypse,” which seemed to use the same set of notes as its predecessor but employed them at a slower, doomier pace; the track easily evoking images of a street filled with lumbering zombies. Notwithstanding these two songs, the only ones on the album that flirt around the four-minute mark as well, for what it’s worth, there’s not a lot on Disturbing the Cenotaph that elevates House by the Cemetary out of that vast ocean of also-rans.
Disturbing the Cenotaph is plagued with many of the same flaws as the last Rogga project I reviewed, Leper Colony, which also had a very paint-by-numbers approach. There are a couple of remaining factors, however, that save Disturbing the Cenotaph, albeit tenuously, from suffering a similar fate. For one, Mike Hrubovcak is a hell of a death metal vocalist, and his discernible yet deadly growls, howls, and screams go a long way toward keeping House by the Cemetary from sinking to the bottom of the death metal sea. Second, Håkan Stuvemark’s (WOMBBATH) mix is surprisingly warm and makes Disturbing the Cenotaph a pretty easy listening experience, though, comparatively speaking, “Chopsticks” is still “Chopsticks,” even if it’s mixed with a DR of 11.There’s nothing wrong with simple. In fact, I love me some simple, knuckle-dragging death metal if, even in its simplicity, it can move me. My problem with Disturbing the Cenotaph, despite its great vocals and warm production, is that it feels lifeless and void of any real power. I’m comforted in knowing I can get a quality fix of Hrubovcak’s vocals by revisiting Monstrosity or Hypoxia, and of Rogga’s riffs, by way of Ribspreader or Paganizer. As it stands, I might throw “Massive Cadaver Resurrection” on a 2025 playlist, but beyond that, I will not be returning to Disturbing the Cenotaph beyond this review’s final period.
Rating: 2.0/5.0
DR: 11 | Format Reviewed: 320 kb/s mp3
Label: Pulverised Records
Website: Bandcamp
Releases Worldwide: December 12, 2025#20 #2025 #AmericanMetal #BoneGnawer #DeathMetal #Dec25 #DisturbingTheCenotaph #HouseByTheCemetary #PulverisedRecords #Review #SixFeetUnder #SwedishMetal
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House by the Cemetary – Disturbing the Cenotaph Review
By Tyme
From Imperial Doom to The Passage of Existence, Monstrosity has one of the most solid death metal discographies on record.1 And while I’ve always gravitated toward those early Corpsegrinder albums, the performance Mike Hrubovcak turned in on The Passage of Existence was brutally good. Now, when he’s not creating sick cover art or contributing to his other projects—Azure Emote, Hypoxia, or Imperial Crystalline Entombment—Hrubovcak partners with the inimitable, no-band-too-big-or-small-for-me-to-play-in, personal injury lawyer guitarist Rogga Johannson to front House by the Cemetary. Just a year and some change off the heels of HbtC’s 2024 sophomore effort, The Mortuary Hauntings, and rounded out this time by ex-The Hate Project drummer Thomas Ohlsson, House by the Cemetary is ready to stuff your holiday stocking with their third opus, Disturbing the Cenotaph. Let’s dig in and see which of Santa’s lists House by the Cemetary ends up on.
House by the Cemetary play drop-of-water-in-a-vast-ocean OSDM, so if you’re looking for something wholly original and mindblowing, you should look elsewhere. Far removed from their HM-2 abusive Rise of the Rotten debut, Disturbing the Cenotaph forgoes the fuzz, supplying a bevy of mid-paced Rogga riffs that Hot Topic kids listening to Six Feet Under or Bone Gnawer might bang their heads to (“Island of the Dead,” “Phantom Intrusions”). Foregoing scalpels, Rogga turns in a solo-less performance that bluntly forces trauma through brute-force chugs, with the occasional wade into melodic waters (“Burial Disturbance”), imparting some level of diversity. And while Rogga handles bass duties as well, there’s not a whole lot on offer that draws my attention to that instrument’s existence on Disturbing the Cenotaph. Meanwhile, Ohlsson does a decent job of keeping everything in line with a serviceable death-metal drum performance. House by the Cemetary relies almost exclusively on tropes to survive, even its influences trodding well-worn horror paths from Fulci, to Night of the Living Dead and Texas Chainsaw Massacre.
Despite House by the Cemetary’s adherence to a strict, almost Lite Brite® death metal template, there were a couple of moments on Disturbing the Cenotaph that drew my attention. One track I gladly revisited was “Massive Cadaver Resurrection,” with its very late-era Carcass vibe filled with a nice groove and some steely melodicism that spilled over into follow-up song “Undead Apocalypse,” which seemed to use the same set of notes as its predecessor but employed them at a slower, doomier pace; the track easily evoking images of a street filled with lumbering zombies. Notwithstanding these two songs, the only ones on the album that flirt around the four-minute mark as well, for what it’s worth, there’s not a lot on Disturbing the Cenotaph that elevates House by the Cemetary out of that vast ocean of also-rans.
Disturbing the Cenotaph is plagued with many of the same flaws as the last Rogga project I reviewed, Leper Colony, which also had a very paint-by-numbers approach. There are a couple of remaining factors, however, that save Disturbing the Cenotaph, albeit tenuously, from suffering a similar fate. For one, Mike Hrubovcak is a hell of a death metal vocalist, and his discernible yet deadly growls, howls, and screams go a long way toward keeping House by the Cemetary from sinking to the bottom of the death metal sea. Second, Håkan Stuvemark’s (WOMBBATH) mix is surprisingly warm and makes Disturbing the Cenotaph a pretty easy listening experience, though, comparatively speaking, “Chopsticks” is still “Chopsticks,” even if it’s mixed with a DR of 11.There’s nothing wrong with simple. In fact, I love me some simple, knuckle-dragging death metal if, even in its simplicity, it can move me. My problem with Disturbing the Cenotaph, despite its great vocals and warm production, is that it feels lifeless and void of any real power. I’m comforted in knowing I can get a quality fix of Hrubovcak’s vocals by revisiting Monstrosity or Hypoxia, and of Rogga’s riffs, by way of Ribspreader or Paganizer. As it stands, I might throw “Massive Cadaver Resurrection” on a 2025 playlist, but beyond that, I will not be returning to Disturbing the Cenotaph beyond this review’s final period.
Rating: 2.0/5.0
DR: 11 | Format Reviewed: 320 kb/s mp3
Label: Pulverised Records
Website: Bandcamp
Releases Worldwide: December 12, 2025#20 #2025 #AmericanMetal #BoneGnawer #DeathMetal #Dec25 #DisturbingTheCenotaph #HouseByTheCemetary #PulverisedRecords #Review #SixFeetUnder #SwedishMetal
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House by the Cemetary – Disturbing the Cenotaph Review
By Tyme
From Imperial Doom to The Passage of Existence, Monstrosity has one of the most solid death metal discographies on record.1 And while I’ve always gravitated toward those early Corpsegrinder albums, the performance Mike Hrubovcak turned in on The Passage of Existence was brutally good. Now, when he’s not creating sick cover art or contributing to his other projects—Azure Emote, Hypoxia, or Imperial Crystalline Entombment—Hrubovcak partners with the inimitable, no-band-too-big-or-small-for-me-to-play-in, personal injury lawyer guitarist Rogga Johannson to front House by the Cemetary. Just a year and some change off the heels of HbtC’s 2024 sophomore effort, The Mortuary Hauntings, and rounded out this time by ex-The Hate Project drummer Thomas Ohlsson, House by the Cemetary is ready to stuff your holiday stocking with their third opus, Disturbing the Cenotaph. Let’s dig in and see which of Santa’s lists House by the Cemetary ends up on.
House by the Cemetary play drop-of-water-in-a-vast-ocean OSDM, so if you’re looking for something wholly original and mindblowing, you should look elsewhere. Far removed from their HM-2 abusive Rise of the Rotten debut, Disturbing the Cenotaph forgoes the fuzz, supplying a bevy of mid-paced Rogga riffs that Hot Topic kids listening to Six Feet Under or Bone Gnawer might bang their heads to (“Island of the Dead,” “Phantom Intrusions”). Foregoing scalpels, Rogga turns in a solo-less performance that bluntly forces trauma through brute-force chugs, with the occasional wade into melodic waters (“Burial Disturbance”), imparting some level of diversity. And while Rogga handles bass duties as well, there’s not a whole lot on offer that draws my attention to that instrument’s existence on Disturbing the Cenotaph. Meanwhile, Ohlsson does a decent job of keeping everything in line with a serviceable death-metal drum performance. House by the Cemetary relies almost exclusively on tropes to survive, even its influences trodding well-worn horror paths from Fulci, to Night of the Living Dead and Texas Chainsaw Massacre.
Despite House by the Cemetary’s adherence to a strict, almost Lite Brite® death metal template, there were a couple of moments on Disturbing the Cenotaph that drew my attention. One track I gladly revisited was “Massive Cadaver Resurrection,” with its very late-era Carcass vibe filled with a nice groove and some steely melodicism that spilled over into follow-up song “Undead Apocalypse,” which seemed to use the same set of notes as its predecessor but employed them at a slower, doomier pace; the track easily evoking images of a street filled with lumbering zombies. Notwithstanding these two songs, the only ones on the album that flirt around the four-minute mark as well, for what it’s worth, there’s not a lot on Disturbing the Cenotaph that elevates House by the Cemetary out of that vast ocean of also-rans.
Disturbing the Cenotaph is plagued with many of the same flaws as the last Rogga project I reviewed, Leper Colony, which also had a very paint-by-numbers approach. There are a couple of remaining factors, however, that save Disturbing the Cenotaph, albeit tenuously, from suffering a similar fate. For one, Mike Hrubovcak is a hell of a death metal vocalist, and his discernible yet deadly growls, howls, and screams go a long way toward keeping House by the Cemetary from sinking to the bottom of the death metal sea. Second, Håkan Stuvemark’s (WOMBBATH) mix is surprisingly warm and makes Disturbing the Cenotaph a pretty easy listening experience, though, comparatively speaking, “Chopsticks” is still “Chopsticks,” even if it’s mixed with a DR of 11.There’s nothing wrong with simple. In fact, I love me some simple, knuckle-dragging death metal if, even in its simplicity, it can move me. My problem with Disturbing the Cenotaph, despite its great vocals and warm production, is that it feels lifeless and void of any real power. I’m comforted in knowing I can get a quality fix of Hrubovcak’s vocals by revisiting Monstrosity or Hypoxia, and of Rogga’s riffs, by way of Ribspreader or Paganizer. As it stands, I might throw “Massive Cadaver Resurrection” on a 2025 playlist, but beyond that, I will not be returning to Disturbing the Cenotaph beyond this review’s final period.
Rating: 2.0/5.0
DR: 11 | Format Reviewed: 320 kb/s mp3
Label: Pulverised Records
Website: Bandcamp
Releases Worldwide: December 12, 2025#20 #2025 #AmericanMetal #BoneGnawer #DeathMetal #Dec25 #DisturbingTheCenotaph #HouseByTheCemetary #PulverisedRecords #Review #SixFeetUnder #SwedishMetal
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House by the Cemetary – Disturbing the Cenotaph Review
By Tyme
From Imperial Doom to The Passage of Existence, Monstrosity has one of the most solid death metal discographies on record.1 And while I’ve always gravitated toward those early Corpsegrinder albums, the performance Mike Hrubovcak turned in on The Passage of Existence was brutally good. Now, when he’s not creating sick cover art or contributing to his other projects—Azure Emote, Hypoxia, or Imperial Crystalline Entombment—Hrubovcak partners with the inimitable, no-band-too-big-or-small-for-me-to-play-in, personal injury lawyer guitarist Rogga Johannson to front House by the Cemetary. Just a year and some change off the heels of HbtC’s 2024 sophomore effort, The Mortuary Hauntings, and rounded out this time by ex-The Hate Project drummer Thomas Ohlsson, House by the Cemetary is ready to stuff your holiday stocking with their third opus, Disturbing the Cenotaph. Let’s dig in and see which of Santa’s lists House by the Cemetary ends up on.
House by the Cemetary play drop-of-water-in-a-vast-ocean OSDM, so if you’re looking for something wholly original and mindblowing, you should look elsewhere. Far removed from their HM-2 abusive Rise of the Rotten debut, Disturbing the Cenotaph forgoes the fuzz, supplying a bevy of mid-paced Rogga riffs that Hot Topic kids listening to Six Feet Under or Bone Gnawer might bang their heads to (“Island of the Dead,” “Phantom Intrusions”). Foregoing scalpels, Rogga turns in a solo-less performance that bluntly forces trauma through brute-force chugs, with the occasional wade into melodic waters (“Burial Disturbance”), imparting some level of diversity. And while Rogga handles bass duties as well, there’s not a whole lot on offer that draws my attention to that instrument’s existence on Disturbing the Cenotaph. Meanwhile, Ohlsson does a decent job of keeping everything in line with a serviceable death-metal drum performance. House by the Cemetary relies almost exclusively on tropes to survive, even its influences trodding well-worn horror paths from Fulci, to Night of the Living Dead and Texas Chainsaw Massacre.
Despite House by the Cemetary’s adherence to a strict, almost Lite Brite® death metal template, there were a couple of moments on Disturbing the Cenotaph that drew my attention. One track I gladly revisited was “Massive Cadaver Resurrection,” with its very late-era Carcass vibe filled with a nice groove and some steely melodicism that spilled over into follow-up song “Undead Apocalypse,” which seemed to use the same set of notes as its predecessor but employed them at a slower, doomier pace; the track easily evoking images of a street filled with lumbering zombies. Notwithstanding these two songs, the only ones on the album that flirt around the four-minute mark as well, for what it’s worth, there’s not a lot on Disturbing the Cenotaph that elevates House by the Cemetary out of that vast ocean of also-rans.
Disturbing the Cenotaph is plagued with many of the same flaws as the last Rogga project I reviewed, Leper Colony, which also had a very paint-by-numbers approach. There are a couple of remaining factors, however, that save Disturbing the Cenotaph, albeit tenuously, from suffering a similar fate. For one, Mike Hrubovcak is a hell of a death metal vocalist, and his discernible yet deadly growls, howls, and screams go a long way toward keeping House by the Cemetary from sinking to the bottom of the death metal sea. Second, Håkan Stuvemark’s (WOMBBATH) mix is surprisingly warm and makes Disturbing the Cenotaph a pretty easy listening experience, though, comparatively speaking, “Chopsticks” is still “Chopsticks,” even if it’s mixed with a DR of 11.There’s nothing wrong with simple. In fact, I love me some simple, knuckle-dragging death metal if, even in its simplicity, it can move me. My problem with Disturbing the Cenotaph, despite its great vocals and warm production, is that it feels lifeless and void of any real power. I’m comforted in knowing I can get a quality fix of Hrubovcak’s vocals by revisiting Monstrosity or Hypoxia, and of Rogga’s riffs, by way of Ribspreader or Paganizer. As it stands, I might throw “Massive Cadaver Resurrection” on a 2025 playlist, but beyond that, I will not be returning to Disturbing the Cenotaph beyond this review’s final period.
Rating: 2.0/5.0
DR: 11 | Format Reviewed: 320 kb/s mp3
Label: Pulverised Records
Website: Bandcamp
Releases Worldwide: December 12, 2025#20 #2025 #AmericanMetal #BoneGnawer #DeathMetal #Dec25 #DisturbingTheCenotaph #HouseByTheCemetary #PulverisedRecords #Review #SixFeetUnder #SwedishMetal
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Rachel Griffiths Revisits ‘Muriel’s Wedding,’ Hollywood Breakthroughs and Her Shift to Filmmaker at WAVES Film Bazaar
#Variety #Asia #Global #MarketsFestivals #News #IFFI #RachelGriffiths #SixFeetUnder #WAVESFilmBazaar -
Rachel Griffiths Revisits ‘Muriel’s Wedding,’ Hollywood Breakthroughs and Her Shift to Filmmaker at WAVES Film Bazaar
#Variety #Asia #Global #MarketsFestivals #News #IFFI #RachelGriffiths #SixFeetUnder #WAVESFilmBazaar -
Rachel Griffiths Revisits ‘Muriel’s Wedding,’ Hollywood Breakthroughs and Her Shift to Filmmaker at WAVES Film Bazaar
#Variety #Asia #Global #MarketsFestivals #News #IFFI #RachelGriffiths #SixFeetUnder #WAVESFilmBazaar -
Rachel Griffiths Revisits ‘Muriel’s Wedding,’ Hollywood Breakthroughs and Her Shift to Filmmaker at WAVES Film Bazaar
#Variety #Asia #Global #MarketsFestivals #News #IFFI #RachelGriffiths #SixFeetUnder #WAVESFilmBazaar -
Rachel Griffiths Revisits ‘Muriel’s Wedding,’ Hollywood Breakthroughs and Her Shift to Filmmaker at WAVES Film Bazaar
#Variety #Asia #Global #MarketsFestivals #News #IFFI #RachelGriffiths #SixFeetUnder #WAVESFilmBazaar -
Rachel Griffiths Revisits ‘Muriel’s Wedding,’ Hollywood Breakthroughs and Her Shift to Filmmaker at WAVES Film Bazaar
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Rachel Griffiths Revisits ‘Muriel’s Wedding,’ Hollywood Breakthroughs and Her Shift to Filmmaker at WAVES Film Bazaar
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Dagens serier/film hittills:
#MurderSheWrote
#PetSematary den sista halvan......
#DexterResurrection så jäkla bra.... och nu mer Michael C.Hall i #SixFeetUnder -
🎬 Six Feet Under hat das beste Serienfinale aller Zeiten geliefert – ehrlich, endgültig, emotional. Kein Cliffhanger, kein Reboot. Einfach: The End. 💔✨
#SixFeetUnder #Serienfinale #TheEnd #HBO #Serienliebe #Storytelling #Kultserie #Serienfans #OffenGesprochen -
Movie TV Tech Geeks #TV #SixFeetUnder #Severance #Fleabag 9 Essential Shows About Grief, Ranked http://dlvr.it/TNMdJ0
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Movie TV Tech Geeks #TVNews #MichaelCHall #SixFeetUnder #Dexter 20 Years Later, Michael C. Hall's Drama With Darker Humor Than 'Dexter' Makes a Comeback http://dlvr.it/TNCR49
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Adam Scott Recalls How Losing ‘Six Feet Under’ Role To Michael C. Hall Nearly Made Him Quit Acting: “It’s Time For Me To Read The Tea Leaves”
#News #AdamScott #HBO #MichaelCHall #SixFeetUnderhttps://deadline.com/2025/08/adam-scott-six-feet-under-role-michael-c-hall-quit-acting-1236491483/
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Six Feet Under announce fall 2025 U.S. tour; Incite drop new single “Lies”
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Six Feet Under announce fall 2025 U.S. tour; Incite drop new single “Lies”
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Inhuman Condition – Mind Trap Review
By Tyme
Inhuman Condition has been repping 90s-era Floridian death metal since 2020. Comprised of former Massacre members Jeramie Kling, Taylor Nordberg, and Terry Butler, Inhuman Condition‘s debut, Rat°God, was the best thing Massacre never recorded post From Beyond, garnering a 3.5 from our overlord and hater of over raters, Steel. Presumably rushed was 2022’s sophomore effort, Fearsick, which saw Inhuman Condition take a step backward despite sporting additional guitar appearances from Rick Rozz himself. With a freshly gory, revamped logo by Mark Riddick adorning yet another beautiful cover by Dan Goldsworthy,1 Inhuman Condition returns with its third offering, Mind Trap. Will this outing see Inhuman Condition walk a path of redemption and assume its own identity, or will it stumble again and continue suffering Massacre‘s curse of ever-diminishing relevance?
Eschewing technicality and bouts of blistering speed, Inhuman Condition remain flagbearers of groovily mid-paced, thrashy death metal. Having simmered for a few years, however, Mind Trap feels fully cooked, more akin to Rat°God than Fearsick as Inhuman Condition further distance themselves from overt Massacre clone-ialism. Suffused with a renewed sense of immediacy, Nordberg’s re-energized guitar work features plenty of Rozz dives into the whammy pool (“Severely Lifeless,” “GodShip”), as well as serpentine solos and a multitude of chuggy-chunk riffs (“Chaos Engine,” “Obscurer”). His Royal Bassist, Terry Butler, continues to lay down a fat-bottomed low end that adds weight to Nordberg’s muscular machinations and hangs meatily on the hooks of Kling’s pounderous drumming, whose vocals, too, hit that brutal yet discernible sweet spot. For Inhuman Condition, simple is as simple does, and though Mind Trap adheres smashingly to the groovy, cavemanic formula perpetuated by the likes of Six Feet Under and Jungle Rot, it’s got the legs to outrun the pack.
Mind Trap‘s thirty-one-minute runtime whisks you along faster than an In-N-Out Burger drive-thru and is full of bite-size death metal bits, most of them sirloin, but some filet mignon. One such morsel, lyrically penned by Cannibal Corpse‘s Paul Mazurkiewicz,2 and an album highlight, “Face for Later” is a viscerally speedy and satisfying death metal romp with up-tempo riffs, crazed solo work, and a chorus that will earworm its way in and haunt your corrupted brain. Also of note are the grower, not show-er riffs and quirky tempos of “The Betterment Plan,” which improved for me with repeated listens, and the mildly atmospheric “Recollections of the Future,” sporting a “King Con”-ic intro and guest vocals from Jonas Kjellgren (Carnal Forge, Scar Symmetry). Intact since inception, this stalwart lineup has defied its Massacred beginnings through sustained continuity. Mind Trap reflects an Inhuman Condition stepping further into their own, and more importantly, back in a positive direction.
Inhuman Condition once again took up arms and recorded at Smoke & Mirrors Productions, with Kling’s mix and Nordberg’s master suffusing Mind Trap in a rich warmth that gives every meaty riff, beefy bass line, and brawny beat the space needed to thrive. Yet, even excellent production cannot overcome limp songwriting, and not all the tracks on Mind Trap stand out. With its doomy, Sabbathian trilled intro and straightforwardly speedy and boring midsection, “Mind | Tool | Weapon” did nothing to rouse my fist to pump or my head to bob. Then, the awkward riffs and sloppy guitar runs of “Science of Discontent” came across as amateurish and were not only a poor way to conclude the album but also an example of the material’s inferiority.Unlike Gruesome, who are happy to release quality albums that mimic their influences, Inhuman Condition continues to stitch a unique niche in the tapestry of OSDM and, in doing so, leave their Massacre ties further behind. Mind Trap is a fun, not too serious, attention-deficit-friendly death metal album that further exemplifies Inhuman Conditions growing coalescence. Among this trio’s other projects, of which Obituary (Butler), Deicide (Nordberg), and Goregäng (Nordberg and Kling) are just a few, it seems these guys genuinely enjoy playing together as Inhuman Condition. Mind Trap‘s got plenty to sink your teeth into, and I’m sure songs like “Face for Later” and “Obscurer” will go over well in a live setting. I was glad to hear Inhuman Condition returned to form here, and I would recommend you give Mind Trap a few spins this summer yourself.
Rating: 3.0/5.0
DR: 11 | Format Reviewed: 320kbps mp3
Label: High Roller Records (Europe)
Websites: Bandcamp | InhumanCondition.com | Facebook
Releases Worldwide: June 27th, 2025#2025 #30 #AmericanDeathMetal #DeathMetal #HighRollerRecords #InhumanCondition #Jun25 #JungleRot #Massacre #MindTrap #Review #SixFeetUnder
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Inhuman Condition – Mind Trap Review
By Tyme
Inhuman Condition has been repping 90s-era Floridian death metal since 2020. Comprised of former Massacre members Jeramie Kling, Taylor Nordberg, and Terry Butler, Inhuman Condition‘s debut, Rat°God, was the best thing Massacre never recorded post From Beyond, garnering a 3.5 from our overlord and hater of over raters, Steel. Presumably rushed was 2022’s sophomore effort, Fearsick, which saw Inhuman Condition take a step backward despite sporting additional guitar appearances from Rick Rozz himself. With a freshly gory, revamped logo by Mark Riddick adorning yet another beautiful cover by Dan Goldsworthy,1 Inhuman Condition returns with its third offering, Mind Trap. Will this outing see Inhuman Condition walk a path of redemption and assume its own identity, or will it stumble again and continue suffering Massacre‘s curse of ever-diminishing relevance?
Eschewing technicality and bouts of blistering speed, Inhuman Condition remain flagbearers of groovily mid-paced, thrashy death metal. Having simmered for a few years, however, Mind Trap feels fully cooked, more akin to Rat°God than Fearsick as Inhuman Condition further distance themselves from overt Massacre clone-ialism. Suffused with a renewed sense of immediacy, Nordberg’s re-energized guitar work features plenty of Rozz dives into the whammy pool (“Severely Lifeless,” “GodShip”), as well as serpentine solos and a multitude of chuggy-chunk riffs (“Chaos Engine,” “Obscurer”). His Royal Bassist, Terry Butler, continues to lay down a fat-bottomed low end that adds weight to Nordberg’s muscular machinations and hangs meatily on the hooks of Kling’s pounderous drumming, whose vocals, too, hit that brutal yet discernible sweet spot. For Inhuman Condition, simple is as simple does, and though Mind Trap adheres smashingly to the groovy, cavemanic formula perpetuated by the likes of Six Feet Under and Jungle Rot, it’s got the legs to outrun the pack.
Mind Trap‘s thirty-one-minute runtime whisks you along faster than an In-N-Out Burger drive-thru and is full of bite-size death metal bits, most of them sirloin, but some filet mignon. One such morsel, lyrically penned by Cannibal Corpse‘s Paul Mazurkiewicz,2 and an album highlight, “Face for Later” is a viscerally speedy and satisfying death metal romp with up-tempo riffs, crazed solo work, and a chorus that will earworm its way in and haunt your corrupted brain. Also of note are the grower, not show-er riffs and quirky tempos of “The Betterment Plan,” which improved for me with repeated listens, and the mildly atmospheric “Recollections of the Future,” sporting a “King Con”-ic intro and guest vocals from Jonas Kjellgren (Carnal Forge, Scar Symmetry). Intact since inception, this stalwart lineup has defied its Massacred beginnings through sustained continuity. Mind Trap reflects an Inhuman Condition stepping further into their own, and more importantly, back in a positive direction.
Inhuman Condition once again took up arms and recorded at Smoke & Mirrors Productions, with Kling’s mix and Nordberg’s master suffusing Mind Trap in a rich warmth that gives every meaty riff, beefy bass line, and brawny beat the space needed to thrive. Yet, even excellent production cannot overcome limp songwriting, and not all the tracks on Mind Trap stand out. With its doomy, Sabbathian trilled intro and straightforwardly speedy and boring midsection, “Mind | Tool | Weapon” did nothing to rouse my fist to pump or my head to bob. Then, the awkward riffs and sloppy guitar runs of “Science of Discontent” came across as amateurish and were not only a poor way to conclude the album but also an example of the material’s inferiority.Unlike Gruesome, who are happy to release quality albums that mimic their influences, Inhuman Condition continues to stitch a unique niche in the tapestry of OSDM and, in doing so, leave their Massacre ties further behind. Mind Trap is a fun, not too serious, attention-deficit-friendly death metal album that further exemplifies Inhuman Conditions growing coalescence. Among this trio’s other projects, of which Obituary (Butler), Deicide (Nordberg), and Goregäng (Nordberg and Kling) are just a few, it seems these guys genuinely enjoy playing together as Inhuman Condition. Mind Trap‘s got plenty to sink your teeth into, and I’m sure songs like “Face for Later” and “Obscurer” will go over well in a live setting. I was glad to hear Inhuman Condition returned to form here, and I would recommend you give Mind Trap a few spins this summer yourself.
Rating: 3.0/5.0
DR: 11 | Format Reviewed: 320kbps mp3
Label: High Roller Records (Europe)
Websites: Bandcamp | InhumanCondition.com | Facebook
Releases Worldwide: June 27th, 2025#2025 #30 #AmericanDeathMetal #DeathMetal #HighRollerRecords #InhumanCondition #Jun25 #JungleRot #Massacre #MindTrap #Review #SixFeetUnder
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Inhuman Condition – Mind Trap Review
By Tyme
Inhuman Condition has been repping 90s-era Floridian death metal since 2020. Comprised of former Massacre members Jeramie Kling, Taylor Nordberg, and Terry Butler, Inhuman Condition‘s debut, Rat°God, was the best thing Massacre never recorded post From Beyond, garnering a 3.5 from our overlord and hater of over raters, Steel. Presumably rushed was 2022’s sophomore effort, Fearsick, which saw Inhuman Condition take a step backward despite sporting additional guitar appearances from Rick Rozz himself. With a freshly gory, revamped logo by Mark Riddick adorning yet another beautiful cover by Dan Goldsworthy,1 Inhuman Condition returns with its third offering, Mind Trap. Will this outing see Inhuman Condition walk a path of redemption and assume its own identity, or will it stumble again and continue suffering Massacre‘s curse of ever-diminishing relevance?
Eschewing technicality and bouts of blistering speed, Inhuman Condition remain flagbearers of groovily mid-paced, thrashy death metal. Having simmered for a few years, however, Mind Trap feels fully cooked, more akin to Rat°God than Fearsick as Inhuman Condition further distance themselves from overt Massacre clone-ialism. Suffused with a renewed sense of immediacy, Nordberg’s re-energized guitar work features plenty of Rozz dives into the whammy pool (“Severely Lifeless,” “GodShip”), as well as serpentine solos and a multitude of chuggy-chunk riffs (“Chaos Engine,” “Obscurer”). His Royal Bassist, Terry Butler, continues to lay down a fat-bottomed low end that adds weight to Nordberg’s muscular machinations and hangs meatily on the hooks of Kling’s pounderous drumming, whose vocals, too, hit that brutal yet discernible sweet spot. For Inhuman Condition, simple is as simple does, and though Mind Trap adheres smashingly to the groovy, cavemanic formula perpetuated by the likes of Six Feet Under and Jungle Rot, it’s got the legs to outrun the pack.
Mind Trap‘s thirty-one-minute runtime whisks you along faster than an In-N-Out Burger drive-thru and is full of bite-size death metal bits, most of them sirloin, but some filet mignon. One such morsel, lyrically penned by Cannibal Corpse‘s Paul Mazurkiewicz,2 and an album highlight, “Face for Later” is a viscerally speedy and satisfying death metal romp with up-tempo riffs, crazed solo work, and a chorus that will earworm its way in and haunt your corrupted brain. Also of note are the grower, not show-er riffs and quirky tempos of “The Betterment Plan,” which improved for me with repeated listens, and the mildly atmospheric “Recollections of the Future,” sporting a “King Con”-ic intro and guest vocals from Jonas Kjellgren (Carnal Forge, Scar Symmetry). Intact since inception, this stalwart lineup has defied its Massacred beginnings through sustained continuity. Mind Trap reflects an Inhuman Condition stepping further into their own, and more importantly, back in a positive direction.
Inhuman Condition once again took up arms and recorded at Smoke & Mirrors Productions, with Kling’s mix and Nordberg’s master suffusing Mind Trap in a rich warmth that gives every meaty riff, beefy bass line, and brawny beat the space needed to thrive. Yet, even excellent production cannot overcome limp songwriting, and not all the tracks on Mind Trap stand out. With its doomy, Sabbathian trilled intro and straightforwardly speedy and boring midsection, “Mind | Tool | Weapon” did nothing to rouse my fist to pump or my head to bob. Then, the awkward riffs and sloppy guitar runs of “Science of Discontent” came across as amateurish and were not only a poor way to conclude the album but also an example of the material’s inferiority.Unlike Gruesome, who are happy to release quality albums that mimic their influences, Inhuman Condition continues to stitch a unique niche in the tapestry of OSDM and, in doing so, leave their Massacre ties further behind. Mind Trap is a fun, not too serious, attention-deficit-friendly death metal album that further exemplifies Inhuman Conditions growing coalescence. Among this trio’s other projects, of which Obituary (Butler), Deicide (Nordberg), and Goregäng (Nordberg and Kling) are just a few, it seems these guys genuinely enjoy playing together as Inhuman Condition. Mind Trap‘s got plenty to sink your teeth into, and I’m sure songs like “Face for Later” and “Obscurer” will go over well in a live setting. I was glad to hear Inhuman Condition returned to form here, and I would recommend you give Mind Trap a few spins this summer yourself.
Rating: 3.0/5.0
DR: 11 | Format Reviewed: 320kbps mp3
Label: High Roller Records (Europe)
Websites: Bandcamp | InhumanCondition.com | Facebook
Releases Worldwide: June 27th, 2025#2025 #30 #AmericanDeathMetal #DeathMetal #HighRollerRecords #InhumanCondition #Jun25 #JungleRot #Massacre #MindTrap #Review #SixFeetUnder
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Inhuman Condition – Mind Trap Review
By Tyme
Inhuman Condition has been repping 90s-era Floridian death metal since 2020. Comprised of former Massacre members Jeramie Kling, Taylor Nordberg, and Terry Butler, Inhuman Condition‘s debut, Rat°God, was the best thing Massacre never recorded post From Beyond, garnering a 3.5 from our overlord and hater of over raters, Steel. Presumably rushed was 2022’s sophomore effort, Fearsick, which saw Inhuman Condition take a step backward despite sporting additional guitar appearances from Rick Rozz himself. With a freshly gory, revamped logo by Mark Riddick adorning yet another beautiful cover by Dan Goldsworthy,1 Inhuman Condition returns with its third offering, Mind Trap. Will this outing see Inhuman Condition walk a path of redemption and assume its own identity, or will it stumble again and continue suffering Massacre‘s curse of ever-diminishing relevance?
Eschewing technicality and bouts of blistering speed, Inhuman Condition remain flagbearers of groovily mid-paced, thrashy death metal. Having simmered for a few years, however, Mind Trap feels fully cooked, more akin to Rat°God than Fearsick as Inhuman Condition further distance themselves from overt Massacre clone-ialism. Suffused with a renewed sense of immediacy, Nordberg’s re-energized guitar work features plenty of Rozz dives into the whammy pool (“Severely Lifeless,” “GodShip”), as well as serpentine solos and a multitude of chuggy-chunk riffs (“Chaos Engine,” “Obscurer”). His Royal Bassist, Terry Butler, continues to lay down a fat-bottomed low end that adds weight to Nordberg’s muscular machinations and hangs meatily on the hooks of Kling’s pounderous drumming, whose vocals, too, hit that brutal yet discernible sweet spot. For Inhuman Condition, simple is as simple does, and though Mind Trap adheres smashingly to the groovy, cavemanic formula perpetuated by the likes of Six Feet Under and Jungle Rot, it’s got the legs to outrun the pack.
Mind Trap‘s thirty-one-minute runtime whisks you along faster than an In-N-Out Burger drive-thru and is full of bite-size death metal bits, most of them sirloin, but some filet mignon. One such morsel, lyrically penned by Cannibal Corpse‘s Paul Mazurkiewicz,2 and an album highlight, “Face for Later” is a viscerally speedy and satisfying death metal romp with up-tempo riffs, crazed solo work, and a chorus that will earworm its way in and haunt your corrupted brain. Also of note are the grower, not show-er riffs and quirky tempos of “The Betterment Plan,” which improved for me with repeated listens, and the mildly atmospheric “Recollections of the Future,” sporting a “King Con”-ic intro and guest vocals from Jonas Kjellgren (Carnal Forge, Scar Symmetry). Intact since inception, this stalwart lineup has defied its Massacred beginnings through sustained continuity. Mind Trap reflects an Inhuman Condition stepping further into their own, and more importantly, back in a positive direction.
Inhuman Condition once again took up arms and recorded at Smoke & Mirrors Productions, with Kling’s mix and Nordberg’s master suffusing Mind Trap in a rich warmth that gives every meaty riff, beefy bass line, and brawny beat the space needed to thrive. Yet, even excellent production cannot overcome limp songwriting, and not all the tracks on Mind Trap stand out. With its doomy, Sabbathian trilled intro and straightforwardly speedy and boring midsection, “Mind | Tool | Weapon” did nothing to rouse my fist to pump or my head to bob. Then, the awkward riffs and sloppy guitar runs of “Science of Discontent” came across as amateurish and were not only a poor way to conclude the album but also an example of the material’s inferiority.Unlike Gruesome, who are happy to release quality albums that mimic their influences, Inhuman Condition continues to stitch a unique niche in the tapestry of OSDM and, in doing so, leave their Massacre ties further behind. Mind Trap is a fun, not too serious, attention-deficit-friendly death metal album that further exemplifies Inhuman Conditions growing coalescence. Among this trio’s other projects, of which Obituary (Butler), Deicide (Nordberg), and Goregäng (Nordberg and Kling) are just a few, it seems these guys genuinely enjoy playing together as Inhuman Condition. Mind Trap‘s got plenty to sink your teeth into, and I’m sure songs like “Face for Later” and “Obscurer” will go over well in a live setting. I was glad to hear Inhuman Condition returned to form here, and I would recommend you give Mind Trap a few spins this summer yourself.
Rating: 3.0/5.0
DR: 11 | Format Reviewed: 320kbps mp3
Label: High Roller Records (Europe)
Websites: Bandcamp | InhumanCondition.com | Facebook
Releases Worldwide: June 27th, 2025#2025 #30 #AmericanDeathMetal #DeathMetal #HighRollerRecords #InhumanCondition #Jun25 #JungleRot #Massacre #MindTrap #Review #SixFeetUnder
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Out to rake the dead
Cemetery fall cleanup
Headstones and coffee#Haiku #OneHaikuADay #WritersCollective #writingcommunity #BackToHaiku #USA #Ohio #Akron #Fall #Autumn #Seasons #Season #October #Cemetery #Cleanup #Headstone #Graves #Dead #Buried #SixFeetUnder
October 19, 2024
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#TheMetalDogArticleList
#MetalInjection
CHRIS BARNES On The Expense Of Modern Touring: "Lately It Has Been Taken To A Whole Other Level"
It's not getting easier out there.