#technicalbrutaldeathmetal — Public Fediverse posts

PEST STORM (Romania) presenta nou EP: "The Work" #PestStorm #TechnicalBrutalDeathMetal #Juliol2026 #Romania #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

PEST STORM (Romania) presenta nou EP: "The Work" #PestStorm #TechnicalBrutalDeathMetal #Juliol2026 #Romania #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

CELESTIAL GORGE (Índia) presenta nou single: "Redemption" #CelestialGorge #TechnicalBrutalDeathMetal #Gener2026 #Índia #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

CELESTIAL GORGE (Índia) presenta nou single: "Redemption" #CelestialGorge #TechnicalBrutalDeathMetal #Gener2026 #Índia #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

NECROPATHY presenta nou single: "Autosarcophagy" #Necropathy #TechnicalBrutalDeathMetal #Deathcore #Desembre2025 #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

NECROPATHY presenta nou single: "Autosarcophagy" #Necropathy #TechnicalBrutalDeathMetal #Deathcore #Desembre2025 #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

BLOODTRUTH (Itàlia) presenta nou àlbum: "Execration" #Bloodtruth #TechnicalBrutalDeathMetal #Novembre2025 #Itàlia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

BLOODTRUTH (Itàlia) presenta nou àlbum: "Execration" #Bloodtruth #TechnicalBrutalDeathMetal #Novembre2025 #Itàlia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

BLOODTRUTH (Itàlia) presenta nou àlbum: "Execration" #Bloodtruth #TechnicalBrutalDeathMetal #Novembre2025 #Itàlia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

BLOODTRUTH (Itàlia) presenta nou àlbum: "Execration" #Bloodtruth #TechnicalBrutalDeathMetal #Novembre2025 #Itàlia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

BLOODTRUTH (Itàlia) presenta nou àlbum: "Execration" #Bloodtruth #TechnicalBrutalDeathMetal #Novembre2025 #Itàlia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

GUTSAW (Estats Units) presenta nou EP: "Fuck Me I'm Undead" #Gutsaw #TechnicalBrutalDeathMetal #Grindcore #Octubre2025 #EstatsUnits #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

GUTSAW (Estats Units) presenta nou EP: "Fuck Me I'm Undead" #Gutsaw #TechnicalBrutalDeathMetal #Grindcore #Octubre2025 #EstatsUnits #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

GUTSAW (Estats Units) presenta nou EP: "Fuck Me I'm Undead" #Gutsaw #TechnicalBrutalDeathMetal #Grindcore #Octubre2025 #EstatsUnits #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

GUTSAW (Estats Units) presenta nou EP: "Fuck Me I'm Undead" #Gutsaw #TechnicalBrutalDeathMetal #Grindcore #Octubre2025 #EstatsUnits #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

GUTSAW (Estats Units) presenta nou EP: "Fuck Me I'm Undead" #Gutsaw #TechnicalBrutalDeathMetal #Grindcore #Octubre2025 #EstatsUnits #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

ANAL STABWOUND (Estats Units) presenta nou EP: "Enshrining the Many-Fingered Grasp" #AnalStabwound #TechnicalBrutalDeathMetal #Setembre2025 #EstatsUnits #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

ANAL STABWOUND (Estats Units) presenta nou EP: "Enshrining the Many-Fingered Grasp" #AnalStabwound #TechnicalBrutalDeathMetal #Setembre2025 #EstatsUnits #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

UNBIRTH (Itàlia) presenta nou àlbum: "Asomatous Bersmirchment" #Unbirth #TechnicalBrutalDeathMetal #Maig2025 #Itàlia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

UNBIRTH (Itàlia) presenta nou àlbum: "Asomatous Bersmirchment" #Unbirth #TechnicalBrutalDeathMetal #Maig2025 #Itàlia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

UNBIRTH (Itàlia) presenta nou àlbum: "Asomatous Bersmirchment" #Unbirth #TechnicalBrutalDeathMetal #Maig2025 #Itàlia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

UNBIRTH (Itàlia) presenta nou àlbum: "Asomatous Bersmirchment" #Unbirth #TechnicalBrutalDeathMetal #Maig2025 #Itàlia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

UNBIRTH (Itàlia) presenta nou àlbum: "Asomatous Bersmirchment" #Unbirth #TechnicalBrutalDeathMetal #Maig2025 #Itàlia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

OMINOUS RUIN (Estats Units) presenta nou àlbum: "Requiem" #OminousRuin #TechnicalBrutalDeathMetal #Maig2025 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

OMINOUS RUIN (Estats Units) presenta nou àlbum: "Requiem" #OminousRuin #TechnicalBrutalDeathMetal #Maig2025 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

OMINOUS RUIN (Estats Units) presenta nou àlbum: "Requiem" #OminousRuin #TechnicalBrutalDeathMetal #Maig2025 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

OMINOUS RUIN (Estats Units) presenta nou àlbum: "Requiem" #OminousRuin #TechnicalBrutalDeathMetal #Maig2025 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

OMINOUS RUIN (Estats Units) presenta nou àlbum: "Requiem" #OminousRuin #TechnicalBrutalDeathMetal #Maig2025 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

FRACTURED INSANITY (Bèlgica) presenta nou àlbum: "Age of Manipulation" #FracturedInsanity #TechnicalBrutalDeathMetal #Febrer2025 #Bèlgica #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

FRACTURED INSANITY (Bèlgica) presenta nou àlbum: "Age of Manipulation" #FracturedInsanity #TechnicalBrutalDeathMetal #Febrer2025 #Bèlgica #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

FRACTURED INSANITY (Bèlgica) presenta nou àlbum: "Age of Manipulation" #FracturedInsanity #TechnicalBrutalDeathMetal #Febrer2025 #Bèlgica #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

FRACTURED INSANITY (Bèlgica) presenta nou àlbum: "Age of Manipulation" #FracturedInsanity #TechnicalBrutalDeathMetal #Febrer2025 #Bèlgica #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

FRACTURED INSANITY (Bèlgica) presenta nou àlbum: "Age of Manipulation" #FracturedInsanity #TechnicalBrutalDeathMetal #Febrer2025 #Bèlgica #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

Gigan – Anomalous Abstractigate Infinitessimus [Things You Might Have Missed 2024]

By Maddog

Back in the early 2010s, Gigan wooed me with their lovably absurd album titles, like 2013’s Multi-Dimensional Fractal-Sorcery and Super Science. Luckily, Gigan had the musical chops to back it up. Their distinctive blend of brutal death metal, skronky technicality, and alien atmospheres made me a cult megafan. Anomalous Abstractigate Infinitessimus interrupts a seven-year silence, and the only staffers thrilled about its arrival were myself and Alekhines Gun. In retrospect, this is understandable; AAI is a weird album by a weird band, and it’s unlikely to win over anyone who isn’t already so inclined. While Gigan’s newest is a lot to chew on, it offers a great glimpse into why I’ve stood gaping for over a decade.

If Mithras is Morbid Angel in space, then Gigan is Wormed in space. Eric Hersemann’s guitars lay the foundation, playing Defeated Sanity riffs at an Archspire pace. However, in its melodies, its composition, and its production, the album is foremost an atmospheric journey, not a riff-fest. Hersemann’s guitar and bass lines sound otherworldly through their dissonance and sudden transformations (“Erratic Pulsitivity and Horror”). Eschewing simple song structures, Gigan’s uneasy odysseys take several focused listens to make any sense. Straying from the genre’s typical clinical production, AAI opts for a reverb-laden wall of noise that resembles a muddled Mithras. This remains my biggest gripe, as the album’s cloudy guitar sound untooths its impressive melodies. Conversely, AAI’s highlight might be its drumming. Nathan Cotton’s world-class performance excels in its raw technicality, its frenzied evolution, and its cockpit role in the album’s ebb and flow. But most of all, it wows through its raw humanity. On highlights like “Trans-Dimensional Crossing of the Alta-Tenuis,” the attention to detail in Cotton’s performance shines through every beat and can only be described as beautiful. While that word isn’t common in brutal death metal reviews, it’s a testament to Gigan’s singular sound.

Anomalous Abstractigate Infinitessimus is a wild journey. Gigan steamrolls the listener with brutal riffs, appealing to idiots like me without devolving into idiocy themselves (“Square Wave Subversion”). On the other end, Gigan’s skronky adventures are grand slams. The latter half of “Trans-Dimensional Crossing…” blends light-speed brutality with Morse Code guitars that remain the album’s highlight, while “Emerging Sects of Dagonic Acolytes” captivates me with The Velvet Underground-style chaos. Armed with bulletproof melodies in their right hand and chaos in their left, Gigan’s compositions feel like Lovecraftian narratives. Most strikingly, the shrieking melodies and distorted drum-led chorus of “The Strange Harvest of the Baganoids” evoke visceral terror for the plight of those poor Baganoids.1 Gigan fares less well when they sacrifice riffs for amorphous meanderings, especially on longer tracks (“Emerging Sects…”). But when AAI wields riffcraft and atmosphere in unison, it stands unmatched. For instance, the closer “Ominous Silhouettes…” wows with what sounds like a Deeds of Flesh riff being played by a depressed Martian, leading into dual-guitar screeches à la Pyrrhon. Engrossing and ever-evolving, Anomalous Abstractigate Infinitessimus immerses the listener in its saga.

While snippets of Gigan bear the signatures of other bands, no one else has ever made music like this. Although its bloat and its muddy sound hold it back, Gigan’s comeback is a rewarding specimen of their unconventional brand of brutal death metal. Dissonant, brutal, grimy, and alien, Anomalous Abstractigate Infinitessimus is tough to digest even for the Gigan-initiated. Ears shall be split, brows shall be furrowed, and poseurs shall be (strangely) harvested. Few will survive. But those that do will have quite a story to tell.

Tracks to Check Out: “Trans-Dimensional Crossing of the Alta-Tenuis,” “The Strange Harvest of the Baganoids”

#2024 #AmericanMetal #AnomalousAbstractigateInfinitessimus #AtmosphericDeathMetal #BrutalDeathMetal #DeathMetal #DeedsOfFlesh #DefeatedSanity #DissonantDeathMetal #Gigan #Mithras #Pyrrhon #TechnicalBrutalDeathMetal #TechnicalDeathMetal #TheVelvetUnderground #ThingsYouMightHaveMissed #ThingsYouMightHaveMissed2024 #TYMHM #Wormed

Gigan – Anomalous Abstractigate Infinitessimus [Things You Might Have Missed 2024]

By Maddog

Back in the early 2010s, Gigan wooed me with their lovably absurd album titles, like 2013’s Multi-Dimensional Fractal-Sorcery and Super Science. Luckily, Gigan had the musical chops to back it up. Their distinctive blend of brutal death metal, skronky technicality, and alien atmospheres made me a cult megafan. Anomalous Abstractigate Infinitessimus interrupts a seven-year silence, and the only staffers thrilled about its arrival were myself and Alekhines Gun. In retrospect, this is understandable; AAI is a weird album by a weird band, and it’s unlikely to win over anyone who isn’t already so inclined. While Gigan’s newest is a lot to chew on, it offers a great glimpse into why I’ve stood gaping for over a decade.

If Mithras is Morbid Angel in space, then Gigan is Wormed in space. Eric Hersemann’s guitars lay the foundation, playing Defeated Sanity riffs at an Archspire pace. However, in its melodies, its composition, and its production, the album is foremost an atmospheric journey, not a riff-fest. Hersemann’s guitar and bass lines sound otherworldly through their dissonance and sudden transformations (“Erratic Pulsitivity and Horror”). Eschewing simple song structures, Gigan’s uneasy odysseys take several focused listens to make any sense. Straying from the genre’s typical clinical production, AAI opts for a reverb-laden wall of noise that resembles a muddled Mithras. This remains my biggest gripe, as the album’s cloudy guitar sound untooths its impressive melodies. Conversely, AAI’s highlight might be its drumming. Nathan Cotton’s world-class performance excels in its raw technicality, its frenzied evolution, and its cockpit role in the album’s ebb and flow. But most of all, it wows through its raw humanity. On highlights like “Trans-Dimensional Crossing of the Alta-Tenuis,” the attention to detail in Cotton’s performance shines through every beat and can only be described as beautiful. While that word isn’t common in brutal death metal reviews, it’s a testament to Gigan’s singular sound.

Anomalous Abstractigate Infinitessimus is a wild journey. Gigan steamrolls the listener with brutal riffs, appealing to idiots like me without devolving into idiocy themselves (“Square Wave Subversion”). On the other end, Gigan’s skronky adventures are grand slams. The latter half of “Trans-Dimensional Crossing…” blends light-speed brutality with Morse Code guitars that remain the album’s highlight, while “Emerging Sects of Dagonic Acolytes” captivates me with The Velvet Underground-style chaos. Armed with bulletproof melodies in their right hand and chaos in their left, Gigan’s compositions feel like Lovecraftian narratives. Most strikingly, the shrieking melodies and distorted drum-led chorus of “The Strange Harvest of the Baganoids” evoke visceral terror for the plight of those poor Baganoids.1 Gigan fares less well when they sacrifice riffs for amorphous meanderings, especially on longer tracks (“Emerging Sects…”). But when AAI wields riffcraft and atmosphere in unison, it stands unmatched. For instance, the closer “Ominous Silhouettes…” wows with what sounds like a Deeds of Flesh riff being played by a depressed Martian, leading into dual-guitar screeches à la Pyrrhon. Engrossing and ever-evolving, Anomalous Abstractigate Infinitessimus immerses the listener in its saga.

While snippets of Gigan bear the signatures of other bands, no one else has ever made music like this. Although its bloat and its muddy sound hold it back, Gigan’s comeback is a rewarding specimen of their unconventional brand of brutal death metal. Dissonant, brutal, grimy, and alien, Anomalous Abstractigate Infinitessimus is tough to digest even for the Gigan-initiated. Ears shall be split, brows shall be furrowed, and poseurs shall be (strangely) harvested. Few will survive. But those that do will have quite a story to tell.

Tracks to Check Out: “Trans-Dimensional Crossing of the Alta-Tenuis,” “The Strange Harvest of the Baganoids”

#2024 #AmericanMetal #AnomalousAbstractigateInfinitessimus #AtmosphericDeathMetal #BrutalDeathMetal #DeathMetal #DeedsOfFlesh #DefeatedSanity #DissonantDeathMetal #Gigan #Mithras #Pyrrhon #TechnicalBrutalDeathMetal #TechnicalDeathMetal #TheVelvetUnderground #ThingsYouMightHaveMissed #ThingsYouMightHaveMissed2024 #TYMHM #Wormed

Gigan – Anomalous Abstractigate Infinitessimus [Things You Might Have Missed 2024]

By Maddog

Back in the early 2010s, Gigan wooed me with their lovably absurd album titles, like 2013’s Multi-Dimensional Fractal-Sorcery and Super Science. Luckily, Gigan had the musical chops to back it up. Their distinctive blend of brutal death metal, skronky technicality, and alien atmospheres made me a cult megafan. Anomalous Abstractigate Infinitessimus interrupts a seven-year silence, and the only staffers thrilled about its arrival were myself and Alekhines Gun. In retrospect, this is understandable; AAI is a weird album by a weird band, and it’s unlikely to win over anyone who isn’t already so inclined. While Gigan’s newest is a lot to chew on, it offers a great glimpse into why I’ve stood gaping for over a decade.

If Mithras is Morbid Angel in space, then Gigan is Wormed in space. Eric Hersemann’s guitars lay the foundation, playing Defeated Sanity riffs at an Archspire pace. However, in its melodies, its composition, and its production, the album is foremost an atmospheric journey, not a riff-fest. Hersemann’s guitar and bass lines sound otherworldly through their dissonance and sudden transformations (“Erratic Pulsitivity and Horror”). Eschewing simple song structures, Gigan’s uneasy odysseys take several focused listens to make any sense. Straying from the genre’s typical clinical production, AAI opts for a reverb-laden wall of noise that resembles a muddled Mithras. This remains my biggest gripe, as the album’s cloudy guitar sound untooths its impressive melodies. Conversely, AAI’s highlight might be its drumming. Nathan Cotton’s world-class performance excels in its raw technicality, its frenzied evolution, and its cockpit role in the album’s ebb and flow. But most of all, it wows through its raw humanity. On highlights like “Trans-Dimensional Crossing of the Alta-Tenuis,” the attention to detail in Cotton’s performance shines through every beat and can only be described as beautiful. While that word isn’t common in brutal death metal reviews, it’s a testament to Gigan’s singular sound.

Anomalous Abstractigate Infinitessimus is a wild journey. Gigan steamrolls the listener with brutal riffs, appealing to idiots like me without devolving into idiocy themselves (“Square Wave Subversion”). On the other end, Gigan’s skronky adventures are grand slams. The latter half of “Trans-Dimensional Crossing…” blends light-speed brutality with Morse Code guitars that remain the album’s highlight, while “Emerging Sects of Dagonic Acolytes” captivates me with The Velvet Underground-style chaos. Armed with bulletproof melodies in their right hand and chaos in their left, Gigan’s compositions feel like Lovecraftian narratives. Most strikingly, the shrieking melodies and distorted drum-led chorus of “The Strange Harvest of the Baganoids” evoke visceral terror for the plight of those poor Baganoids.1 Gigan fares less well when they sacrifice riffs for amorphous meanderings, especially on longer tracks (“Emerging Sects…”). But when AAI wields riffcraft and atmosphere in unison, it stands unmatched. For instance, the closer “Ominous Silhouettes…” wows with what sounds like a Deeds of Flesh riff being played by a depressed Martian, leading into dual-guitar screeches à la Pyrrhon. Engrossing and ever-evolving, Anomalous Abstractigate Infinitessimus immerses the listener in its saga.

While snippets of Gigan bear the signatures of other bands, no one else has ever made music like this. Although its bloat and its muddy sound hold it back, Gigan’s comeback is a rewarding specimen of their unconventional brand of brutal death metal. Dissonant, brutal, grimy, and alien, Anomalous Abstractigate Infinitessimus is tough to digest even for the Gigan-initiated. Ears shall be split, brows shall be furrowed, and poseurs shall be (strangely) harvested. Few will survive. But those that do will have quite a story to tell.

Tracks to Check Out: “Trans-Dimensional Crossing of the Alta-Tenuis,” “The Strange Harvest of the Baganoids”

#2024 #AmericanMetal #AnomalousAbstractigateInfinitessimus #AtmosphericDeathMetal #BrutalDeathMetal #DeathMetal #DeedsOfFlesh #DefeatedSanity #DissonantDeathMetal #Gigan #Mithras #Pyrrhon #TechnicalBrutalDeathMetal #TechnicalDeathMetal #TheVelvetUnderground #ThingsYouMightHaveMissed #ThingsYouMightHaveMissed2024 #TYMHM #Wormed

Gigan – Anomalous Abstractigate Infinitessimus [Things You Might Have Missed 2024]

By Maddog

Back in the early 2010s, Gigan wooed me with their lovably absurd album titles, like 2013’s Multi-Dimensional Fractal-Sorcery and Super Science. Luckily, Gigan had the musical chops to back it up. Their distinctive blend of brutal death metal, skronky technicality, and alien atmospheres made me a cult megafan. Anomalous Abstractigate Infinitessimus interrupts a seven-year silence, and the only staffers thrilled about its arrival were myself and Alekhines Gun. In retrospect, this is understandable; AAI is a weird album by a weird band, and it’s unlikely to win over anyone who isn’t already so inclined. While Gigan’s newest is a lot to chew on, it offers a great glimpse into why I’ve stood gaping for over a decade.

If Mithras is Morbid Angel in space, then Gigan is Wormed in space. Eric Hersemann’s guitars lay the foundation, playing Defeated Sanity riffs at an Archspire pace. However, in its melodies, its composition, and its production, the album is foremost an atmospheric journey, not a riff-fest. Hersemann’s guitar and bass lines sound otherworldly through their dissonance and sudden transformations (“Erratic Pulsitivity and Horror”). Eschewing simple song structures, Gigan’s uneasy odysseys take several focused listens to make any sense. Straying from the genre’s typical clinical production, AAI opts for a reverb-laden wall of noise that resembles a muddled Mithras. This remains my biggest gripe, as the album’s cloudy guitar sound untooths its impressive melodies. Conversely, AAI’s highlight might be its drumming. Nathan Cotton’s world-class performance excels in its raw technicality, its frenzied evolution, and its cockpit role in the album’s ebb and flow. But most of all, it wows through its raw humanity. On highlights like “Trans-Dimensional Crossing of the Alta-Tenuis,” the attention to detail in Cotton’s performance shines through every beat and can only be described as beautiful. While that word isn’t common in brutal death metal reviews, it’s a testament to Gigan’s singular sound.

Anomalous Abstractigate Infinitessimus is a wild journey. Gigan steamrolls the listener with brutal riffs, appealing to idiots like me without devolving into idiocy themselves (“Square Wave Subversion”). On the other end, Gigan’s skronky adventures are grand slams. The latter half of “Trans-Dimensional Crossing…” blends light-speed brutality with Morse Code guitars that remain the album’s highlight, while “Emerging Sects of Dagonic Acolytes” captivates me with The Velvet Underground-style chaos. Armed with bulletproof melodies in their right hand and chaos in their left, Gigan’s compositions feel like Lovecraftian narratives. Most strikingly, the shrieking melodies and distorted drum-led chorus of “The Strange Harvest of the Baganoids” evoke visceral terror for the plight of those poor Baganoids.1 Gigan fares less well when they sacrifice riffs for amorphous meanderings, especially on longer tracks (“Emerging Sects…”). But when AAI wields riffcraft and atmosphere in unison, it stands unmatched. For instance, the closer “Ominous Silhouettes…” wows with what sounds like a Deeds of Flesh riff being played by a depressed Martian, leading into dual-guitar screeches à la Pyrrhon. Engrossing and ever-evolving, Anomalous Abstractigate Infinitessimus immerses the listener in its saga.

While snippets of Gigan bear the signatures of other bands, no one else has ever made music like this. Although its bloat and its muddy sound hold it back, Gigan’s comeback is a rewarding specimen of their unconventional brand of brutal death metal. Dissonant, brutal, grimy, and alien, Anomalous Abstractigate Infinitessimus is tough to digest even for the Gigan-initiated. Ears shall be split, brows shall be furrowed, and poseurs shall be (strangely) harvested. Few will survive. But those that do will have quite a story to tell.

Tracks to Check Out: “Trans-Dimensional Crossing of the Alta-Tenuis,” “The Strange Harvest of the Baganoids”

Show 1 footnote

1. I didn’t even know what a Baganoid is; indeed, a cursory search revealed that this is just a made-up Gigan word. Fake news! ↩

#2024 #AmericanMetal #AnomalousAbstractigateInfinitessimus #AtmosphericDeathMetal #BrutalDeathMetal #DeathMetal #DeedsOfFlesh #DefeatedSanity #DissonantDeathMetal #Gigan #Mithras #Pyrrhon #TechnicalBrutalDeathMetal #TechnicalDeathMetal #TheVelvetUnderground #ThingsYouMightHaveMissed #ThingsYouMightHaveMissed2024 #TYMHM #Wormed

Defeated Sanity – Chronicles of Lunacy Review

By Dolphin Whisperer

The scattering guitar stabbings and inertia-rupturing kick runs of Defeated Sanity’s earlier exhausting oeuvre fell blurry in early critical discussion.1 And while the brutal death loving scene at large may have found less issue with what Psalms of the Moribund up to Passages into Deformity offered in terms None So Vile-indebted,2 frenzied groove, 2016’s Disposal of the Dead // Dharmata cemented with a two-pronged approach Defeated Sanity’s tonal heaviness and technical prowess. From humble roots as a father-son project between kit commander Lille Gruber and now departed jazz journeyman Wolfgang Teske, these German slam summoners have grown alongside post-Suffocation flagbearers like the shred-snappy Dying Fetus and hammer-wielding Devourment in a manner far more rhythmically studied. Growth as a concept, though, in this genre which pursues with relentless, murderous intent the swinging arms and whipping necks of its consumers, can present in forms contradictory to its primal base of mouth-frothing riff drags.

Yet, the chase towards the limits of extremity has defined both the trajectory of brutal death metal and Defeated Sanity. In turn, 2020’s career high mark The Sanguinary Impetus expanded upon Defeated Sanity’s frenetic, gutter-tuned madness and jazzy, warm, nimble-footed stimulations through the engineering expertise of extreme metal’s greatest ally, Colin Marston (Krallice, Gorguts),3 allowing the impact of Defeated Sanity’s free brutality to land with frightening precision. Organic and cutting, Gruber’s kit—already a known highlight in the Defeated Sanity brand—finds dynamic tones that separate gravity-rated snare rolls from rimshot murder calls, push synth toms that evoke a Peart/Reinart bouncing homage (Rush, Cynic, respectively, particularly on the outro to “Temporal Disintegration”)4, and spread cymbal accents that kiss the edges of the soundscape to dissipate the madness. Marston’s fuller control over Chronicles manages chaos while still showcasing the depth of play that Defeated Sanity possesses.

In reaction to the preceding overdosed-on-Watchtower expedition, Chronicles stomps with its steel-toes caked in Suffocation-by-jazz-graduates fervor, serving stank, slam, and snare-drills in equal and obnoxious measure (“The Odour of Sanctity,” “Extrinsically Enraged”). None of what Chronicles has festered in the Defeated Sanity think tank plays worlds different than previous work, but its leanness and excess in detail forces repeated, engaging listens. For the unbaptized, speed-adorned, hammering snare runs break open the brutal death flood gates and reinvigorate its half-time crawls with little concern for whether the listener will be able to hang along for the breakneck ride (“Amputationsdrang,” “Accelerating the Rot,” “A Patriarchy Perverse”). Oh, and those crawls, engorged and dripping with a primal passion, land often with all the calamitous force that Defeated Sanity promises.

But for all the rage and ragged riffcraft that Defeated Sanity splays about the festering crooks and scabbed-over crannies of Chronicles, their undeniable attachment to groove as an anchor remains vital to success. The guitar work across any Defeated Sanity album comes second in technicality to Gruber and longtime bassist Jacob Schmidt. But its ability to punctuate rumbling, fret-clanging pulses with a percussive treble accent (“Temporal Disintegration,” “Extrinsically Enraged”), or dance about Gruber’s best Bobby Jarzombek (Spastic Ink, Fates Warning) impressions (“Condemned to Vascular Famine”) and hellish blasts (“Amputationsdrag,” “Accelerating…”), gives Chronicles an amplified weight that it needs. Defeated Sanity’s continued mission to layer rhythm upon rhythm upon rhythm—including vocalist Josh Welshman’s poetically metered, putrid, and unintelligible spews—finds an important tether in this thoughtful technicality.

Brutal death metal at its most basic level expresses the aggression of death metal through lenses of increasing absurdity and Defeated Sanity’s continued refinement of their devious dialogues tethers with ease the listener to their every wile. Whether brief like the grinding intro of “Amputationsdrang” or extended like the techy spasm of the penultimate “Condemned to Vascular Famine,” each run on Chronicles of Lunacy comes loaded with more impressive moments than any listener could hope to remember in entirety. But the beauty in the snarling and crushing atmosphere that Defeated Sanity creates exists in its ability to switch from knuckle-scraping slam to finger-testing climb as if all were one from the beginning. Chronicles of Lunacy, as a honed interpretation of Defeated Sanity already proven métier, finds an easy spot in the upper tier of their storied catalog—and it doubles as a killer neck exercise.

Rating: 4.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Season of Mist | Bandcamp
Websites: defeatedsanity.bandcamp.com | facebook.com/DefeatedSanity
Releases Worldwide: November 22nd, 2024

Maddog

Three decades in, Defeated Sanity remains just out of reach of convenient descriptors. They’re too proggy to be Cryptopsy, but far too brutal for Death; too slammy for Suffocation, but too riffy for Wormed; neither noodly enough for Origin nor grindy enough for Dying Fetus. A distinctive medley of familiar pieces, Defeated Sanity has always targeted maximum brutality, in both their caveman slam breaks and their superhuman technical flourishes. This has resulted in one of brutal death metal’s most unassailable discographies; even their most recent album The Sanguinary Impetus earned a 4.0 and a handful of list spots in 2020. Its follow-up Chronicles of Lunacy charts charted waters, but it’s a jolt of adrenaline nonetheless.

Defeated Sanity’s signatures swirl together on Chronicles of Lunacy. Despite picking up a new lead guitarist in Vaughn Stoffey (whose main cred appears to be an adjunct professorship in jazz guitar), the band’s guitarwork is as fearsome as ever. Chronicles’ most technical riffs maintain a strong sense of melody, even in their syncopated flailing. Brutal near-OSDM sections offer a respite, interspersed with bouts of slam. Defeated Sanity’s prog proclivities are tasteful but omnipresent, like the jazzy outro of “Temporal Distintegration” and the off-kilter rhythms of the opener “Amputationsdrang.” Indeed, while there are more differences than similarities, Defeated Sanity remains mandatory listening for fans of Human-era Death. Long-time bassist Jacob Schmidt holds it all together, with vivid bass lines that thump without farting.5 And as always, Lille Gruber’s drums marry the rhythmic prowess of Mike Smith (Suffocation) with the snare-heavy circus act of Flo Mounier (Cryptopsy). Every member of Defeated Sanity balances high-brow compositional wizardry with serf-friendly jams.

Even at its most unhinged, Chronicles of Lunacy is impossible to tune out. Defeated Sanity has cracked the code; the secret to musical success is to sound both interesting and thrilling. Parts of Chronicles lean one way or the other, like the mesmerizing drum patterns of “Condemned to Vascular Famine” and the shameless slam of “Accelerating the Rot.” But the album’s triumph is its ability to blur the line among its diverse strengths. Miraculously, one of its most memorable riffs is the opening of “Temporal Disintegration,” whose Wormed melody slays despite its indecipherable rhythm. Similarly, Defeated Sanity’s breakdowns use a strong sense of melody to escape slam’s typical idiocy (“Condemned to Vascular Famine”). A chunk of credit goes to Colin Marston’s production job. Marston’s talent is undisputed, but he outdoes himself with a lush guitar sound that honors both Defeated Sanity’s cutting riffs and their technical spectacles. Despite its twists and turns, Chronicles of Lunacy has lodged in my memory much more than I’d expected.

But if you blink, you might miss it. While Chronicles teeters on the edge of lunacy through much of its runtime, it sometimes steps over the edge. The album’s earlier cuts suffer the most, sometimes leaving me confused about how their chaotic pieces fit together (“The Odour of Sanctity”). More generally, when songs shapeshift so frequently, they can lose their sense of identity. For example, while “Extrinsically Enraged” blends Killing on Adrenaline and Pierced from Within riffs that each drag me in, its hectic mix of ideas makes the track less recognizable. Still, these are outliers in a record that otherwise showcases thoughtful writing. Gruber’s drum shenanigans superglue disparate sections together, as do the expertly executed fade-in melodies (“Condemned to Vascular Famine”). The closer “Heredity Violated” deserves special mention, with a climactic introduction, a skull-shattering main riff, and an ebb and flow that make it my favorite closer of 2024. Overall, Chronicles of Lunacy’s loose seams are just small holes in a tight-knit garment.

With bands like Wormed, Noxis, and Nile churning out stellar releases in 2024, brutal death metal has already given us more than we deserve. Defeated Sanity’s latest is just the cherry on top. Sanity’s Lunacy rewards patience, and its frenzied darting between technicality and brutality is a head-scratcher even after weeks of attention. But I’ll be damned if it isn’t one of 2024’s most endearing death metal releases.

Rating: 4.0/5.0

#2024 #40 #BrutalDeathMetal #ChroniclesOfLunacy #Cryptopsy #Death #DeathMetal #DefeatedSanity #Devourment #DyingFetus #GermanMetal #Nov24 #Origin #ProgressiveDeathMetal #Review #Reviews #SeasonOfMist #SpasticInk #Suffocation #TechnicalBrutalDeathMetal #TechnicalDeathMetal #Watchtower #Wormed

Defeated Sanity – Chronicles of Lunacy Review

By Dolphin Whisperer

The scattering guitar stabbings and inertia-rupturing kick runs of Defeated Sanity’s earlier exhausting oeuvre fell blurry in early critical discussion.1 And while the brutal death loving scene at large may have found less issue with what Psalms of the Moribund up to Passages into Deformity offered in terms None So Vile-indebted,2 frenzied groove, 2016’s Disposal of the Dead // Dharmata cemented with a two-pronged approach Defeated Sanity’s tonal heaviness and technical prowess. From humble roots as a father-son project between kit commander Lille Gruber and now departed jazz journeyman Wolfgang Teske, these German slam summoners have grown alongside post-Suffocation flagbearers like the shred-snappy Dying Fetus and hammer-wielding Devourment in a manner far more rhythmically studied. Growth as a concept, though, in this genre which pursues with relentless, murderous intent the swinging arms and whipping necks of its consumers, can present in forms contradictory to its primal base of mouth-frothing riff drags.

Yet, the chase towards the limits of extremity has defined both the trajectory of brutal death metal and Defeated Sanity. In turn, 2020’s career high mark The Sanguinary Impetus expanded upon Defeated Sanity’s frenetic, gutter-tuned madness and jazzy, warm, nimble-footed stimulations through the engineering expertise of extreme metal’s greatest ally, Colin Marston (Krallice, Gorguts),3 allowing the impact of Defeated Sanity’s free brutality to land with frightening precision. Organic and cutting, Gruber’s kit—already a known highlight in the Defeated Sanity brand—finds dynamic tones that separate gravity-rated snare rolls from rimshot murder calls, push synth toms that evoke a Peart/Reinart bouncing homage (Rush, Cynic, respectively, particularly on the outro to “Temporal Disintegration”)4, and spread cymbal accents that kiss the edges of the soundscape to dissipate the madness. Marston’s fuller control over Chronicles manages chaos while still showcasing the depth of play that Defeated Sanity possesses.

In reaction to the preceding overdosed-on-Watchtower expedition, Chronicles stomps with its steel-toes caked in Suffocation-by-jazz-graduates fervor, serving stank, slam, and snare-drills in equal and obnoxious measure (“The Odour of Sanctity,” “Extrinsically Enraged”). None of what Chronicles has festered in the Defeated Sanity think tank plays worlds different than previous work, but its leanness and excess in detail forces repeated, engaging listens. For the unbaptized, speed-adorned, hammering snare runs break open the brutal death flood gates and reinvigorate its half-time crawls with little concern for whether the listener will be able to hang along for the breakneck ride (“Amputationsdrang,” “Accelerating the Rot,” “A Patriarchy Perverse”). Oh, and those crawls, engorged and dripping with a primal passion, land often with all the calamitous force that Defeated Sanity promises.

But for all the rage and ragged riffcraft that Defeated Sanity splays about the festering crooks and scabbed-over crannies of Chronicles, their undeniable attachment to groove as an anchor remains vital to success. The guitar work across any Defeated Sanity album comes second in technicality to Gruber and longtime bassist Jacob Schmidt. But its ability to punctuate rumbling, fret-clanging pulses with a percussive treble accent (“Temporal Disintegration,” “Extrinsically Enraged”), or dance about Gruber’s best Bobby Jarzombek (Spastic Ink, Fates Warning) impressions (“Condemned to Vascular Famine”) and hellish blasts (“Amputationsdrag,” “Accelerating…”), gives Chronicles an amplified weight that it needs. Defeated Sanity’s continued mission to layer rhythm upon rhythm upon rhythm—including vocalist Josh Welshman’s poetically metered, putrid, and unintelligible spews—finds an important tether in this thoughtful technicality.

Brutal death metal at its most basic level expresses the aggression of death metal through lenses of increasing absurdity and Defeated Sanity’s continued refinement of their devious dialogues tethers with ease the listener to their every wile. Whether brief like the grinding intro of “Amputationsdrang” or extended like the techy spasm of the penultimate “Condemned to Vascular Famine,” each run on Chronicles of Lunacy comes loaded with more impressive moments than any listener could hope to remember in entirety. But the beauty in the snarling and crushing atmosphere that Defeated Sanity creates exists in its ability to switch from knuckle-scraping slam to finger-testing climb as if all were one from the beginning. Chronicles of Lunacy, as a honed interpretation of Defeated Sanity already proven métier, finds an easy spot in the upper tier of their storied catalog—and it doubles as a killer neck exercise.

Rating: 4.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Season of Mist | Bandcamp
Websites: defeatedsanity.bandcamp.com | facebook.com/DefeatedSanity
Releases Worldwide: November 22nd, 2024

Maddog

Three decades in, Defeated Sanity remains just out of reach of convenient descriptors. They’re too proggy to be Cryptopsy, but far too brutal for Death; too slammy for Suffocation, but too riffy for Wormed; neither noodly enough for Origin nor grindy enough for Dying Fetus. A distinctive medley of familiar pieces, Defeated Sanity has always targeted maximum brutality, in both their caveman slam breaks and their superhuman technical flourishes. This has resulted in one of brutal death metal’s most unassailable discographies; even their most recent album The Sanguinary Impetus earned a 4.0 and a handful of list spots in 2020. Its follow-up Chronicles of Lunacy charts charted waters, but it’s a jolt of adrenaline nonetheless.

Defeated Sanity’s signatures swirl together on Chronicles of Lunacy. Despite picking up a new lead guitarist in Vaughn Stoffey (whose main cred appears to be an adjunct professorship in jazz guitar), the band’s guitarwork is as fearsome as ever. Chronicles’ most technical riffs maintain a strong sense of melody, even in their syncopated flailing. Brutal near-OSDM sections offer a respite, interspersed with bouts of slam. Defeated Sanity’s prog proclivities are tasteful but omnipresent, like the jazzy outro of “Temporal Distintegration” and the off-kilter rhythms of the opener “Amputationsdrang.” Indeed, while there are more differences than similarities, Defeated Sanity remains mandatory listening for fans of Human-era Death. Long-time bassist Jacob Schmidt holds it all together, with vivid bass lines that thump without farting.5 And as always, Lille Gruber’s drums marry the rhythmic prowess of Mike Smith (Suffocation) with the snare-heavy circus act of Flo Mounier (Cryptopsy). Every member of Defeated Sanity balances high-brow compositional wizardry with serf-friendly jams.

Even at its most unhinged, Chronicles of Lunacy is impossible to tune out. Defeated Sanity has cracked the code; the secret to musical success is to sound both interesting and thrilling. Parts of Chronicles lean one way or the other, like the mesmerizing drum patterns of “Condemned to Vascular Famine” and the shameless slam of “Accelerating the Rot.” But the album’s triumph is its ability to blur the line among its diverse strengths. Miraculously, one of its most memorable riffs is the opening of “Temporal Disintegration,” whose Wormed melody slays despite its indecipherable rhythm. Similarly, Defeated Sanity’s breakdowns use a strong sense of melody to escape slam’s typical idiocy (“Condemned to Vascular Famine”). A chunk of credit goes to Colin Marston’s production job. Marston’s talent is undisputed, but he outdoes himself with a lush guitar sound that honors both Defeated Sanity’s cutting riffs and their technical spectacles. Despite its twists and turns, Chronicles of Lunacy has lodged in my memory much more than I’d expected.

But if you blink, you might miss it. While Chronicles teeters on the edge of lunacy through much of its runtime, it sometimes steps over the edge. The album’s earlier cuts suffer the most, sometimes leaving me confused about how their chaotic pieces fit together (“The Odour of Sanctity”). More generally, when songs shapeshift so frequently, they can lose their sense of identity. For example, while “Extrinsically Enraged” blends Killing on Adrenaline and Pierced from Within riffs that each drag me in, its hectic mix of ideas makes the track less recognizable. Still, these are outliers in a record that otherwise showcases thoughtful writing. Gruber’s drum shenanigans superglue disparate sections together, as do the expertly executed fade-in melodies (“Condemned to Vascular Famine”). The closer “Heredity Violated” deserves special mention, with a climactic introduction, a skull-shattering main riff, and an ebb and flow that make it my favorite closer of 2024. Overall, Chronicles of Lunacy’s loose seams are just small holes in a tight-knit garment.

With bands like Wormed, Noxis, and Nile churning out stellar releases in 2024, brutal death metal has already given us more than we deserve. Defeated Sanity’s latest is just the cherry on top. Sanity’s Lunacy rewards patience, and its frenzied darting between technicality and brutality is a head-scratcher even after weeks of attention. But I’ll be damned if it isn’t one of 2024’s most endearing death metal releases.

Rating: 4.0/5.0

#2024 #40 #BrutalDeathMetal #ChroniclesOfLunacy #Cryptopsy #Death #DeathMetal #DefeatedSanity #Devourment #DyingFetus #GermanMetal #Nov24 #Origin #ProgressiveDeathMetal #Review #Reviews #SeasonOfMist #SpasticInk #Suffocation #TechnicalBrutalDeathMetal #TechnicalDeathMetal #Watchtower #Wormed

Defeated Sanity – Chronicles of Lunacy Review

By Dolphin Whisperer

The scattering guitar stabbings and inertia-rupturing kick runs of Defeated Sanity’s earlier exhausting oeuvre fell blurry in early critical discussion.1 And while the brutal death loving scene at large may have found less issue with what Psalms of the Moribund up to Passages into Deformity offered in terms None So Vile-indebted,2 frenzied groove, 2016’s Disposal of the Dead // Dharmata cemented with a two-pronged approach Defeated Sanity’s tonal heaviness and technical prowess. From humble roots as a father-son project between kit commander Lille Gruber and now departed jazz journeyman Wolfgang Teske, these German slam summoners have grown alongside post-Suffocation flagbearers like the shred-snappy Dying Fetus and hammer-wielding Devourment in a manner far more rhythmically studied. Growth as a concept, though, in this genre which pursues with relentless, murderous intent the swinging arms and whipping necks of its consumers, can present in forms contradictory to its primal base of mouth-frothing riff drags.

Yet, the chase towards the limits of extremity has defined both the trajectory of brutal death metal and Defeated Sanity. In turn, 2020’s career high mark The Sanguinary Impetus expanded upon Defeated Sanity’s frenetic, gutter-tuned madness and jazzy, warm, nimble-footed stimulations through the engineering expertise of extreme metal’s greatest ally, Colin Marston (Krallice, Gorguts),3 allowing the impact of Defeated Sanity’s free brutality to land with frightening precision. Organic and cutting, Gruber’s kit—already a known highlight in the Defeated Sanity brand—finds dynamic tones that separate gravity-rated snare rolls from rimshot murder calls, push synth toms that evoke a Peart/Reinart bouncing homage (Rush, Cynic, respectively, particularly on the outro to “Temporal Disintegration”)4, and spread cymbal accents that kiss the edges of the soundscape to dissipate the madness. Marston’s fuller control over Chronicles manages chaos while still showcasing the depth of play that Defeated Sanity possesses.

In reaction to the preceding overdosed-on-Watchtower expedition, Chronicles stomps with its steel-toes caked in Suffocation-by-jazz-graduates fervor, serving stank, slam, and snare-drills in equal and obnoxious measure (“The Odour of Sanctity,” “Extrinsically Enraged”). None of what Chronicles has festered in the Defeated Sanity think tank plays worlds different than previous work, but its leanness and excess in detail forces repeated, engaging listens. For the unbaptized, speed-adorned, hammering snare runs break open the brutal death flood gates and reinvigorate its half-time crawls with little concern for whether the listener will be able to hang along for the breakneck ride (“Amputationsdrang,” “Accelerating the Rot,” “A Patriarchy Perverse”). Oh, and those crawls, engorged and dripping with a primal passion, land often with all the calamitous force that Defeated Sanity promises.

But for all the rage and ragged riffcraft that Defeated Sanity splays about the festering crooks and scabbed-over crannies of Chronicles, their undeniable attachment to groove as an anchor remains vital to success. The guitar work across any Defeated Sanity album comes second in technicality to Gruber and longtime bassist Jacob Schmidt. But its ability to punctuate rumbling, fret-clanging pulses with a percussive treble accent (“Temporal Disintegration,” “Extrinsically Enraged”), or dance about Gruber’s best Bobby Jarzombek (Spastic Ink, Fates Warning) impressions (“Condemned to Vascular Famine”) and hellish blasts (“Amputationsdrag,” “Accelerating…”), gives Chronicles an amplified weight that it needs. Defeated Sanity’s continued mission to layer rhythm upon rhythm upon rhythm—including vocalist Josh Welshman’s poetically metered, putrid, and unintelligible spews—finds an important tether in this thoughtful technicality.

Brutal death metal at its most basic level expresses the aggression of death metal through lenses of increasing absurdity and Defeated Sanity’s continued refinement of their devious dialogues tethers with ease the listener to their every wile. Whether brief like the grinding intro of “Amputationsdrang” or extended like the techy spasm of the penultimate “Condemned to Vascular Famine,” each run on Chronicles of Lunacy comes loaded with more impressive moments than any listener could hope to remember in entirety. But the beauty in the snarling and crushing atmosphere that Defeated Sanity creates exists in its ability to switch from knuckle-scraping slam to finger-testing climb as if all were one from the beginning. Chronicles of Lunacy, as a honed interpretation of Defeated Sanity already proven métier, finds an easy spot in the upper tier of their storied catalog—and it doubles as a killer neck exercise.

Rating: 4.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Season of Mist | Bandcamp
Websites: defeatedsanity.bandcamp.com | facebook.com/DefeatedSanity
Releases Worldwide: November 22nd, 2024

Maddog

Three decades in, Defeated Sanity remains just out of reach of convenient descriptors. They’re too proggy to be Cryptopsy, but far too brutal for Death; too slammy for Suffocation, but too riffy for Wormed; neither noodly enough for Origin nor grindy enough for Dying Fetus. A distinctive medley of familiar pieces, Defeated Sanity has always targeted maximum brutality, in both their caveman slam breaks and their superhuman technical flourishes. This has resulted in one of brutal death metal’s most unassailable discographies; even their most recent album The Sanguinary Impetus earned a 4.0 and a handful of list spots in 2020. Its follow-up Chronicles of Lunacy charts charted waters, but it’s a jolt of adrenaline nonetheless.

Defeated Sanity’s signatures swirl together on Chronicles of Lunacy. Despite picking up a new lead guitarist in Vaughn Stoffey (whose main cred appears to be an adjunct professorship in jazz guitar), the band’s guitarwork is as fearsome as ever. Chronicles’ most technical riffs maintain a strong sense of melody, even in their syncopated flailing. Brutal near-OSDM sections offer a respite, interspersed with bouts of slam. Defeated Sanity’s prog proclivities are tasteful but omnipresent, like the jazzy outro of “Temporal Distintegration” and the off-kilter rhythms of the opener “Amputationsdrang.” Indeed, while there are more differences than similarities, Defeated Sanity remains mandatory listening for fans of Human-era Death. Long-time bassist Jacob Schmidt holds it all together, with vivid bass lines that thump without farting.5 And as always, Lille Gruber’s drums marry the rhythmic prowess of Mike Smith (Suffocation) with the snare-heavy circus act of Flo Mounier (Cryptopsy). Every member of Defeated Sanity balances high-brow compositional wizardry with serf-friendly jams.

Even at its most unhinged, Chronicles of Lunacy is impossible to tune out. Defeated Sanity has cracked the code; the secret to musical success is to sound both interesting and thrilling. Parts of Chronicles lean one way or the other, like the mesmerizing drum patterns of “Condemned to Vascular Famine” and the shameless slam of “Accelerating the Rot.” But the album’s triumph is its ability to blur the line among its diverse strengths. Miraculously, one of its most memorable riffs is the opening of “Temporal Disintegration,” whose Wormed melody slays despite its indecipherable rhythm. Similarly, Defeated Sanity’s breakdowns use a strong sense of melody to escape slam’s typical idiocy (“Condemned to Vascular Famine”). A chunk of credit goes to Colin Marston’s production job. Marston’s talent is undisputed, but he outdoes himself with a lush guitar sound that honors both Defeated Sanity’s cutting riffs and their technical spectacles. Despite its twists and turns, Chronicles of Lunacy has lodged in my memory much more than I’d expected.

But if you blink, you might miss it. While Chronicles teeters on the edge of lunacy through much of its runtime, it sometimes steps over the edge. The album’s earlier cuts suffer the most, sometimes leaving me confused about how their chaotic pieces fit together (“The Odour of Sanctity”). More generally, when songs shapeshift so frequently, they can lose their sense of identity. For example, while “Extrinsically Enraged” blends Killing on Adrenaline and Pierced from Within riffs that each drag me in, its hectic mix of ideas makes the track less recognizable. Still, these are outliers in a record that otherwise showcases thoughtful writing. Gruber’s drum shenanigans superglue disparate sections together, as do the expertly executed fade-in melodies (“Condemned to Vascular Famine”). The closer “Heredity Violated” deserves special mention, with a climactic introduction, a skull-shattering main riff, and an ebb and flow that make it my favorite closer of 2024. Overall, Chronicles of Lunacy’s loose seams are just small holes in a tight-knit garment.

With bands like Wormed, Noxis, and Nile churning out stellar releases in 2024, brutal death metal has already given us more than we deserve. Defeated Sanity’s latest is just the cherry on top. Sanity’s Lunacy rewards patience, and its frenzied darting between technicality and brutality is a head-scratcher even after weeks of attention. But I’ll be damned if it isn’t one of 2024’s most endearing death metal releases.

Rating: 4.0/5.0

#2024 #40 #BrutalDeathMetal #ChroniclesOfLunacy #Cryptopsy #Death #DeathMetal #DefeatedSanity #Devourment #DyingFetus #GermanMetal #Nov24 #Origin #ProgressiveDeathMetal #Review #Reviews #SeasonOfMist #SpasticInk #Suffocation #TechnicalBrutalDeathMetal #TechnicalDeathMetal #Watchtower #Wormed

Wormed – Omegon Review

By Maddog

It awakens. Hope dies. Well-rested after an eight-year slumber since Krighsu, Wormed boots up. Programmed for violence, its processor whirs as it hones in on your location. It finds you in minutes; hiding in the alley behind St. Vitus wasn’t your best move. As soon as you spot its piercing red eyes, you realize the jig is up. In that split second, you see Wormed’s sculpted metal features gleaming in the midnight neon, like a steel diagram of the muscular system. You don’t know its Origin. All you know is that you have to run. So you run.

It chases. You cut southeast to throw it off, but Omegon stays on your tail with superhuman speed. Crunchy technical riffs evoke Cryptopsy on Adderall, developing at a breakneck pace and switching rhythms mid-measure. These tech death bloodbaths erupt into the slammiest of slam (“Automaton Virtulague”). Punishing slam flirts with haunting melodies, elopes with uplifting blackgaze, and abandons it at the altar (“Virtual Teratogenesis”). Omegon’s scattered serene melodies disintegrate into noise (“Malignant Nexus”) or get gunned down by riffs (“Omegon”). Indeed, you gloat prematurely, Omegon’s occasional attempts to slow down do it no favors. Speed and precision are Wormed’s game, and the band’s brutal death metal assault hasn’t been copycatted in the two decades since Planisphærium. You hook right and skirt The Kingsland, hoping the sleepy residential darkness can conceal you from Omegon.

It twists and turns, but keeps its footing. Not content to be merely a speed demon, Omegon outwits you. On first glance, Omegon’s chaotic evolution seems scatterbrained. But it’s not scatterbrained; you are.1 Countless listens reveal that Omegon’s frenzied melodies never just emerge from the ether, even when it seems otherwise. Wormed always plants seeds in advance, before developing dormant ideas into lethal climaxes (“Protogod”). Omegon’s fluid dystopian storytelling makes it easy to identify and adore specific sections, no matter their density. As you sprint for your life, you notice details that would ordinarily elude you. The wilting iris in the community garden, the two gray Jeeps with shattered taillights, the manic disso-doom of “Pareidolia Robotica,” the foreshadowing of the Meshuggah ending of “Aetheric Transdimensionalization.” Over-stimulated, your brain notices a crack in the sidewalk, but your feet are too slow to get the message. The world spins, concrete clobbers your chin, and fear gives way to resignation. As Wormed looms over you, you get a closer look and realize your error. Beneath Omegon’s metal armor and scarlet gaze, you see flesh. Your mysterious captor is no automaton. Omegon’s cybernetic ambush betrays as much human craftsmanship as mechanical precision. You grimace at the thought of what Wormed might do next.

It slams. Perfectly capable of pulverizing you with fancy technology, Wormed takes the caveman route first. Beating your torso with an out-of-character crowbar, Omegon’s barrage begins with the fantastic “Automaton Virtulague” and doesn’t let up. Wormed’s Pierced from Within riffs slam into oblivion and scratch an itch that’s usually limited to Suffocation (“Pareidolia Robotica”). While Omegon loves an old-fashioned bludgeoning, its techier pieces hit just as hard. With the demented opening of “Virtual Teratogenesis” and the arpeggiated soloing of “Gravitational Servo Matrix,” Wormed graduates from crowbar to chainsaw without sacrificing a shred of fun. Because Omegon flows so well, its headbangability persists even through its stupefying time signature changes. Wormed’s irresistible blend of Stone Age brutality and Space Age technicality launches them into the ranks of Gorod, Archspire, and Revocation, despite sounding worlds apart from those bands. The album’s power wanes as it proceeds; once it saws off one leg, the second one goes easier. But throughout its 41 minutes, the spectacle of Omegon holds you rapt.

Then, it vanishes. You jerk awake. Drenched in sweat and terror, your mind races over your fading nightmare. While Omegon’s minutia haven’t yet wormed into your memory—that won’t happen until your fifth listen—its hectic ambiance has. Confused and overwhelmed, you try to wipe Wormed from your mind. You distract yourself with Alcest, but it sounds frivolous now. You spin Ulcerate, but even that lacks Omegon’s chaos. Exasperated, you resort to Confessions on a Dance Floor, but its orderly rhythms pale before Wormed. You’ve deteriorated into Jeremy Renner in The Hurt Locker; having experienced violence once, you’ve fallen in love with it, and nothing else compares. You realize now what you must do.

It awakens.

Rating: 4.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Season of Mist Records
Websites: wormed.bandcamp.com | facebook.com/wormed
Releases Worldwide: July 5th, 2024

#2024 #45 #Archspire #BrutalDeathMetal #Cryptopsy #DeathMetal #DissonantDeathMetal #Gorod #Jul24 #Meshuggah #Omegon #Origin #Review #Reviews #Revocation #SeasonOfMist #SeasonOfMistRecords #Slam #SpanishMetal #Suffocation #TechnicalBrutalDeathMetal #TechnicalDeathMetal #Ulcerate #Wormed

Wormed – Omegon Review

By Maddog

It awakens. Hope dies. Well-rested after an eight-year slumber since Krighsu, Wormed boots up. Programmed for violence, its processor whirs as it hones in on your location. It finds you in minutes; hiding in the alley behind St. Vitus wasn’t your best move. As soon as you spot its piercing red eyes, you realize the jig is up. In that split second, you see Wormed’s sculpted metal features gleaming in the midnight neon, like a steel diagram of the muscular system. You don’t know its Origin. All you know is that you have to run. So you run.

It chases. You cut southeast to throw it off, but Omegon stays on your tail with superhuman speed. Crunchy technical riffs evoke Cryptopsy on Adderall, developing at a breakneck pace and switching rhythms mid-measure. These tech death bloodbaths erupt into the slammiest of slam (“Automaton Virtulague”). Punishing slam flirts with haunting melodies, elopes with uplifting blackgaze, and abandons it at the altar (“Virtual Teratogenesis”). Omegon’s scattered serene melodies disintegrate into noise (“Malignant Nexus”) or get gunned down by riffs (“Omegon”). Indeed, you gloat prematurely, Omegon’s occasional attempts to slow down do it no favors. Speed and precision are Wormed’s game, and the band’s brutal death metal assault hasn’t been copycatted in the two decades since Planisphærium. You hook right and skirt The Kingsland, hoping the sleepy residential darkness can conceal you from Omegon.

It twists and turns, but keeps its footing. Not content to be merely a speed demon, Omegon outwits you. On first glance, Omegon’s chaotic evolution seems scatterbrained. But it’s not scatterbrained; you are.1 Countless listens reveal that Omegon’s frenzied melodies never just emerge from the ether, even when it seems otherwise. Wormed always plants seeds in advance, before developing dormant ideas into lethal climaxes (“Protogod”). Omegon’s fluid dystopian storytelling makes it easy to identify and adore specific sections, no matter their density. As you sprint for your life, you notice details that would ordinarily elude you. The wilting iris in the community garden, the two gray Jeeps with shattered taillights, the manic disso-doom of “Pareidolia Robotica,” the foreshadowing of the Meshuggah ending of “Aetheric Transdimensionalization.” Over-stimulated, your brain notices a crack in the sidewalk, but your feet are too slow to get the message. The world spins, concrete clobbers your chin, and fear gives way to resignation. As Wormed looms over you, you get a closer look and realize your error. Beneath Omegon’s metal armor and scarlet gaze, you see flesh. Your mysterious captor is no automaton. Omegon’s cybernetic ambush betrays as much human craftsmanship as mechanical precision. You grimace at the thought of what Wormed might do next.

It slams. Perfectly capable of pulverizing you with fancy technology, Wormed takes the caveman route first. Beating your torso with an out-of-character crowbar, Omegon’s barrage begins with the fantastic “Automaton Virtulague” and doesn’t let up. Wormed’s Pierced from Within riffs slam into oblivion and scratch an itch that’s usually limited to Suffocation (“Pareidolia Robotica”). While Omegon loves an old-fashioned bludgeoning, its techier pieces hit just as hard. With the demented opening of “Virtual Teratogenesis” and the arpeggiated soloing of “Gravitational Servo Matrix,” Wormed graduates from crowbar to chainsaw without sacrificing a shred of fun. Because Omegon flows so well, its headbangability persists even through its stupefying time signature changes. Wormed’s irresistible blend of Stone Age brutality and Space Age technicality launches them into the ranks of Gorod, Archspire, and Revocation, despite sounding worlds apart from those bands. The album’s power wanes as it proceeds; once it saws off one leg, the second one goes easier. But throughout its 41 minutes, the spectacle of Omegon holds you rapt.

Then, it vanishes. You jerk awake. Drenched in sweat and terror, your mind races over your fading nightmare. While Omegon’s minutia haven’t yet wormed into your memory—that won’t happen until your fifth listen—its hectic ambiance has. Confused and overwhelmed, you try to wipe Wormed from your mind. You distract yourself with Alcest, but it sounds frivolous now. You spin Ulcerate, but even that lacks Omegon’s chaos. Exasperated, you resort to Confessions on a Dance Floor, but its orderly rhythms pale before Wormed. You’ve deteriorated into Jeremy Renner in The Hurt Locker; having experienced violence once, you’ve fallen in love with it, and nothing else compares. You realize now what you must do.

It awakens.

Rating: 4.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Season of Mist Records
Websites: wormed.bandcamp.com | facebook.com/wormed
Releases Worldwide: July 5th, 2024

#2024 #45 #Archspire #BrutalDeathMetal #Cryptopsy #DeathMetal #DissonantDeathMetal #Gorod #Jul24 #Meshuggah #Omegon #Origin #Review #Reviews #Revocation #SeasonOfMist #SeasonOfMistRecords #Slam #SpanishMetal #Suffocation #TechnicalBrutalDeathMetal #TechnicalDeathMetal #Ulcerate #Wormed

Fractal Generator – Convergence Review

By Dear Hollow

Fractal Generator has always tortured me. 2020 debut Macrocosmos was an affair that I gave a 4.0 to, not because it convinced me of its excellence, but the Sudbury, Ontario trio convinced me of its complete lack of wrongness. I felt obligated to give it high marks because I could not see a flaw, but it did not capture my heart enough to award it a spot at year’s end. The issue was that, in spite of my praises of accessibility, the brutal passage of time found that Macrocosmos operated a relentlessly riffy and punishingly dissonant deathgrind with a surgical precision and faceless sterility that effectively robbed it of its humanity. Four years later we are faced with the forbidden knowledge of its follow-up, Convergence.

Old habits die hard, and Fractal Generator should not let their hard-hitting blend of dissonant death metal and deathgrind die. They’ve always encapsulated crawling Portal-esque dissonant sensibilities and Gigan-inspired sci-fi avant-gardisms – but fed through the Benighted machine. Serocs is a fair comparison, complete with triumphant atmospheres amid blasting tempos, and Convergence finds a newly honed balance and enriched textures that make it feel more like a passage through fantastical alien worlds and unknowable dimensions. It nonetheless lacks that humanity needed to meet us where we are, but Fractal Generator will kick your ass heartily with dissonance and riffs all year long.

There’s very little reprieve on Convergence, like any good deathgrind worth its mettle. Fractal Generator utilizes thick bludgeoning riffs to make its point, then sorely beating you over the head with dissonant leads, while synths, choral keys, and ambiance peak out amid the towering punishment like curious extraterrestrials. Riffs are the real world-eaters, however, as tracks “Cryogenian,” the title track, and “Obelisk” offer cutthroat insanity and frantic intensity that hit with the weight of colliding stars. Dwelling in warped melodics, “Askesis,” “Ancient Civilizations,” “Xiphoid” and closer “Encephalon” put scathing dissonance and squealing pinch harmonics ahead of chunky riffs, adding greater avant-garde weight to the intensity. Contrary to Macrocosmos, Fractal Generator manages to add honed dynamics, as tracks like “Ciphertext,” “Obelisk,” and opener “Cryogenian” infuse more atmospheric tricks that add greater contrast to the punishment, making them excellent cosmic mile markers in galaxies riddled with brutality. Contrary to Macrocosmos, Convergence is a far denser affair, which fits its more destructive tendencies, as brutal death metal’s familiarly squelching guitar gurgle is far more actualized.

Fractal Generator’s motto is “loud and proud and weird,” and with its scant appearances of wonky atmosphere, Convergence still manages to create something completely alien. While calling the act “the deathgrind Artificial Brain” is fair in theory, Fractal Generator still adheres to its sterile depiction. While the denser production fits the deathgrind a la cosmicism mold, it also creates more of an issue with the audibility of some elements, as tracks like “Convergence” and “Algorithmic Pathways” find leads and snare drowned out in the thicker interpretation, worsened further by abrupt passage and tonal shifts. Perhaps unsurprising, vocals are largely one-dimensional throughout Convergence, relying on a subterranean roar, while bass remains nearly nonexistent.

In spite of its more suffocating feel, Convergence feels far more dangerous than its predecessor, vicious and refined compared to Macrocosmos’ strange blend of organic breathability and sterile precision. Fractal Generator’s sound is unique, its dissonance-on-alien-steroids formula slowly making solar waves in crowded deathgrind and dissonant death. Convergence is a step in the right direction, as it begins to cement its creators as the wrong divine and cosmic forces to fuck with, but Fractal Generator needs a connecting point to its audience beyond alien intensity and otherworldly squelching. Meantime, you can let this trio wreck you with the intensity of a thousand suns with Convergence.

Rating: 3.5/5.0
DR: 4 | Format Reviewed: 320 kbps mp3
Label: Everlasting Spew Records
Websites: fractalgeneratorofficial.bandcamp.com | facebook.com/fractualgeneratorofficial
Released Worldwide: June 6th, 2024

#2024 #35 #ArtificialBrain #Benighted #BrutalDeathMetal #CanadianMetal #Convergence #Deathgrind #DissonantDeathMetal #EverlastingSpewRecords #FractalGenerator #Gigan #Jun24 #Portal #Review #Reviews #Serocs #TechnicalBrutalDeathMetal #TechnicalDeathMetal

Fractal Generator – Convergence Review

By Dear Hollow

Fractal Generator has always tortured me. 2020 debut Macrocosmos was an affair that I gave a 4.0 to, not because it convinced me of its excellence, but the Sudbury, Ontario trio convinced me of its complete lack of wrongness. I felt obligated to give it high marks because I could not see a flaw, but it did not capture my heart enough to award it a spot at year’s end. The issue was that, in spite of my praises of accessibility, the brutal passage of time found that Macrocosmos operated a relentlessly riffy and punishingly dissonant deathgrind with a surgical precision and faceless sterility that effectively robbed it of its humanity. Four years later we are faced with the forbidden knowledge of its follow-up, Convergence.

Old habits die hard, and Fractal Generator should not let their hard-hitting blend of dissonant death metal and deathgrind die. They’ve always encapsulated crawling Portal-esque dissonant sensibilities and Gigan-inspired sci-fi avant-gardisms – but fed through the Benighted machine. Serocs is a fair comparison, complete with triumphant atmospheres amid blasting tempos, and Convergence finds a newly honed balance and enriched textures that make it feel more like a passage through fantastical alien worlds and unknowable dimensions. It nonetheless lacks that humanity needed to meet us where we are, but Fractal Generator will kick your ass heartily with dissonance and riffs all year long.

There’s very little reprieve on Convergence, like any good deathgrind worth its mettle. Fractal Generator utilizes thick bludgeoning riffs to make its point, then sorely beating you over the head with dissonant leads, while synths, choral keys, and ambiance peak out amid the towering punishment like curious extraterrestrials. Riffs are the real world-eaters, however, as tracks “Cryogenian,” the title track, and “Obelisk” offer cutthroat insanity and frantic intensity that hit with the weight of colliding stars. Dwelling in warped melodics, “Askesis,” “Ancient Civilizations,” “Xiphoid” and closer “Encephalon” put scathing dissonance and squealing pinch harmonics ahead of chunky riffs, adding greater avant-garde weight to the intensity. Contrary to Macrocosmos, Fractal Generator manages to add honed dynamics, as tracks like “Ciphertext,” “Obelisk,” and opener “Cryogenian” infuse more atmospheric tricks that add greater contrast to the punishment, making them excellent cosmic mile markers in galaxies riddled with brutality. Contrary to Macrocosmos, Convergence is a far denser affair, which fits its more destructive tendencies, as brutal death metal’s familiarly squelching guitar gurgle is far more actualized.

Fractal Generator’s motto is “loud and proud and weird,” and with its scant appearances of wonky atmosphere, Convergence still manages to create something completely alien. While calling the act “the deathgrind Artificial Brain” is fair in theory, Fractal Generator still adheres to its sterile depiction. While the denser production fits the deathgrind a la cosmicism mold, it also creates more of an issue with the audibility of some elements, as tracks like “Convergence” and “Algorithmic Pathways” find leads and snare drowned out in the thicker interpretation, worsened further by abrupt passage and tonal shifts. Perhaps unsurprising, vocals are largely one-dimensional throughout Convergence, relying on a subterranean roar, while bass remains nearly nonexistent.

In spite of its more suffocating feel, Convergence feels far more dangerous than its predecessor, vicious and refined compared to Macrocosmos’ strange blend of organic breathability and sterile precision. Fractal Generator’s sound is unique, its dissonance-on-alien-steroids formula slowly making solar waves in crowded deathgrind and dissonant death. Convergence is a step in the right direction, as it begins to cement its creators as the wrong divine and cosmic forces to fuck with, but Fractal Generator needs a connecting point to its audience beyond alien intensity and otherworldly squelching. Meantime, you can let this trio wreck you with the intensity of a thousand suns with Convergence.

Rating: 3.5/5.0
DR: 4 | Format Reviewed: 320 kbps mp3
Label: Everlasting Spew Records
Websites: fractalgeneratorofficial.bandcamp.com | facebook.com/fractualgeneratorofficial
Released Worldwide: June 6th, 2024

#2024 #35 #ArtificialBrain #Benighted #BrutalDeathMetal #CanadianMetal #Convergence #Deathgrind #DissonantDeathMetal #EverlastingSpewRecords #FractalGenerator #Gigan #Jun24 #Portal #Review #Reviews #Serocs #TechnicalBrutalDeathMetal #TechnicalDeathMetal

I'm listening to Algorithmic Salvation by The Zenith Passage

"Anthropologic degradation by a conscienceless consciousness
Misinformative discursion pandering to an unenlightened hеrd
Cacophonous grievance forming empty addicts to discrеpancy" 🤘

https://songwhip.com/The-Zenith-Passage/Algorithmic-Salvation

If the previous link doesn't work, try the next one:
https://open.spotify.com/track/2F5CzgmsnW9tKZY4bQZSnr

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#nowplaying #brutaldeathmetal #djent #sci-fimetal #technicalbrutaldeathmetal #technicaldeathmetal