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ARCHITECT OF SETH (França) presenta nou single: "Fortress of Injuries" #ArchitectOfSeth #TechnicalDeathMetal #Setembre2026 #França #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

ARCHITECT OF SETH (França) presenta nou single: "Fortress of Injuries" #ArchitectOfSeth #TechnicalDeathMetal #Setembre2026 #França #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

MONOCHROMATIC RESIDUA (Estats Units) presenta nou EP: "Forbidden Kaleidoscopic Abomination" #MonochromaticResidua #TechnicalDeathMetal #Setembre2026 #EstatsUnits #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

MONOCHROMATIC RESIDUA (Estats Units) presenta nou EP: "Forbidden Kaleidoscopic Abomination" #MonochromaticResidua #TechnicalDeathMetal #Setembre2026 #EstatsUnits #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

Aucausal Intrusion – Vomit Meditations Review

In an act of unconscious serendipity, shortly before beginning this review, I re-read Jean-Paul Sartre’s Nausea. The seren…
#NewsBeep #News #Music #2026 #3.5 #AcausalIntrusion #AdNauseum #AmericanMetal #BlackMetal #CosmicPutrefaction #DeathMetal #DissonantDeathMetal #Entertainment #experimentaldeathmetal #I #Portal #review #Reviews #Sep26 #technicaldeathmetal #UK #UnitedKingdom #VoidhangerRecords #VomitMeditations
https://www.newsbeep.com/uk/760414/

https://www.europesays.com/uk/1187169/ Aucausal Intrusion – Vomit Meditations Review #2026 #35 #AcausalIntrusion #AdNauseum #AmericanMetal #BlackMetal #CosmicPutrefaction #DeathMetal #DissonantDeathMetal #Entertainment #ExperimentalDeathMetal #I #music #Portal #Review #Reviews #Sep26 #TechnicalDeathMetal #UK #UnitedKingdom #VoidhangerRecords #VomitMeditations

ACAUSAL INTRUSION (Estats Units) presenta nou àlbum: "Vomit Meditations" #AcausalIntrusion #TechnicalDeathMetal #Setembre2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

ACAUSAL INTRUSION (Estats Units) presenta nou àlbum: "Vomit Meditations" #AcausalIntrusion #TechnicalDeathMetal #Setembre2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

In an act of unconscious serendipity, shortly before beginning this review, I re-read Jean-Paul Sartre’s Nausea. The serendipity is not in the proximity between Nausea and Vomit—though that’s also interesting—but in a particular manner of revelation. There’s a part in the book where our protagonist, suddenly seized by a violent attack of his titular malaise, rushes near-blindly through the streets, and his thoughts become fragmented into repetitive near-word-association as he begins to confront the horror of things existing.1 The lyrics of Acausal Intrusion’s fourth album, Vomit Meditations, are disjointed and uncanny in precisely this sense; reading them instantly linked these two works in my mind. The music itself is no less viscerally chaotic and confrontational, as the duo step into what’s possibly the heaviest and strangest iteration of their already intense and avant-garde sound so far—one which pairs perfectly with a life-altering existential crisis.

Vomit Meditations lives up to its moniker as it sees Acausal Intrusion’s signature hyper-dissonance and unsettling contemplativeness contorted into a bizarre series of violent spewings, punctuated by uneasy moments of reflective resonance, even beauty, to which Panpsychism’s doomier shades are confined, channeled through the acoustic and ambient. The free-jazz influence is stark, and not only in the prominence of piano in the album’s stiller passages (“Vomit Meditation,” “Psychic Abolishment”). Twisted guitar lines—more Cosmic Putrefaction or Ad Nauseum than Gorguts—writhe up and down and in and out of focus above the churning miasma of impossible tempos and abyssal belches—unheard this side of Portal—their seeming stochasticism belied as they coalesce into a shape more than their sum. Spasmodic scales and sudden lead switches from which one reflexively recoils start to make sense, and the real melodicisms that arise over the runtime grow more apparent. Recurring seizures of percussion grow hypnotic as the curve of their circularity becomes clear (“Convex Hidden Echoes”), and a ringing mass of wails and riffs rises until the overlapping tones produce the illusion of symphonics (“Psychic Abolishment”). The barrier to entry remains high, but the rewards are significant.

It’s in this paradox of chaotic reasoning where Vomit Meditations develops its vice grip. With alluring psychedelic rock (“Vomit Meditation”) it beckons its subject in, and with a chilling nocturne it leads them to the final, most awful revelation of all (“Psychic Abolishment”). With barely a beat between the unironic beauty and the hellish cacophony, the latter in particular gains near-transcendence. Although the album is marked by repeated 180-degree turns in rhythm (most aggressive on “Usurping Vaporous Primal Vibrations” and “Convex Hidden Echoes”), it has an unexplainable almost groove, which actually becomes explicit at times (“Vital Transformation”), and the endless about-turns and restless rolling and crashing morph into a hideously compelling dance (“Vomit Meditation,” “Requiem Murmur”). Once again, I struggle to believe drummer and vocalist Cave Ritual’s humanity, hearing such things. Although guitars jump in and out of focus (“Usurping…,” “Psychic Abolishment”) with riffs mostly possessing a stabbing, dragging, flailing discordance as though Nythroth’s fingers were strangling the very instrument used to produce them, their purpose never fails to manifest in the organic yet unpredictable shapes they create (“Convex…,” “Requiem Murmur”). Plus, there’s a lot more melody infused into the music than an uncritical ear would like to acknowledge (“Vomit Meditation,” “Vital Transformation”).

Vomit Meditations also largely improves on areas where previous records fell short. It flows with remarkable ease considering its freeform style and considerable 50-minute runtime and grows more compelling as it progresses. The second half’s superiority is arguably down to paying off what is better than the first in pacing, intrigue, and memorability, though arguably this is dependent on the first half having set up the themes it pays off. The production, continuing to be rich and dynamic for death metal but with the vocals and drums relatively forward, works better than it has previously. I’d recommend listening on a pair of good headphones that will enable you to catch the myriad horrors occurring within the soundscape. Nonetheless, the mix, as well as the relentless complexity and improvisational feel, will persist in alienating many listeners. Though Acausal Intrusion distinguish themselves from the ultra-extreme-for-extremity’s sake crowd by demonstrating that they can turn apparent randomness into a form of reason, they could perhaps tone it down just a tad.

Vomit Meditations is Acausal Intrusion’s best album. Some will interpret this as damning with faint praise an album in a discography otherwise too ugly and over the top to be good. I mean it quite differently. Vomit Meditations is violently, masochistically enjoyable and multifaceted and arresting, and it gets better on each spin. It requires a certain receptiveness—what experimental extreme metal doesn’t—and Acausal Intrusion will maintain a modest following, but its mania feels so deliciously meaningful I don’t even want to try escaping it.

Rating: Very Good2
DR: 8 | Format Reviewed: 256 kbps mp3
Label: I, Voidhanger Records
Website: Bandcamp | Facebook
Releases Worldwide: September 4th, 2026

In an act of unconscious serendipity, shortly before beginning this review, I re-read Jean-Paul Sartre’s Nausea. The serendipity is not in the proximity between Nausea and Vomit—though that’s also interesting—but in a particular manner of revelation. There’s a part in the book where our protagonist, suddenly seized by a violent attack of his titular malaise, rushes near-blindly through the streets, and his thoughts become fragmented into repetitive near-word-association as he begins to confront the horror of things existing.1 The lyrics of Acausal Intrusion’s fourth album, Vomit Meditations, are disjointed and uncanny in precisely this sense; reading them instantly linked these two works in my mind. The music itself is no less viscerally chaotic and confrontational, as the duo step into what’s possibly the heaviest and strangest iteration of their already intense and avant-garde sound so far—one which pairs perfectly with a life-altering existential crisis.

Vomit Meditations lives up to its moniker as it sees Acausal Intrusion’s signature hyper-dissonance and unsettling contemplativeness contorted into a bizarre series of violent spewings, punctuated by uneasy moments of reflective resonance, even beauty, to which Panpsychism’s doomier shades are confined, channeled through the acoustic and ambient. The free-jazz influence is stark, and not only in the prominence of piano in the album’s stiller passages (“Vomit Meditation,” “Psychic Abolishment”). Twisted guitar lines—more Cosmic Putrefaction or Ad Nauseum than Gorguts—writhe up and down and in and out of focus above the churning miasma of impossible tempos and abyssal belches—unheard this side of Portal—their seeming stochasticism belied as they coalesce into a shape more than their sum. Spasmodic scales and sudden lead switches from which one reflexively recoils start to make sense, and the real melodicisms that arise over the runtime grow more apparent. Recurring seizures of percussion grow hypnotic as the curve of their circularity becomes clear (“Convex Hidden Echoes”), and a ringing mass of wails and riffs rises until the overlapping tones produce the illusion of symphonics (“Psychic Abolishment”). The barrier to entry remains high, but the rewards are significant.

It’s in this paradox of chaotic reasoning where Vomit Meditations develops its vice grip. With alluring psychedelic rock (“Vomit Meditation”) it beckons its subject in, and with a chilling nocturne it leads them to the final, most awful revelation of all (“Psychic Abolishment”). With barely a beat between the unironic beauty and the hellish cacophony, the latter in particular gains near-transcendence. Although the album is marked by repeated 180-degree turns in rhythm (most aggressive on “Usurping Vaporous Primal Vibrations” and “Convex Hidden Echoes”), it has an unexplainable almost groove, which actually becomes explicit at times (“Vital Transformation”), and the endless about-turns and restless rolling and crashing morph into a hideously compelling dance (“Vomit Meditation,” “Requiem Murmur”). Once again, I struggle to believe drummer and vocalist Cave Ritual’s humanity, hearing such things. Although guitars jump in and out of focus (“Usurping…,” “Psychic Abolishment”) with riffs mostly possessing a stabbing, dragging, flailing discordance as though Nythroth’s fingers were strangling the very instrument used to produce them, their purpose never fails to manifest in the organic yet unpredictable shapes they create (“Convex…,” “Requiem Murmur”). Plus, there’s a lot more melody infused into the music than an uncritical ear would like to acknowledge (“Vomit Meditation,” “Vital Transformation”).

Vomit Meditations also largely improves on areas where previous records fell short. It flows with remarkable ease considering its freeform style and considerable 50-minute runtime and grows more compelling as it progresses. The second half’s superiority is arguably down to paying off what is better than the first in pacing, intrigue, and memorability, though arguably this is dependent on the first half having set up the themes it pays off. The production, continuing to be rich and dynamic for death metal but with the vocals and drums relatively forward, works better than it has previously. I’d recommend listening on a pair of good headphones that will enable you to catch the myriad horrors occurring within the soundscape. Nonetheless, the mix, as well as the relentless complexity and improvisational feel, will persist in alienating many listeners. Though Acausal Intrusion distinguish themselves from the ultra-extreme-for-extremity’s sake crowd by demonstrating that they can turn apparent randomness into a form of reason, they could perhaps tone it down just a tad.

Vomit Meditations is Acausal Intrusion’s best album. Some will interpret this as damning with faint praise an album in a discography otherwise too ugly and over the top to be good. I mean it quite differently. Vomit Meditations is violently, masochistically enjoyable and multifaceted and arresting, and it gets better on each spin. It requires a certain receptiveness—what experimental extreme metal doesn’t—and Acausal Intrusion will maintain a modest following, but its mania feels so deliciously meaningful I don’t even want to try escaping it.

Rating: Very Good2
DR: 8 | Format Reviewed: 256 kbps mp3
Label: I, Voidhanger Records
Website: Bandcamp | Facebook
Releases Worldwide: September 4th, 2026

In an act of unconscious serendipity, shortly before beginning this review, I re-read Jean-Paul Sartre’s Nausea. The serendipity is not in the proximity between Nausea and Vomit—though that’s also interesting—but in a particular manner of revelation. There’s a part in the book where our protagonist, suddenly seized by a violent attack of his titular malaise, rushes near-blindly through the streets, and his thoughts become fragmented into repetitive near-word-association as he begins to confront the horror of things existing.1 The lyrics of Acausal Intrusion’s fourth album, Vomit Meditations, are disjointed and uncanny in precisely this sense; reading them instantly linked these two works in my mind. The music itself is no less viscerally chaotic and confrontational, as the duo step into what’s possibly the heaviest and strangest iteration of their already intense and avant-garde sound so far—one which pairs perfectly with a life-altering existential crisis.

Vomit Meditations lives up to its moniker as it sees Acausal Intrusion’s signature hyper-dissonance and unsettling contemplativeness contorted into a bizarre series of violent spewings, punctuated by uneasy moments of reflective resonance, even beauty, to which Panpsychism’s doomier shades are confined, channeled through the acoustic and ambient. The free-jazz influence is stark, and not only in the prominence of piano in the album’s stiller passages (“Vomit Meditation,” “Psychic Abolishment”). Twisted guitar lines—more Cosmic Putrefaction or Ad Nauseum than Gorguts—writhe up and down and in and out of focus above the churning miasma of impossible tempos and abyssal belches—unheard this side of Portal—their seeming stochasticism belied as they coalesce into a shape more than their sum. Spasmodic scales and sudden lead switches from which one reflexively recoils start to make sense, and the real melodicisms that arise over the runtime grow more apparent. Recurring seizures of percussion grow hypnotic as the curve of their circularity becomes clear (“Convex Hidden Echoes”), and a ringing mass of wails and riffs rises until the overlapping tones produce the illusion of symphonics (“Psychic Abolishment”). The barrier to entry remains high, but the rewards are significant.

It’s in this paradox of chaotic reasoning where Vomit Meditations develops its vice grip. With alluring psychedelic rock (“Vomit Meditation”) it beckons its subject in, and with a chilling nocturne it leads them to the final, most awful revelation of all (“Psychic Abolishment”). With barely a beat between the unironic beauty and the hellish cacophony, the latter in particular gains near-transcendence. Although the album is marked by repeated 180-degree turns in rhythm (most aggressive on “Usurping Vaporous Primal Vibrations” and “Convex Hidden Echoes”), it has an unexplainable almost groove, which actually becomes explicit at times (“Vital Transformation”), and the endless about-turns and restless rolling and crashing morph into a hideously compelling dance (“Vomit Meditation,” “Requiem Murmur”). Once again, I struggle to believe drummer and vocalist Cave Ritual’s humanity, hearing such things. Although guitars jump in and out of focus (“Usurping…,” “Psychic Abolishment”) with riffs mostly possessing a stabbing, dragging, flailing discordance as though Nythroth’s fingers were strangling the very instrument used to produce them, their purpose never fails to manifest in the organic yet unpredictable shapes they create (“Convex…,” “Requiem Murmur”). Plus, there’s a lot more melody infused into the music than an uncritical ear would like to acknowledge (“Vomit Meditation,” “Vital Transformation”).

Vomit Meditations also largely improves on areas where previous records fell short. It flows with remarkable ease considering its freeform style and considerable 50-minute runtime and grows more compelling as it progresses. The second half’s superiority is arguably down to paying off what is better than the first in pacing, intrigue, and memorability, though arguably this is dependent on the first half having set up the themes it pays off. The production, continuing to be rich and dynamic for death metal but with the vocals and drums relatively forward, works better than it has previously. I’d recommend listening on a pair of good headphones that will enable you to catch the myriad horrors occurring within the soundscape. Nonetheless, the mix, as well as the relentless complexity and improvisational feel, will persist in alienating many listeners. Though Acausal Intrusion distinguish themselves from the ultra-extreme-for-extremity’s sake crowd by demonstrating that they can turn apparent randomness into a form of reason, they could perhaps tone it down just a tad.

Vomit Meditations is Acausal Intrusion’s best album. Some will interpret this as damning with faint praise an album in a discography otherwise too ugly and over the top to be good. I mean it quite differently. Vomit Meditations is violently, masochistically enjoyable and multifaceted and arresting, and it gets better on each spin. It requires a certain receptiveness—what experimental extreme metal doesn’t—and Acausal Intrusion will maintain a modest following, but its mania feels so deliciously meaningful I don’t even want to try escaping it.

Rating: Very Good2
DR: 8 | Format Reviewed: 256 kbps mp3
Label: I, Voidhanger Records
Website: Bandcamp | Facebook
Releases Worldwide: September 4th, 2026

In an act of unconscious serendipity, shortly before beginning this review, I re-read Jean-Paul Sartre’s Nausea. The serendipity is not in the proximity between Nausea and Vomit—though that’s also interesting—but in a particular manner of revelation. There’s a part in the book where our protagonist, suddenly seized by a violent attack of his titular malaise, rushes near-blindly through the streets, and his thoughts become fragmented into repetitive near-word-association as he begins to confront the horror of things existing.1 The lyrics of Acausal Intrusion’s fourth album, Vomit Meditations, are disjointed and uncanny in precisely this sense; reading them instantly linked these two works in my mind. The music itself is no less viscerally chaotic and confrontational, as the duo step into what’s possibly the heaviest and strangest iteration of their already intense and avant-garde sound so far—one which pairs perfectly with a life-altering existential crisis.

Vomit Meditations lives up to its moniker as it sees Acausal Intrusion’s signature hyper-dissonance and unsettling contemplativeness contorted into a bizarre series of violent spewings, punctuated by uneasy moments of reflective resonance, even beauty, to which Panpsychism’s doomier shades are confined, channeled through the acoustic and ambient. The free-jazz influence is stark, and not only in the prominence of piano in the album’s stiller passages (“Vomit Meditation,” “Psychic Abolishment”). Twisted guitar lines—more Cosmic Putrefaction or Ad Nauseum than Gorguts—writhe up and down and in and out of focus above the churning miasma of impossible tempos and abyssal belches—unheard this side of Portal—their seeming stochasticism belied as they coalesce into a shape more than their sum. Spasmodic scales and sudden lead switches from which one reflexively recoils start to make sense, and the real melodicisms that arise over the runtime grow more apparent. Recurring seizures of percussion grow hypnotic as the curve of their circularity becomes clear (“Convex Hidden Echoes”), and a ringing mass of wails and riffs rises until the overlapping tones produce the illusion of symphonics (“Psychic Abolishment”). The barrier to entry remains high, but the rewards are significant.

It’s in this paradox of chaotic reasoning where Vomit Meditations develops its vice grip. With alluring psychedelic rock (“Vomit Meditation”) it beckons its subject in, and with a chilling nocturne it leads them to the final, most awful revelation of all (“Psychic Abolishment”). With barely a beat between the unironic beauty and the hellish cacophony, the latter in particular gains near-transcendence. Although the album is marked by repeated 180-degree turns in rhythm (most aggressive on “Usurping Vaporous Primal Vibrations” and “Convex Hidden Echoes”), it has an unexplainable almost groove, which actually becomes explicit at times (“Vital Transformation”), and the endless about-turns and restless rolling and crashing morph into a hideously compelling dance (“Vomit Meditation,” “Requiem Murmur”). Once again, I struggle to believe drummer and vocalist Cave Ritual’s humanity, hearing such things. Although guitars jump in and out of focus (“Usurping…,” “Psychic Abolishment”) with riffs mostly possessing a stabbing, dragging, flailing discordance as though Nythroth’s fingers were strangling the very instrument used to produce them, their purpose never fails to manifest in the organic yet unpredictable shapes they create (“Convex…,” “Requiem Murmur”). Plus, there’s a lot more melody infused into the music than an uncritical ear would like to acknowledge (“Vomit Meditation,” “Vital Transformation”).

Vomit Meditations also largely improves on areas where previous records fell short. It flows with remarkable ease considering its freeform style and considerable 50-minute runtime and grows more compelling as it progresses. The second half’s superiority is arguably down to paying off what is better than the first in pacing, intrigue, and memorability, though arguably this is dependent on the first half having set up the themes it pays off. The production, continuing to be rich and dynamic for death metal but with the vocals and drums relatively forward, works better than it has previously. I’d recommend listening on a pair of good headphones that will enable you to catch the myriad horrors occurring within the soundscape. Nonetheless, the mix, as well as the relentless complexity and improvisational feel, will persist in alienating many listeners. Though Acausal Intrusion distinguish themselves from the ultra-extreme-for-extremity’s sake crowd by demonstrating that they can turn apparent randomness into a form of reason, they could perhaps tone it down just a tad.

Vomit Meditations is Acausal Intrusion’s best album. Some will interpret this as damning with faint praise an album in a discography otherwise too ugly and over the top to be good. I mean it quite differently. Vomit Meditations is violently, masochistically enjoyable and multifaceted and arresting, and it gets better on each spin. It requires a certain receptiveness—what experimental extreme metal doesn’t—and Acausal Intrusion will maintain a modest following, but its mania feels so deliciously meaningful I don’t even want to try escaping it.

Rating: Very Good2
DR: 8 | Format Reviewed: 256 kbps mp3
Label: I, Voidhanger Records
Website: Bandcamp | Facebook
Releases Worldwide: September 4th, 2026

In an act of unconscious serendipity, shortly before beginning this review, I re-read Jean-Paul Sartre’s Nausea. The serendipity is not in the proximity between Nausea and Vomit—though that’s also interesting—but in a particular manner of revelation. There’s a part in the book where our protagonist, suddenly seized by a violent attack of his titular malaise, rushes near-blindly through the streets, and his thoughts become fragmented into repetitive near-word-association as he begins to confront the horror of things existing.1 The lyrics of Acausal Intrusion’s fourth album, Vomit Meditations, are disjointed and uncanny in precisely this sense; reading them instantly linked these two works in my mind. The music itself is no less viscerally chaotic and confrontational, as the duo step into what’s possibly the heaviest and strangest iteration of their already intense and avant-garde sound so far—one which pairs perfectly with a life-altering existential crisis.

Vomit Meditations lives up to its moniker as it sees Acausal Intrusion’s signature hyper-dissonance and unsettling contemplativeness contorted into a bizarre series of violent spewings, punctuated by uneasy moments of reflective resonance, even beauty, to which Panpsychism’s doomier shades are confined, channeled through the acoustic and ambient. The free-jazz influence is stark, and not only in the prominence of piano in the album’s stiller passages (“Vomit Meditation,” “Psychic Abolishment”). Twisted guitar lines—more Cosmic Putrefaction or Ad Nauseum than Gorguts—writhe up and down and in and out of focus above the churning miasma of impossible tempos and abyssal belches—unheard this side of Portal—their seeming stochasticism belied as they coalesce into a shape more than their sum. Spasmodic scales and sudden lead switches from which one reflexively recoils start to make sense, and the real melodicisms that arise over the runtime grow more apparent. Recurring seizures of percussion grow hypnotic as the curve of their circularity becomes clear (“Convex Hidden Echoes”), and a ringing mass of wails and riffs rises until the overlapping tones produce the illusion of symphonics (“Psychic Abolishment”). The barrier to entry remains high, but the rewards are significant.

It’s in this paradox of chaotic reasoning where Vomit Meditations develops its vice grip. With alluring psychedelic rock (“Vomit Meditation”) it beckons its subject in, and with a chilling nocturne it leads them to the final, most awful revelation of all (“Psychic Abolishment”). With barely a beat between the unironic beauty and the hellish cacophony, the latter in particular gains near-transcendence. Although the album is marked by repeated 180-degree turns in rhythm (most aggressive on “Usurping Vaporous Primal Vibrations” and “Convex Hidden Echoes”), it has an unexplainable almost groove, which actually becomes explicit at times (“Vital Transformation”), and the endless about-turns and restless rolling and crashing morph into a hideously compelling dance (“Vomit Meditation,” “Requiem Murmur”). Once again, I struggle to believe drummer and vocalist Cave Ritual’s humanity, hearing such things. Although guitars jump in and out of focus (“Usurping…,” “Psychic Abolishment”) with riffs mostly possessing a stabbing, dragging, flailing discordance as though Nythroth’s fingers were strangling the very instrument used to produce them, their purpose never fails to manifest in the organic yet unpredictable shapes they create (“Convex…,” “Requiem Murmur”). Plus, there’s a lot more melody infused into the music than an uncritical ear would like to acknowledge (“Vomit Meditation,” “Vital Transformation”).

Vomit Meditations also largely improves on areas where previous records fell short. It flows with remarkable ease considering its freeform style and considerable 50-minute runtime and grows more compelling as it progresses. The second half’s superiority is arguably down to paying off what is better than the first in pacing, intrigue, and memorability, though arguably this is dependent on the first half having set up the themes it pays off. The production, continuing to be rich and dynamic for death metal but with the vocals and drums relatively forward, works better than it has previously. I’d recommend listening on a pair of good headphones that will enable you to catch the myriad horrors occurring within the soundscape. Nonetheless, the mix, as well as the relentless complexity and improvisational feel, will persist in alienating many listeners. Though Acausal Intrusion distinguish themselves from the ultra-extreme-for-extremity’s sake crowd by demonstrating that they can turn apparent randomness into a form of reason, they could perhaps tone it down just a tad.

Vomit Meditations is Acausal Intrusion’s best album. Some will interpret this as damning with faint praise an album in a discography otherwise too ugly and over the top to be good. I mean it quite differently. Vomit Meditations is violently, masochistically enjoyable and multifaceted and arresting, and it gets better on each spin. It requires a certain receptiveness—what experimental extreme metal doesn’t—and Acausal Intrusion will maintain a modest following, but its mania feels so deliciously meaningful I don’t even want to try escaping it.

Rating: Very Good2
DR: 8 | Format Reviewed: 256 kbps mp3
Label: I, Voidhanger Records
Website: Bandcamp | Facebook
Releases Worldwide: September 4th, 2026

Given its proclivity for scathing speeds, tough turnarounds, and blistering double bass, death metal contains a surprising number of drummer-vocalists. There’s Chris Reifert’s foundational feats in Autopsy, Mike Browning’s total-body tour de force on The Key (Nocturnus), and Max Klebanoff’s cookie-monstered kit-mashing in Tomb Mold. Add Andrea Feltrin of Miscreance to the list of specimens who helm the drums while screaming like a maniac. His Northern Italian quartet garnered well-deserved hype with their thrashy, old-school brand of technical death metal on debut Convergence (2022).1 For its sophomore outing, Miscreance gets bolder with a concept record; the band describes Reminiscence as a ‘lost album’ from ‘an unknown civilization that’s both futuristic and extremely primitive.’ Feltrin thus faces the unenviable task of carrying the narrative and rhythmic weight of Reminiscence, a forward-looking foray into vintage thrash-death.

Fortunately, three killer musicians fill out Miscreance, evoking the genre’s genesis and present. In lockstep with Feltrin’s lethal limbs is bassist Jean-Claude Rossingnol, whose Rickenbacker rattles with a deliciously fat n’ clangy tone.2 His punchy plucks, scintillating slaps, and stimulating slides unquestionably conjure the presence of Atheist. Guitar duo Andrea Granauro and Tommaso Cappelletti forge Miscreance’s frontline, discharging a repertoire of spidery riffs, grinding gallops, and whammy-barred solos. Their symbolic sound patterns summon the inhuman fretboard gymnastics of proggy Death. Together, the members of Miscreance craft a more-than-worthy iteration of old-school technical death metal, with sharp, clean, and vibrant production. Reminiscence pays homage to a classic like Sadus’s A Vision of Misery (1992), and it can dance with a greenhorn like Tomb Mold’s The Enduring Spirit (2023).

It is the rhythm section, though, that supplies Miscreance with its star power. Often, the bass in technical (death) metal comes off as merely another melodic instrument, and Rossingnol certainly adds color at key moments (“Synaptic Corpse Dissection”). The real joys of Reminiscene, however, bloom when Rossingnol and Feltrin beat the listener over the head with primal rhythmic hooks. A recurring motif in “Oracle’s Rift” best exemplifies such wallopings. Feltrin’s accented drumrolls lock in with Rossingnol’s voluminous bass slaps, acting as a kind of non-melodic chorus for the song. The off-kilter yet movement-inducing interplay between the bass and drums forms the fabric of Reminiscence, tapping into the brain of a lizard with an advanced degree. With a little help from this feral fabric, the knotty guitar hooks stitched by Granauro and Cappelletti shine even more.

Fairly consistently, Reminiscence slays across its 38 minutes. Opener “Trait d’Union” maps a template of elements that reverberate throughout. Its tribal bongos set a primal tone that periodically pops up as the album soars through its technical journey. Additionally, the opener dons over the music deep voiceovers that, while a bit goofy, develop a sense of narrative trajectory. “Synaptic Cortex Dissection” stands as a mid-album high point—it culminates with some absolutely deranged, absolutely delightful guitar harmonies. The back half of Reminiscence keeps the momentum and quality high, even if some moments shout for breathing room (the bass groove in “Symbiosis,” the cosmic solo in “Zenith of a Dying Sun”). Pseudo-instrumental “Mirage” is a bangin’ closer, though, somehow upping the ante on an album living in the fast lane. Feltrin’s maniacal rasps amplify the unhinged volatility, recalling mid-career Chuck and Damian Herring’s harshes (Horrendous). I love how Feltrin barely sputters out all the lyrics as he screeches like an eagle. Still, more lyrical legibility would cement Reminiscence’s concept about ‘primordial extraterrestrials [that] have achieved total neural unity’ but are tempted by ‘innate wickedness.’3

As carpenters of thrashy, old-school technical death metal, Miscreance furnish a sophomore album that all but nails it. Propelled by an exciting bass/drum duo and rounded out by an equally imposing guitar pair, Reminiscence delivers everything fans of this genre are looking for, with verve. Miscreance could stand to be more unique, but they show signs of developing something singular in the future. Indeed, this Italian quintet has only just begun to discover its potential. One day, I look forward to reminiscing about Miscreance’s sophomore album as the band’s stepping-stone to the top of the death-thrash world.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Season of Mist
Websites: Instagram | Facebook
Releases Worldwide: August 28th, 2026

In the game of reviews, expectations can either be a blessing or a curse. Whichever way they fall, one truth remains: expectations are a bitch. It’s a hard lesson that Canadian technical death metal outfit Apogean is about to learn firsthand. Back in 2024, the then largely unknown quintet—with little more than a single EP to their name—released their debut full-length, Cyberstrictive. Inspired by Ray Bradbury’s Fahrenheit 451, it was a dystopian barrage of assaulting technical death metal that paired jaw-dropping musicianship with memorable riffs and great songwriting, making it my most played record of the year. I crowned it my Album O’ the Year during my budding n00b days for this site, so when Waste Where Life Begins was announced, I was stoked. At the same time, however, the specter of the dreaded sophomore slump loomed large. Could Apogean make it two in a row after a list-topping debut, or would the weight of expectations prove too much to overcome?

Unfortunately, Waste Where Life Begins doesn’t come close to matching its predecessor, and the reasons are twofold. First, where Cyberstrictive was unabashedly a tech death record à la Vale of Pnath or Inferi, Waste Where Life Begins plants its flag much closer to deathcore and blackened death. Cuts like “Lie in Cinder” and “Waste Where Life Begins” make this shift painfully obvious, with endlessly chugged caveman riffs, half‑time knuckle‑dragging rhythms and tropey guitar squeals and string rakes. It’s easy to point to lineup turnover as the culprit behind the stylistic change—guitarist Gabriel Castro and drummer Jacob Wagner gave way to Jack Post and Doug Noel, respectively—but that doesn’t make the transformation any less jarring. To be sure, traces of their explosive past still exist. “Nassaru” and “Hologram (Singing Silently on an Empty Stage),” for example, are adrenalized tracks with the spunky riffing and technicality that worked so well before. Dexter Forbes’ and Post’s guitar solos also elicit plenty of flashy fretwork, but Waste Where Life Begins feels like Apogean has traded in their sports car for a lifted truck, to its detriment.

Second, Waste Where Life Begins would work far better as an EP. Despite running only thirty-three minutes, the record somehow feels long, like Apogean strained to add material. The album’s disjointed sequencing reinforces this impression, pushing and pulling in conflicting directions, and the completely purposeless interlude “Ritual” adds nothing except the suspicion that someone insisted on hitting a minimum runtime. Some songs embrace unadorned composition (“Daughter of Oak,” “Lie in Cinder,” and the title track), while others attempt to recapture the cybernetic stylings of old (“Black Smoke, Bleeding Earth,” “Hologram (Singing Silently on an Empty Stage), “Nassaru”), resulting in a bifurcated flow with little sense of cohesion. Further compounding matters is the repetitive songcraft. The first third relies so heavily on the same chugging and squealing guitar patterns that they begin to blur together, as if a song’s worth of ideas were stretched across multiple tracks.

Apogean remains a highly talented group, and Waste Where Life Begins contains enough strong performances to suggest a return to form for these lads remains within reach. Vocalist Mac Smith (Eschaton, ex-Alterbeast) and drummer Doug Noel, in particular, deliver impressive performances throughout. Smith grabs my attention with his dynamic range of growls, rasps, guttural belches, and pig squeals, effortlessly shifting between techniques and tones. His vocals sound downright burly and well-defined in the mix, consistently drawing my focus back to his performance. Noel is equally impressive, bringing a much-needed degree of versatility to the songwriting. His playing ranges from bludgeoning, syncopated grooves on tracks like “Nassaru” and the title track to raucous blast beats on “Black Smoke, Bleeding Earth” and “White Trees, Black Leaves,” all accented by some snazzy cymbal work that adds color to an otherwise flat palette.

I won’t sugarcoat it: Waste Where Life Begins is a disappointment. After eagerly anticipating a follow-up to Cyberstrictive, I’m left unsatisfied by a record that abandons much of what made its predecessor so great. The energetic, virtuosic, and memorable songwriting that defined Cyberstrictive has largely been replaced by a middling blend of deathcore and blackened death. Apogean’s decision to broaden its sound is certainly understandable, especially given the recent lineup changes, but this new direction is a clear step back. Apogean surely has the talent to right the ship, but Waste Where Life Begins is yet another example of the dreaded sophomore slump.

Rating: Disappointing
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: The Artisan Era
Websites: apogean.bandcamp.com/music | facebook.com/ApogeanOfficial
Releases Worldwide: July 10th, 2026

When I happened upon New York brutal tech troupe Thætas back in 2020, I likened their particular brand of brutalist, sprawling death metal to an alternate universe where Afterbirth were raised in a Brooklyn gutter. It was a sound I didn’t realize would resonate as strongly with me as it did, but it seemed as time passed that I wasn’t going to get another hit. Then, out of nowhere, an announcement for The Irredeemable Age graced me with a seedy cover and a nasty single to hook me in once more. Armed with one fewer member and enough angular songwriting to make AMG Himself spontaneously explode, can Thætas build an even grander structure atop their Shrines to Absurdity?

Thætas still makes a great gritty companion to the more spiritually inclined Afterbirth, but The Irredeemable Age further develops and diversifies that sound. Boasting new twangs and bends that heavily recall Veilburner (“Daytime Lantern”) and a city-dwelling skew that echoes Imperial Triumphant (“Digital Locusts”)—working in concert with familiar gnarled twists that puts them in a similar space as Defeated Sanity—Thætas subverts my penchant for accessibility and lures me ‘neath the sewer grate. At one with the slime that writhes underfoot, The Irredeemable Age is a monstrous creature composed of ugly riffs, screeching scrapes and pinches, and enough stomping rhythms to level a mountain. It brooks no quarter as it tosses me through concrete walls, with very little in the way of telegraphing or transition in between pummels (“DHUKHA,” “Summers of Hate”). With such rapid shifting and relentless violence, I’d expect the experience to feel disjointed and scattered. Thætas are smarter songwriters than that. Somehow, they crafted these 31 minutes with such intricate and intentional technicality that no piece or portion can be excised from the whole without causing a major disruption to its form and flow.

Despite its mangled anatomy, The Irredeemable Age is effortlessly enjoyable. This is in no small part due to its warm, natural, and full-bodied engineering, but its deceptively hooky songwriting too makes an airtight case. High-energy romps “Summers of Hate,” “The End of History,” and “For the Hope Devoid” invigorate The Irredeemable Age’s first half, moving with a springy agility that belies their brutal musculature. Those Veilburner twangs come in clutch at the center of the record—evoking imagery of skulls bashed against I-beams under the train tracks—and imbue stomping slams like “The Irredeemable Age” with huge personality. A delightfully clanky bass tone deepens this robust character as the record progresses, too. Additional nuance and texture develops in this meaty core before late album bangers “Stretched Paradox” and “Pillars of Fault” dress me down once more. None of that prepares for the white-hot branding that awaits with stunning closer “Digital Locusts.” A vast improvement in editing compared to Shrines’ closing track, this five-minute send off embodies all of the skills displayed up to that point and coagulates them into one final tear that makes it impossible to deny the replay button’s allure.

That replay button turned out to be a critical piece of The Irredeemable Age’s success. Despite its more aggressive and propulsive attack, The Irredeemable Age is in some ways less immediate than Shrines. Shrines to Absurdity was so weird, darkly whimsical, and tricky that it made an instant impression. Here, however, I find refinement, sophistication, and maturity. A method informs madness. The whimsical aspects of Thætas’ sound acclimate better to their surroundings, and the unhinged nature of their songwriting settles into a smoother groove. Opening track “DUKHKA” is the only exception, posing a small introductory speed bump in pacing with its staggered slams. On the other hand, it tempers expectations just enough to make the subsequent obliteration all that much more impactful. All in all, though, The Irredeemable Age houses a greater density of details and ideas that reveal themselves with multiple spins, which in turn creates deeper memorability. But it comes at a price. Listeners must invest a small measure more time with The Irredeemable Age to see its magic unfurl.

Unfurl The Irredeemable Age inevitably does. Thætas found a striking balance of memorability, technical precision, and filth that makes The Irredeemable Age an absolute joy of grotesque sounds. And thanks to tightened editing, diversified sonic elements, and refined songwriting, it only gets better the more often you spin it. So the next time you wander into sketchy back alleys sniffing for prime brutal tech death, ask for Thætas.

Rating: Great!
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Profound Lore Records
Websites: Bandcamp | Facebook
Releases Worldwide: June 26th, 2026

A “faster is better” philosophy has long defined technical death metal, with bands regularly operating at breakneck speeds. While that approach requires undeniable virtuosity, I’ve always gravitated toward the genre’s more restrained, focused, and groove-oriented side. Cognizance initially walked the well-trodden path of bands like The Faceless and The Zenith Passage on their debut, Malignant Dominion, displaying speed and technicality in equal measure, but doing little to distinguish themselves from a crowded field. However, to their credit, the international quintet-turned-quartet has spent the past three albums gradually cementing their identity, culminating with 2024’s Phantazein. Though it got Stuck in the Filter, the record was packed with punishing grooves, strong songwriting, and phenomenal performances, containing all the qualities that keep me returning to the genre regularly. Two short years later, Cognizance returns with In Light, No Shape.

Much of Cognizance’s growth over the years stems from its stable lineup, though the recent departure of longtime vocalist Henry “Big Mac” Pryce disrupted that continuity. Guitarist Alex Baillie has since assumed vocal duties, marking a shift in the group’s sound. Baillie fills the role admirably, trading Pryce’s deathcore-leaning growls for a style closer to David Davidson (Revocation). In fact, In Light, No Shape—particularly tracks like “Vertical Illusion,” “Witness Marks,” “Chasm,” and “The Zone”—leans heavily into Revocation’s progressive stylings to its benefit. Drummers and longtime fans should already know the name David Diepold (ex-Obscura), but for anyone who doesn’t, consider this your required introduction. The dude absolutely cooks on this record. Whether through artful fills or splashy accents, he commands the material like a conductor leading an orchestra, sitting front and center in the record’s solid mix. Not to be outdone, guitarists Apostolis Karydis and Baillie, along with bassist Chris Binns, lock with Diepold effortlessly, never once sounding strained as they ebb between calibrated riffing, evocative solos, and ornate passages across the record’s 37 minutes.

Rather than following the Archspire school of extravagance, In Light, No Shape shows Karydis and Baillie easing off the accelerator, leaning more into atmosphere than velocity, with Diepold shouldering most of the speed. The duo utilizes more spacey arpeggiated passages (“A Reconfiguration,” “Witness Marks,” “A Game of Proliferation”) than on Phantazein, giving In Light, No Shape a feeling of dynamism and expansiveness. Accordingly, the songwriting strikes a keen balance between technical, immersive, and hooky, while leaving room for each element to breathe. Opener “Transient Fixations” wastes no time launching into hyperdrive, blasting and chugging through its sub‑three‑minute runtime, essentially functioning as an intro track that reaffirms that this is still the Cognizance fans will know. And while it feels a bit short, it flows seamlessly into “Inflection Chants'” groovy opening, making it work. Later, the surges of melodic tremolos and blasts that fuel “Chasm” give way to a haunting, aura-rich soundscape, where cymbal accents melt into jaunty tom fills before everything cascades back into overdrive. Similar structures drive tracks like “The Zone” and Song o’ the Year candidate “A Game of Proliferation,” while others (“Induced Contortions,” “Subterranean Incantation”) stick closer to standard tech death.

To state the obvious, tech death production usually sucks. Thankfully, In Light, No Shape isn’t totally brickwalled to hell, clocking in at a DR of 6. While that number looks average on paper,1 the mix retains a surprisingly natural edge while still delivering the punch and low-end presence needed to let the intricacies of the performances shine. Yes, it’s still compressed, but it never totally collapses on itself either. The guitars carry plenty of bite, avoiding the trap of sounding overly synthetic or overproduced, though the solos sit too far back in the mix for my liking. Likewise, the use of robotic spoken word interludes on tracks like “Inflection Chants” and “Transient Fixations” is conceptually fine, but they get lost behind the loud drums and end up feeling pointless. It’s a trade-off I can ultimately live with, though.

After multiple spins, In Light, No Shape stands toe-to-toe with Phantazein. Overcoming a key member’s departure isn’t easy, and while the album’s stylistic changes may feel reactive or too familiar, most come across as deliberate, pointing to a group resettling their identity. Cognizance continues to emerge as one of tech death’s most compelling acts and In Light, No Shape highlights what the genre can achieve when done right.

Rating: Very Good
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Willowtip Records
Websites: cognizance.bandcamp.com | facebook.com/cognizanceband
Releases Worldwide: May 1st, 2026

For a band that takes its namesake from a Harry Potter reference (ew), Nashville’s Inferi are infinitely more brutal than its original inspiration. Blending searing speed, flashy technicality, and death metal intensity, Inferi have been at the forefront of tech death for over fifteen years now, and their latest release, Heaven Wept, comes after a five-year gap. With such a chasm between their releases, is Heaven Wept a reformation for the band or a refinement of their sound?

Heaven Wept establishes itself quickly, and the band sounds tighter than ever. Immediately apparent is Stevie Boiser’s vocals, which flit from screeching highs, boastful mids, and throat-wrinkling lows. Boiser doesn’t seem to have a weak point when it comes to his capabilities, and he leads tracks along like a malicious conductor (not unlike Trevor Strnad of The Black Dahlia Murder, RIP). For Inferi, the technical prowess expands beyond just the instruments, and the vocals on display across Heaven Wept are bound to make an impression. Not to be overtaken, guitarists Malcom Pugh and Sanjay Kumar showcase their axe mastery throughout. A majority of the tracks feature individual solos by each, and none of them overstay their welcome. If they aren’t competing in shredding territory, they work in tandem on solos in the remainder of the songs. Spencer Moore’s drums round out Inferi’s sound, and in a rare turn, they sound surprisingly natural for a tech death band. Perhaps the melodic aspect of Inferi’s core sound helps keep Moore’s drums from becoming robotic, and his playing spans core stylings, technical blowouts, and military marches, never staying in one space for too long.

Heaven Wept by Inferi

While Heaven Wept is by no means a stylistic change-up from their previous work, the latest record utilizes more dissonant harmonies and tends to feel more ethereal as a result. Combine that with some symphonic backing, and you have an atmospheric album without relying on overly long instrumental passages that break up the pacing. Inferi takes the melodic part of technical melodic death metal very seriously, and Heaven Wept is surprisingly catchy and approachable, while still being so dense that I imagine listeners will discover new secrets after numerous listens. “The Rapture of Dead Light” calls to mind melodic death metal masters The Black Dahlia Murder while combining some light core elements (don’t worry, Inferi is not a deathcore band now). The band smartly uses crushing breakdowns but only at a minimum, and where they have the most impact.

Heaven Wept doesn’t waste a second, coming in at eight tracks and under forty minutes, the album is pure face-melting goodness throughout. Every band member lays it all out on each song, and I wouldn’t call a single one a miss. The title track is a stylistic standout, slowing things down with a lumbering staccato riff that worms its way throughout the song. Boiser’s vocals follow along with the riff, punctuating the melody while also adding a bit of slam to Heaven Wept’s complex sound. “Of Rotted Wombs” is oozing with atmosphere, with a backing organ, a choir, and wailing guitars that pull emotion from every string. It is a track that feels huge without relying on a bunch of pomp and circumstance. Despite the inclusion of the aforementioned organ and choir, they are a small part of the song and only appear in the background. The incredible solo from Kumar in the back half of the track ties a bow on an album highlight.

Heaven Wept could very well be Inferi’s best work yet. Dripping with style and substance, as well as piling on the atmosphere without resorting to trite methods or wasteful interludes, this is an album that is solid throughout. It isn’t without its flaws; the low end is basically non-existent, and even the band plays live without a bassist. There are occasional bass flourishes on the album that remind me of Job for a Cowboy’s Sun Eater at times, but they are few and far between. The album also lacks the instrumental flair of 2018’s Revenant, and fans looking for a return to that record will be disappointed. Overall, these are nitpicks for an album that nails everything it sets out to do and then some. Inferi have shown that they can stand tall as the masters of modern technical melodic death metal without losing sight of what brought them there in the first place. Heaven Wept epitomizes the idea of metal at every turn and will likely have something to offer any earnest listener.

Rating: 4.0/5.0
DR: 4 | Format Reviewed: 320 kbps mp3
Label: The Artisan Era
Websites: Instagram | Bandcamp
Releases Worldwide: April 10th, 2026

Finally, the new year is upon us! A fresh start for some, same shit different year for others; mainly, my minions who toil in the mines ducts of the Filter. Since they don’t get any holidays, they probably don’t even fucking know it’s 2026 yet, but that’s okay. As long as they come back to HQ with a substantial haul, their ability to know when it is is immaterial.

These are the sacrifices we (not me, though), make to ensure you get the goods relatively on time-ish. So say thank you!

Kenstrosity’s Freaky Foursome

Upiór // Forefathers’ Eve (Redemption) [January 2nd, 2026 – Self Released]

Featuring members of Gorod (Benoit Claus) and Xaoc (Kévin Paradis), Upiór pinged my radar after a certain cosmic Discordian pinged me. A blistering combination of Fleshgod Apocalypse opulence and Wachenfeldt aggression, sophomore release Forefathers’ Eve (Redemption) impressed me immediately as “The Black Paintings ripped my face right off. “A Blessing or a Curse” doubled down on speed, blasting rhythms, and eerie melodies to propel itself straight into my Song o’ the Year long-list. Even with three instrumental interludes, all of which are quite fluffy, Forefathers’ Eve (Redemption) crams pummeling riffs, exuberant percussion, and dramatic lushness into its 51-minute runtime. “Forefathers’ Eve (Part I),” a fantastic companion to Fleshgod Apocalypse’s “Cold As Perfection” without aping its features, conjures a similarly affecting character that draws me in completely. Forefathers’ Eve (Redemption)’s middle section continues to build personality and develop greater dynamics from that point, represented most clearly in melodic riffs and expressive leads/soloing (“The Woman that Weeps”). Leading into its conclusion, a tonal shift towards the dire at this junction foreshadows the imminent release of Upiór’s second act, Forefathers’ Eve (Damnation) (due in early April), charring songs like “Forefather’s Eve (Part II)” and “Between the Living and Dead” with blackened rabidity and dissonant flourishes. All of this to say, Upiór launched this latest arc with a striking blow, and I can only imagine what’s in store for Damnation.

Forefathers’ Eve (Redemption) by Upiór

KadavriK // Erde666 [January 9th, 2026 – Self Released]

Germany’s melodic death metal quintet KadavriK have been cranking out records since 2007, but I only heard about them this year, once again, thanks to Discord. Erde666, their fifth outing, takes an unorthodox and progressive approach to melodic death metal, which makes comparisons difficult to draw. Stripped down and raw in some moments, mystical and lush in others, Erde666 is all about textures. Its opening title track explores that spectrum of sounds and philosophies to its fullest, even drawing heavy influence from blues, psychedelia, and sludge at times (“Getrümmerfreund”), but it all coalesces seamlessly. Following up an opener as strong as that would be a tall order for anyone, but KadavriK are clever songwriters, and the long form served them well even compared to the more straightforward tracklists of previous installments (“Nihilist,” “Das Ende Des Anthropozäns”). Off-kilter guitar melodies countered against twinkling Kalmah synths and sweeping strings do a lot of work to elevate and liven the crushing chords of their high-impact riffs as well, which adds a ton of interest into an already unconventional melodic death record (“Widerhall”). All of this makes for a record that might not be as immediate or fast-paced as most aim for in this space, but, counterintuitively, significantly more memorable. Don’t sleep on this one, folks!

Erde 666 by KadavriK

Luminesce // Like Crushed Violets and Linen [November 20th, 2026 – Self Released]

Prolific at a scale I haven’t witnessed since Déhà, Luminesce mastermind Alice Simard, based in Québec, piqued my curiosity for the first time with Like Crushed Violets and Linen, her sophomore effort under the Luminesce moniker. Boasting machine-gun rapidity (“Exploited Monochromaticism”), off-kilter rhythms (“Silver”), and a downright romantic sense of melody (“Like Crushed Violets and Linen,” “Lamp of Fulguration”)—countered by lyrical themes ranging from guilt complexes to gender identity (“To Restore”)—Like Crushed Violets and Linen is a deeply personal record forged in a melodic technical death metal mold. And as such a record, it recalls the vicarious guitar pyrotechnics of Inferi and Obscura while securing a melodic sensibility more in line with neoclassical composition (“The Covenant of Counterfeit Stars”). Unlike many of her contemporaries, however, Alice is a master of editing. Filled with killer ideas and instrumental wizardry without involving a drop of bloat, each of these seven songs coalesce into a buttery-smooth 30-minute excursion that punches far above its feathery mass. The addition of delightful chiptune dalliances helps distinguish Luminesce further from the pack (“To Restore”), though I’m torn about how far forward they are in the mix. In fact, the mix is my main gripe, as Like Crushed Violets and Linen is muffled and a bit flat, despite boasting a much-appreciated meaty bass presence. Nonetheless, if you’re looking for an unlikely tech-death contender, Luminesce might be just what you need.

Like Crushed Violets and Linen by Luminesce

Bone Storm // Daemon Breed [January 30th, 2026 – Self Released]

As the CEO of this Filter company, I withhold the right to break the rules and include a very cool bonus fourth option, Bone Storm’s cavebrained Daemon Breed. Do you like Bolt Thrower? Yes, you do. Do you like Bear Mace? Yes, you do. By proxy, then, you already like Connecticut’s Bone Storm as they draw from the same chunky, groove-laden school of death metal. At a somewhat overachieving 50 minutes, Daemon Breed pummels the listener beneath a veritable smorgasbord of neck-breaking riffs built upon a framework of triplet grooves, swaggering syncopations, and galloping double bass assaults. Their approach is simple and unburdened by blistering speed, fiddly technicality, or atmospheric deviation, and in that way recalls the undeniable immediacy and brutal effectiveness of records like Black Royal’s Firebride. With highlights “Heaven’s End (Burn Them All),” “Plaguerider,” “Sanctimonious Morality,” and above all “Ritual Supremacy,” Bone Storm use that approach with aplomb, proving that the spirit of classic, no-frills death metal is vital and vicarious. Delightfully cogent roars and gutturals allow the most difficult deliveries (see “Daemon Breed”) to feel vicious and purposeful, while a subtle thread of melody (see “Cursed Born”) affords the record a small measure of songwriting variety to break things up just when Daemon Breed needs it most. Heavy reliance on triplets and perhaps a zealous desire to put down every idea that seems good even if it’s placed immediately adjacent to much better one (“Halo of Disease” and “Hammer of Judas” bookending “Ritual Supremacy” are tough positions to defend, as is “Wrist Slitter” next to the fun Frozen Soul-esque “Blood Priest”), hold it back from higher praise only mildly. Moral of the story? Enter the bone zone, with haste!

Daemon Breed by Bone Storm

Creeping Ivy’s Riffy Remainder

Lord Elephant // Ultra Soul [January 30th, 2026 – Heavy Psych Sounds]

Sometimes, you don’t need dynamic songwriting, harmonic density, or even a vocalist. Sometimes, all you need are riffs. Okay, and maybe some psychedelic leads to go over those riffs. Ultra Soul, the sophomore album from Italian instrumental trio Lord Elephant, delivers 48 minutes of pure, mostly unadulterated stoner-doom. In the feudal jungle of heavy riff rock, Lord Elephant pays scutage to King Buffalo, similarly forming longish compositions where simple, bluesy figures reign supreme, stretching their limbs in grassy patches. Occasionally, guitarist Leandro Gaccione, bassist Edoardo De Nardi, and drummer Tommaso Urzino lock into some lively, head-bobbing grooves (“Gigantia”). But mostly, Lord Elephant keeps things meditative, hypnotizing listeners with Earthless drones and lurches (“Smoke Tower,” “Black River Blues”). De Nardi’s bass often leads the way (“Electric Dunes”), the underwater tone of which reminds me of falling for Isis.1 Lord Elephant aren’t reinventing any wheels here; the familiarity of their bluesy riffing simply won’t interest those for whom such bluesiness is a staid marker of old-man rock. The absence of vocals, however, makes Ultra Soul work as pseudo-ambient music that can set the mood, or accompany tasks, or gateway a normie. Closer listening will reveal, though, a tight trio reveling in the rudiments of rock music—a drummer, bassist, and guitarist vibing on a riff.

Ultra Soul by Lord Elephant

Andy-War-Hall’s Salvaged Windfall

Juodvarnis // Tékmés [January 23rd, 2026 – Self Released]

Lithuania’s Juodvarnis cooked for a long six years between albums for their fourth record Tékmés. With the confidence and sharpness displayed on all levels by Juodvarnis here, that was clearly time well spent in the kitchen. Sporting a brand of progressive black metal that blends the Enslaved framework of prog-black with the epic heft and melody of Iotunn and the crushing rhythms and harsh vocals of Gojira, Tékmés is tight, lively and achieves a remarkable level of melancholic thoughtfulness without neglecting the average listener’s chronic need for riffs. Translated to “flow” from Hungarian,2 Tékmés navigates inter-song and album-wide progressions of pummeling rhythms (“Dvasios Ligos”) and slow marches (“Tamsiausias Nušvitimas”), impassioned clean vocals (“Platybės”) and razor-throated screams (“Juodos Akys”) to achieve a gradual, natural sense of advancement across its 42-minute journey. If progressive black metal that knows how to riff and can turn the reverb off 11 sounds like a good time to you, give Juodvarnis’ Tékmés a shot sometime.

Tékmés by Juodvarnis

Thus Spoke’s Obscure Offerings

Ectovoid // In Unreality’s Coffin [January 9th, 2026 – Everlasting Spew Records]

Normally, it takes copious amounts of reverb, wonkiness, melody, or turbo-dissonance for death metal to be palatable to me. Every once in a while, however, an album like Ectovoid’s In Unreality’s Coffin comes along and shows me that there is another way. The music’s stickiness has a lot to do with its boundary-straddling take on OSDM. Ostensibly, the battering, percussion, sawblade riffing, and gruff gurgling growls mark it as your everyday modern no-nonsense death metal, somewhere between Cryptopsy and Immolation. But In Unreality’s Coffin is more like tech-death, disso-death, and brutal-death in a trench coat than it is any one of them, or another subgenre.3 Its arpeggios can be rhythmically snappy, sometimes combined with equally sharp vocal delivery (“Intrusive Illusions (Echoes from a Distant Plane)”), but more often than not channel a churning chaos that resists punchiness for a darker unease I find addictive (“Collapsing Spiritual Nebula,” “Erroneous Birth”). The music is constantly speeding up or slowing down, churning guitars collapsing with slides (“Dissonance Corporeum”) or pitching upwards in squeals (“In Anguished Levitation”), or evolving into mania as screams and growls fragment and layer (“Formless Seeking Form”). Rather than being exhausting, it’s exhilarating, with expertly-timed releases of diabolically echoing melody (“Collapsing Spiritual Nebula”) or a new groove to latch onto (“In Unreality’s Coffin”) coming to keep you afloat. Ectovoid keep you guessing without actually really pushing the boundaries, making In Unreality’s Coffin both a lot of fun and straightforwardly br00tal enough to sustain a savage workout; or just a really intense 45 minutes.

In Unreality’s Coffin by Ectovoid

Exxûl // Sealed into None [January 15th, 2026 – Productions TSO]

Phil Tougas has had an impressive start to the year. Before Worm’s Necropalace this February, came Sealed into None, the debut by Exxûl—a genre-blending, kinda blackened epic-power-doom-heavy-metal group also comprising several of Phil’s Atramentus band-mates. Several people brought up this album in the comments on my Worm review, often to the tune of “Exxûl better,” and while I respectfully disagree on the quality ranking of the two, I can’t deny how fabulous Sealed into None is. Here again are genres of music I’m usually unable to connect with—in this instance, power and classical heavy metal—but shaped in a way that opens my eyes and ears. Yes, the high-pitched wail style of singing first took me a little off-guard when they first arose on “Blighted Deity,” and they offend my usual tastes. But they are impressive, and work in a way I thought only harsh vocals could when following the trajectory of distorted keys and guitar (“Walls of Endless Darkness”), or shouting into an atmospheric abyss (“The Screaming Tower”). Oh, and of course, the overall vibe of magnificent, melodramatic blackened doom that sets the scene, capped off with—predictably—phenomenal guitarwork, is just magic and enough for me to get past my knee-jerk vocal ick and love it not in spite of that, but because of what it can bring to the whole. I love the slow builds to dazzling solos (“Bells of the Exxûl through to “Blighted Deity,” “The Screaming Tower”) and the way the camper, heavy-metal sides blur into something darker (“Labyrinthine Fate”). I just love this album, to be honest.

Sealed Into None by Exxûl

ClarkKent’s Canadian Catch

Turpitude // Mordoré [January 1, 2026 – Self Released]

Since 2019, Alice Simard has been a prolific presence in Quebec’s underground metal scene. She consistently releases albums for several different projects, from the ambient atmoblack of Coffret de Bijoux to the tech death of Luminesce (also uncovered in this month’s Filter by our Sponge Fren). Mordoré, the fourth full-length for Turpitude, thrives on its riffs and carries a cheerful energy reminiscent of the carefree raw black metal of Grime Stone Records stalwarts Wizard Keep and Old Nick. Yet Simard opts for traditional instruments, no synths, though production choices make the drumsticks sound as if they’re banging against blocks of wood, give the guitars a lofi reverb, and cause Simard’s voice to fade into the background in a cavernous growl. The riffs are the real star, with some terrifically catchy melodic leads and trems throughout (“La Traverse Mordorée,” “Aller de L’avant”). This combination of riffs, a raw sound, and often upbeat tunes draws comparison to Trhä and To Escape. While Mordoré keeps a mostly cheery tone, Turpitude’s no one-trick pony. There’s a tinge of the melancholic on the moody, atmospheric “Peintra,” as well as a successful stab at covering a non-metal song a lá Spider God on “Washing Machine Heart.”4 This is a worthwhile endeavor for those who like their black metal raw and energetic.

Mordoré by Turpitude

Grin Reaper’s Heavy Haul

Valiant Sentinel // Neverealm [January 16th, 2026 – Theogonia Records]

Greek heavy metal heroes Valiant Sentinel dropped their sophomore platter Neverealm back in mid-January, unleashing forty-six minutes that reek of high fantasy. Galloping riffs, driving drums, and vocal harmonies aplenty supply a cinematic adventure that basks in fun. While the pacing of Neverealm mainly operates in high-energy bombast, Valiant Sentinel smartly weaves in mid-paced might, evidenced by how the controlled assault of “Mirkwood Forest” provides a breather after opening chest-thumpers “War in Heaven” and “Neverealm.” Acoustic pieces “To Mend the Ring” and “Come What May” further diversify Neverealm’s heavy metal holdings, and while I’m usually keener on more aggressive numbers, these two tracks comprise some of my favorite moments on the album.5 Mostly, Valiant Sentinel summons comparisons to Germany’s heavy/power scene—chief among them Blind Guardian—going so far as to bring in BG drummer extraordinaire Frederik Ehmke. I also catch fleeting glimpses of Brainstorm and Mystic Prophecy in Valiant Sentinel’s DNA, though guitarist and composer Dimitris Skodras does a commendable job carving out a distinct identity for the band. Featuring skilled performances across the board and guest spots from Burning Witches’ Laura Guldemond (“Neverealm”) and Savatage’s Zak Stevens (“Arch Nemesis”), Valiant Sentinel packs loads of drama into a streamlined package. So what are you waiting for? Go grab your polyhedrals and a Spelljammer, and set sail for Neverealm.

Neverealm by Valiant Sentinel

Fili Bibiano’s Fortress // Death Is Your Master [January 30th, 2026 – High Roller Records]

Does Shredphobia keep you away from metal? Does the sultry siren call of licks, riffs, and chugs make you break into a cold sweat? If so, I strongly urge you to stay away from Fortress’ sophomore album, Death Is Your Master. Channeling Tony Martin-era Black Sabbath and 80s Judas Priest, Fortress drops six-string shenanigans that’ll get your booty shaking and the floor quaking, offering a romping retro slab that goes down slow ‘n’ easy. The overt classic 80s heavy metal worship on tracks “Flesh and Dagger” and “Night City” delivers riff after riff recalling the glory days, giving Fortress an authenticity that expands what could have otherwise been a one-dimensional LP. Guitarist Fili Bibiano sizzles with axe-slinging abandon, occasionally conjuring the neoclassical debauchery of Yngwie (“Savage Sword,” “Maze”). Still, it’s not all about the guitar, and drummer Joey Mancaruso and vocalist Juan Aguila nail their contributions as Fortress wends their way through a trim thirty-four minutes. On a guitar-forward album featuring slick songwriting and singalong jams, Death Is Your Master bumps, dives, and wails in a slow-burn frenzy of classic heavy goodness. Dig in!

Death Is Your Master by Fili Bibiano’s Fortress

Baguette’s Brutal Burglary

Skulld // Abyss Calls to Abyss [January 23rd, 2026 – Time to Kill Records]

While last year was alright for death metal and notably starred Dormant Ordeal, I felt it was lacking in quantity of impressive releases for said cornerstone of the metal underground. Fortunately, Italian group Skulld is here to start off the year with a bang! Abyss Calls to Abyss takes Bolt Thrower’s tank-rolling grooves (“Mother Death”) and Dismember’s melodic buzzsaw action (“Wear the Night as a Velvet Cloak”) and adds in some crust punk influence as extra seasoning (“Le Diable and the Snake”). It feels like they’ve taken some influence from both Finnish and Swedish varieties of death metal as well, and I’m here for it! The band is fluent in switching things up at the drop of a hat without sacrificing energy or cohesion. “Mother Death” and “Drops of Sorrow” go from heavy, dissonant chords to big lead guitar melodies, which in turn lead to a chunky and punky death metal groove that’s bound to get your head moving. Teo’s drumming controls the mood in excellent fashion, adding fast blast beats or slow-pummelling stomps when called for. The vicious, varied growls of Pam further cement the violence contained within and add to the album’s attitude. At a brief 34 minutes spread over eight songs, it wastes no time going for your throat in a multitude of ways. Get this album into your skull or get Skulld!

Abyss Call To Abyss by Skulld

Total Annihilation // Mountains of Madness [January 16th, 2026 – Testimony Records]

What would happen if you took Vader, Slayer and Sodom and threw them in a big ol’ manic death/thrash blender? The answer is Mountains of Madness! While Swiss Total Annihilation’s earliest works were more in line with classic ’80s thrash metal, they have increasingly moved towards more aggressive and relentless pastures, and their songwriting is all the better for it. Fourth album Mountains of Madness channels records like Vader’s Litany and Sodom’s Tapping the Vein in particular (“The Art of Torture,” “Age of Mental Suicide”), taking advantage of a relentless, drum-forward groove and a furious vocal performance. The album’s dual guitar attack weaves together thrashier tunes with parts that reach straight up Swedeath territory, be it melodic or not. In addition, tracks like “Mountains of Madness” and “Choose the Day” throw some melodic thrash akin to Sodom’s self-titled album into the mix for that extra bit of variety and replay value. Mountains of Madness isn’t afraid to slow things down with a satisfying lead riff, but most of Mountains of Madness is at a respectful lightning-fast pace, as thrash should. Another brief but powerful addition to the January pile ov skulls!

Mountains Of Madness by Total Annihilation

Polaris Experience // Drifting Through Voids [January 2nd, 2026 – Distant Comet Entertainment]

On the earliest days of the year, Japan delivered an awesome surprise drop of death metal-influenced progressive thrash! Polaris Experience features various Cynical riffs (“Interplanetary Funambulist,” “Bathyscapes”) while sporting a similarly old-school guitar tone throughout. Being progressive thrash, the main focus is naturally on the oh-so-sweet instrumentation that balances melody and groove seamlessly. The instrumental “Parvati” alone highlights how tight everything is, from the snappy drumming to the bouncy bass work. Most importantly, the music is catchy and memorable despite its relative complexity and lack of brevity. Additionally, Drifting Through Voids uses vocals sparingly but in all the right ways, complementing its technicalities with a traditional thrashy, harsh bark. The fact that it’s a two-man project and a debut makes it all the more impressive. Fans of similar recent progressive and technical shenanigans like Species should take notes post-haste. Considering we’ve already had this and Cryptic Shift this early in the year, and how prog/tech thrash is usually only allowed one or two notable albums per year, we could be in for a banner year for the subgenre. It also marks the first time in ages that a Japanese album has genuinely good production. Welcome to the new millennium!

Drifting Through Voids by Polaris Experience

Brutal cold envelops the building as my minions scrape through ice and filthy slush to find even the smallest shard of metallic glimmer. With extensive budget cuts demanded by my exorbitant bonus schedule—as is my right as CEO of this filtration service—there was no room to purchase adequate gear and equipment for these harsher weathers. However, I did take up crocheting recently so each of my “employees” received a nice soft hat.

Hopefully, that will be enough to tide them over until the inclement weather passes and we return to normal temps. Until then, they have these rare finds to keep them warm, and so do you! REJOICE!

Kenstrosity’s Knightly Nightmare

AngelMaker // This Used to Be Heaven [November 20th, 2025 – Self Released]

I’ve been a fan of AngelMaker’s since their 2015 debut Dissentient. The grossly underrated and underappreciated Vancouver septet are a highly specialized deathcore infantry, with their lineup expanding steadily over their career in concert with their ever-increasing songwriting sophistication. Unlike the brutish and belligerent debut and follow-up AngelMaker, 2022’s Sanctum and new outing This Used to Be Heaven indulge in rich layering, near-neoclassical melodies, and dramatic atmosphere to complement AngelMaker’s trademark sense of swaggering groove. With early entries “Rich in Anguish” and “Haunter” establishing the strength of both sides of their sound, it always surprises me how AngelMaker successfully twist and gnarl their sound into shapes—whether it be hardcore, blackened, or melodic—I wasn’t anticipating (“Silken Hands,” “Relinquished,” “Nothing Left”). A rock-solid back half launched by the epic “The Omen” two-part suite brings these deviations from the expected into unity with the deathcore foundation I know AngelMaker so well for (“Malevolence Reigns,” “Altare Mortis”), and in doing so secure their status as one of the most reliably creative deathcore acts in the scene. Nothing here is going to change the minds of the fiercer deathcore detractors, but if your heart is open even just a crack, there’s a good chance This Used to Be Heaven will force themselves into it, if not entirely rip the whole thing asunder. My advice is simply to let it.

This Used To Be Heaven by AngelMaker

ClarkKent’s Sonic Symphonics

Brainblast // Colossus Suprema [November 11th, 2025 – Vmbrella]

A debut album five years in the making from a band formed in 2015, Colossus Suprema is the brainchild of Bogotá, Colombia’s Edd Jiménez. Jiménez turned his passion for and training in classical composition towards his symphonic progressive act, Brainblast. With Bach as an inspiration, Brainblast’s brand of technical death metal has the grandeur of Fleshgod Apocalypse, the speed of Archspire, and the virtuosity of concert musicians. Jiménez’s classical training shows — the compositions have an orchestral feel, only played at insane energy levels. The speed, the depth, and the breadth of the instrumentation are sure to leave you breathless. Nicholas Le Fou Wells (First Fragment) lays down relentless kitwork with jaw-dropping velocity, while Eetu Hernesmaa provides technical fretwork that’ll similarly leave you awestruck. He delivers sublime riffs on “Relentless Rise” and a surprising melodic lead that steals the show on “Unchain Your Soul.” Perhaps most prominent is the virtuoso play of the bass from Rich Gray (Annihilator) and Dominic Forest Lapointe (First Fragment) that is omnipresent and funky on each and every song. To top it all off is the piano (perhaps from Jiménez), giving the music some gravitas with the technical, concert-style playing. This record is just plain bonkers and tons of fun. Given this is the debut from a young musician, the idea that Brainblast has room to grow is plenty exciting.

COLOSSUS SUPREMA by BRAINBLAST

Gods of Gaia // Escape the Wonderland [November 28th, 2025 – Self Released]

If you’ve been eagerly awaiting the next SepticFlesh release, Germany’s Gods of Gaia have got you covered. Founded in 2023 by Kevin Sierra Eifert, Gods of Gaia is made up of an anonymous collective from around the world, contributing to a dark, heavy, and aggressive form of symphonic metal. Their sophomore album, Escape the Wonderland, features a collection of death metal songs with plenty of orchestral arrangements that add a dramatic flair. Along with crushing riffs and thunderous blast beats, you’ll hear choral chants (“Escape the Wonderland,” “Burn for Me”), bits of piano (“What It Takes”), and plenty of cinematic symphonics. SepticFlesh is the obvious influence, but the grandiosity of Fleshgod Apocalypse flares up on cuts like the dramatic “Rise Up.” The front half is largely aggressive, with “What It Takes” taking the energy to thrash levels. The back half dials down the energy, even creeping to near doom on “Krieg in Mir,” but never pulls back on the heaviness. Cool as the symphonic elements are, the riffs, blast beats, and brutal vocal delivery are just as impressive. Make no mistake, this is melodic death metal above all else, with symphonic seasonings that elevate it a notch. Just the opposite of what the record title suggests, this is one wonderland you won’t want to escape.

Escape the Wonderland by Gods of Gaia

Grin Reaper’s Frozen Feast

Hounds of Bayanay // КЭМ [November 15, 2025 – Self Released]

Two-and-a-half years after dropping debut Legends of the North, Hounds of Bayanay returns with КЭМ to sate your eternal lust for folk metal.1 Blending heavy metal with folk instrumentation, specifically kyrympa2 and khomus,3 as well as throat singing, Hounds of Bayanay might sound like a Tengger Cavalry or The Hu knockoff, but you’ll do yourself a disservice by writing them off. Boldly enunciated, clarion cleans belt out in confident proclamations while grittier refrains and overtones resonate beneath, proffering assorted and engaging vocal stylings. Rather than dwelling overlong in strings and tribal chanting, the deft fusion of folk instruments with traditional metal defines Hounds’ sound and feels cohesively integrated on КЭМ, providing an intimate yet heavy backdrop to a hook-laden and alluringly replayable thirty-nine minutes. In addition to the eclectic folk influence, there’s a satisfying variety of songwriting from track to track, with “Ardaq,” “Cɯsqa:n,” and “Dɔʃɔrum” exemplifying the enticing synthesis of styles. More than anything else, Hounds of Bayanay embodies heart and fun, warming my chilly days with a well-executed platter of Eastern-influenced folk metal. Don’t skip this one, or the decision could hound you.

KEM by Hounds Of Bayanay

Blood Red Throne // Siltskin [December 05, 2025 – Soulseller Records]

I’m shoving up against the deadline to wedge this one in, but Blood Red Throne’s latest deserves a mention, and bulldozing is just the sort of thing you should do while listening to BRT’s brand of bludgeoning, pit-stomping romp. Back in December, the venerable Norwegian death metal act dropped twelfth album Siltskin, maintaining their prolific and consistent release schedule. In addition to their dependable output, BRT stays the course with pummeling, brutish pomp. In his coverage of Nonagon and Imperial Congregation, Doc Grier drums up comparisons to Old Man’s Child, Panzerchrist, and Hypocrisy, and while I’m not inclined to disagree on those points, I’ll add that Siltskin also harkens to Kill-era Cannibal Corpse in its slick coalition of mid-paced slammers, warp-speed blitzes, and fat ‘n’ frolicking bass. Add to that the sly, sticky melody from the likes of Sentenced’s North from Here (“Vestigial Remnants”), and you’ve got a recipe for a righteous forty-five-minute smash-a-thon. Blood Red Throne’s last few records have been among their best, which is an incredible feat for a band this far into their career. While Siltskin doesn’t surpass BRT’s high-water mark, it keeps up, and if you’re hungry for an aural beatdown, then Blood Red Throne would like to throw their crown into the ring for consideration.

Siltskin by Blood Red Throne

Gotsu-Totsu-Kotsu // Immortality [December 17, 2025 – Bang the Head Records]

I am woefully late to the charms of Gotsu-Totsu-Kotsu, a Japanese death metal outfit prominently featuring slap ‘n’ pop bass. Had it not been for our trusty Flippered Friend, I might have continued this grievous injustice of ignorance, but thankfully, this is not the timeline to which I’m doomed. Immortality is Gotsu-Totsu-Kotsu’s seventh album, and those who enjoy the band’s previous work should remain satisfied. For new acolytes, Gotsu-Totsu-Kotsu grasps the rabid intensity of Vader and Krisiun and imbues it with a funky edge. Meaty bass rumbles and sprightly slapped accents, provided by bassist/vocalist Haruhisa Takahata, merge with Kouki Akita’s kit obliteration to establish a thunderous, unrelenting rhythm section. Atop the lower end’s heft, Keiichi Enjouji shreds and squeals with thrashy vigor and a keen understanding of melody. First proper track “Anima Immortalis” even includes gang intonations that work so well, I wish they were more prevalent across the album. The sum total of Gotsu-Totsu-Kotsu’s atmosphere is one of plucky exuberance that strikes with the force of a roundhouse kick to the dome. Had I discovered it sooner, Immortality would have qualified for a 2025 year-end honorable mention, as I haven’t been able to stop spinning it or the band’s prior releases.4 Though I’m still in the honeymoon phase, I expect this platter to live on in my listening, and recommend you not miss this GTK killer like I almost did.

Thus Spoke’s Random Revelations

The Algorithm // Recursive Infinity [November 21st, 2025 – Self Released]

I’ve been a fan of The Algorithm since the early days, back when their electronica-djent was almost twee in its experimental joy, spliced with light-hearted samples. Over the years, Rémi Gallego has tuned his flair for mesmeric, playful compositions to develop a richer, more streamlined sound. Recursive Infinity continues the recent upward trend Data Renaissance began. With riffs and rhythms the slickest since Brute Force, and melodies the brightest and most colourful since equally-prettily adorned Polymorphic Code, it’s a cyberpunk tour-de-force. The wildness is trained, chunky heaviness grounding magnetic melodies (“Race Condition,” “Mutex,” “By Design”), dense chugging transitioning seamlessly into techno (“Advanced Iteration Technique,” “Hollowing,” “Graceful Degradation), and adding bite to bubbly, candy-coloured soundscapes (“Rainbow Table,”). The skittering of breakbeats tempers synthwave (“Endless Iteration), and bright pulses wrap cascading electro-core (“Race Condition,” “Mutex”) and orchestral melodrama (“Recursive Infinity”). It’s often strongly reminiscent of some point in The Algorithm’s history, but everything is upgraded from charming to entrancing. This provides a new way to interpret Recursive Infinity: not just a reference to an endless loop in general, but to Boucle Infinie (Infinite Loop)—Remi’s other musical project—and by extension, The Algorithm themselves. Yet he is still experimenting, including vocoder vocals (“Endless Iteration,” “By Design”) for a surprisingly successful dark-Daft Punk vibe in slower, moodier moments. With nostalgic throwbacks transformed so beautifully, and the continued evolution, there’s simply no way I can ignore The Algorithm now. And neither should you.

Recursive Infinity by The Algorithm

Owlswald’s Holiday Scraps

Sun of the Suns // Entanglement [December 12th, 2025 – Scarlet Records]

Bands and labels take heed—We reserve December for two things: Listurnalia and celebrating another trip around the sun. It is not for releasing new music. Yet this blunder persists, ensuring we inevitably miss gems like Sun of the Suns’ sophomore effort, Entanglement.5 The record dropped just as the world was tuning out for the year, and it deserves much better. Building on the foundation of their 2021 debut, TIIT, the Italian trio has significantly beefed up their progressive death formula. Mixing tech-death articulation with deathcore brutality, Entanglement ensures fans of Fallujah will feel right at home with its effervescent clean melodies and crystalline textures. Francesca Paoli (Fleshgod Apocalypse) returns to provide another masterclass behind the kit with rapid-fire double-bass, blasts, and tom fills, while guitarists Marco Righetti and Ludovico Cioffi deliver cosmic shredding and radiant solos that are both technical and deliberate. While the early tracks lean into Fallujahian songcraft and Tesseract-style arpeggios, the album shines brightest late when the group largely sheds its stylistic orbit. “Please, Blackout My Eyes” pivots toward a majestic Aeternam vibe with ethereal tech-death incisiveness, while “One With the Sun” and “The Void Where Sound Ends Its Path” hit like a sledgehammer with Xenobiotic’s deathcore grooves. Though Luca Dave Scarlatti’s vocals lack differentiation, the sheer quality of the compositions carries the weight, proving Sun of the Suns are much more than mere clones.

Entanglement by Sun Of The Suns

Pillars of Cacophony – Paralipomena [Things You Might Have Missed 2025]

By Owlswald

Amidst the routine of our daily lives, it’s easy to overlook the hidden, complex universe that exists just outside our normal gaze. It only takes a bit of magnification to reveal it: a place where cells shift and collide, forming the invisible architecture of existence. Capturing the awe of this biological machinery is a tall order. Yet, Dominik, multi-instrumentalist and mastermind of Pillars of Cacophony, has created a soundscape with second LP, Paralipomena, that does exactly that, exploring the building blocks of life through sound. Though tackling the topic of bioscience through the lens of disso and technical death metal may be a volatile experiment, this Austrian knows exactly how to harness the power of biology to bridge the divide. You see, Dominik is a bioscientist by trade, literally mining his own PhD thesis to drive the chaos that is Pillars of Cacophony. This academic authenticity is what sets Paralipomena apart, resulting in a rare fusion of intellect and brutality that you simply can’t afford to miss.

The genome of Paralipomena is an unstable body of technical and dissonant death metal, forged in the chaotic intersection of Ulcerate and The Faceless. The album’s kinetic energy flows freely across synapses, connecting a skin of hooky riffs, tremolo surges, and punishing down-picking. Intelligent songwriting and flash-fire percussion surgically underpin this to create an unsettling cacophony of sonic friction. While tracks like “The Cradle,” “The Discord,” and “Retina” demonstrate Pillars of Cacophony’s hyper-speed technicality, cuts like “Cachexia,” “Mitosis,” and the Meshuggahian “Landscapes of Permanence” twist the formula, venturing into unpredictability with jazzy permutations and calm, contemplative sections (“Maps of Disintegration”). This is the soundtrack to inter-cellular warfare—a torrent of fast-twitch riffing and searing discordance, punctuated by pressurized blast beats, static-laced roars, and the acidic twang of bass, transporting one into a world seen only through a high-powered scope.

Paralipomena is rife with entropy, yet its multi-layered cytoskeleton maintains homeostasis. Pillars of Cacophony’s layered guitars clash and coordinate simultaneously—one flooding the airwaves with raw, unsettling dissonance, while the other focuses on calculated technicality and micro-precision picking. “Of Plagues and Fibrils” immediately delivers Paralipomena’s chemistry of chaos and precise equilibrium in its moving, shifting main palm-muted riff, infecting the listener’s brain like a disease with its immediate, powerful hooks. The drums’ complex cymbal flares and tom rolls only enhance the track’s memorability, providing badass atmosphere and tasteful technicality in equal measure. Pillars of Cacophony showcases this same momentum again in “Retina,” which pushes a Necrophagist-like tempo—particularly during its groovy double-bass sections and unidirectional picking—and “The Cradle,” where the rhythm section anchors the frenetic guitar work and furious tremolodic leads.

Ever since it dropped earlier this year, Paralipomena continues to grip me. It succeeds by concentrating sonic violence to create the ultimate soundtrack to a hidden world—one that feels as technically layered as it is immediately catchy. Pillars of Cacophony has forged an album that pairs an extreme and dystopian soundscape with the surgical authority of empirical sciences, carving a bespoke path outside the predictable confines of death metal. If you’re a fan of disso or tech-death and somehow missed Paralipomena, consider this your diagnosis and remedy that malady immediately.

Tracks to Check Out: “Of Plagues and Fibrils,” “The Cradle,” “Retina,” “The Discord.”

#2025 #AustrianMetal #DeathMetal #Meshuggah #Necrophagist #Paralipomena #PillarsOfCacophony #TechnicalDeathMetal #TeratogenRecords #TheFaceless #ThingsYouMightHaveMissed2025 #TYMHM #Ulcerate

SUPREME VOID (Polònia) presenta nou àlbum: "Towards Oblivion" #SupremeVoid #TechnicalDeathMetal #Abril2025 #Polònia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

Allegaeon – The Ossuary Lens Review

By Maddog

Allegaeon’s six albums have received tumultuous marks in these halls. After their fantastic 2010 debut Fragments of Form and Function broke the score counter, Allegaeon sank as low as a 2.0 for 2016’s Proponent for Sentience in the eyes of then-tadpole GardensTale. While their latest outing recovered to a more respectable score, Allegaeon’s techy brand of melodeath has polarized socialites and critics alike. The band excelled with their riffier onslaughts and soaring melodies, but fell for the forbidden fruit of proggy excess. The Ossuary Lens showcases a leaner, meaner Allegaeon. I won’t be listening to it in a decade, but it’s a worthy soundtrack for today.

Allegaeon have trimmed their bloat but not their ambitions. For the uninitiated, Allegaeon’s brand of death metal resembles a noodlier Arsis, with its melodicism matched only by its technicality. That said, Allegaeonites will recall that these Coloradans would rather cover Yes or Rush than classic death metal. Allegaeon’s career has sometimes descended into a vulgar display of prog, combining protracted tracks with a penchant for flamenco breaks. These proggy elements live on, as Allegaeon gallops from punchy riffs to melodic leads to clean jams and back again. However, The Ossuary Lens displays newfound restraint. At 45 minutes, this is the band’s shortest album by a full eight minutes. Allegaeon’s escapades no longer leave a salty aftertaste, and the band’s forays into other genres no longer feel like pleas for a yardstick. The Ossuary Lens preserves its identity without getting lost in its own reflection.

Accordingly, The Ossuary Lens hits across both its bigly riffs and its creative tangents. The album’s fierier cuts are a refreshing return to form, with “The Swarm” reviving Elements of the Infinite’s infectious riffcraft. As hoped, these sections still ooze technicality, as guitarists Greg Burgess and Michael Stancel dominate their fretboards even in their most explosive moments. Meanwhile, Allegaeon’s genre-bending experiments feel creative but not overwrought. Most notably, “Dark Matter Dynamics” pulls a First Fragment stunt of seamlessly transitioning between jubilant strumming (courtesy of Adrian Bellue) and formidable death metal melodies. Indeed, The Ossuary Lens hits hardest when these forces unite. For instance, “Carried by Delusion” voyages from serene melodies to Revocation worship to blackened tremolos to upbeat bass and guitar solos to downcast crunchy riffs, eviscerating both my heartstrings and my neck. The Ossuary Lens’ moderation goes a long way. Rather than clobbering the listener with decades-long Spanish guitar jams, The Ossuary Lens presents its creative side through measured four-minute tracks. Tech, prog, melody, and home sweet death metal unite into a potent concoction.

While each piece of The Ossuary Lens is impressive in isolation, the album sometimes loses my interest. One reason is its lack of climactic moments. During tracks like “Scythe” and “Wake Circling Above,” I zoned out and had to abuse the rewind button, because there weren’t enough valleys, buildups, and peaks to keep me engaged. Another reason is sequencing; while the five middle tracks from “Driftwood” through “Dark Matter Dynamics” shine, the bookends fall short. The most predictable reason is production. Despite aiming for creativity and dynamism in their songwriting, Allegaeon continues to brickwall their albums into tepid gruel. As a result, The Ossuary Lens often loses my focus despite its seemingly manageable length. Conversely, the album’s highlights show how it’s done. Most strikingly, “Driftwood” has colonized my brain with a soulful mix of melodeath and metalcore that recalls Venom Prison. With highs this high, it’s a shame that The Ossuary Lens often slips into uniformity.

Allegaeon is a relatively new band, but they inspire nostalgia. I vividly recall pimply nights with the addictive Fragments of Form and Function. I still think that “Accelerated Evolution” and “Genocide for Praise” are two of the greatest album closers of this millennium. And the iconic 2014 music video for “1.618” sealed Allegaeon’s place in my heart forever. Measured against Allegaeon’s first three albums, The Ossuary Lens falls short, hampered by its dearth of standout moments. Still, it isn’t a stinker. It still bangs; it still shreds; it still progs. Warts and all, it earns its keep.

Rating: Good
DR: 5 | Format Reviewed: 256 kbps mp3
Label: Metal Blade Records
Websites: allegaeon.bandcamp.com | facebook.com/Allegaeon
Releases Worldwide: April 4th, 2025

Iceberg

Allegaeon are something of a known quantity around here, having been nodded at by Steel, eviscerated by GardensTale, and patched up by Cherd. The Colorado crew helmed by guitarist Greg Burgess have amassed a legion of rabid followers (who are sure to raise a ruckus in the comment section) for their signature style of Gothenburg-meets-tech-death. I’ll admit to being a fan of 2016’s Proponent for Sentience, one of the first reviews I read on this site, but got lost amidst the dense material of Apoptosis and frankly didn’t even give Damnum a shot. Allegaeon’s latest LP, The Ossuary Lens, sees the return of original vocalist Ezra Haynes and a much-welcomed stripped-down runtime, two intriguing changes in my book. It’s been quite a while since I’ve been excited about an Allegaeon release, can The Ossuary Lens be the record to change that?

Allegaeon’s style of melo-tech-death needs little introduction here, but for those of you who haven’t been following the past decade’s worth of drama, I’ll provide the CliffsNotes. Sweeping, scalar guitar riffs courtesy of Burgess and Michael Stancel form the backbone of most tracks, and the dual guitars make for an indulgent offering of solos (“Driftwood,” “Wake Circling Above”). The drums here, while dripping with modern production sheen, are compelling and energetic without being overly technical, a sincere compliment for Jeff Saltzman. Allegaeon have never strayed from highlighting their bass players, and standout moments in “Chaos Theory” and “Carried by Delusion” show Brandon Michael has as much a command of melody as he does of relentless, galloping rhythms. Ezra Haynes, of Elements of the Infinite fame, comes roaring back to life on The Ossuary Lens, employing a gritty death roar alongside commendable clean vocals on “Driftwood” and “Wake Circling Above.” The performances on The Ossuary Lens are everything one would come to expect from a band nearly two decades into their career, and make for a wholly engaging listening experience.

Allegaeon albums tend to have similar issues holding them back, and the band have largely addressed them on The Ossuary Lens. First and foremost is the 45-minute runtime, a nearly 25% reduction in music from their last three records. The renewed focus on editing shines, with tracks that hit fast and get out of the way while still managing to be memorable (“The Swarm,” “Imperial”). This represents the first major improvement in The Ossuary Lens; Allegaeon have not only figured out that less is more, but they’ve also magnified the parts that work. Sing-along melodeath choruses lurk throughout the album (“Driftwood,” “Dies Irae”) but none so impactful as penultimate track “Wake Circling Above.” Clearly the best Insomnium track released this year, Allegaeon’s ode to all things Gothenburg is a monumental testament to what this band can do when they stop doing so much and let the music dictate the song’s course.

The hits don’t stop there. The Ossuary Lens takes a while to really get moving, with the first three tracks treading familiar territory. But then comes “Dies Irae,” a barnburner that incorporates the three-note musical motif for the Dies Irae text of the Requiem Mass, a nice music nerd Easter Egg that only enhances the ripping triplet-infused breakdown sitting in the song’s center. And Burgess’ requisite flamenco guitar, something sorely overused in Proponent for Sentience, is here condensed into the driving groove of “Dark Matter Dynamics,” a powerfully infectious rhythm ripped straight from a Rodrigo y Gabriela record, or the breath-before-the-plunge moments of the darkly harrowing “Carried by Delusion.” Whereas previous Allegaeon records were dense, academic affairs that required shoveling through noise and notes to discern, The Ossuary Lens presents a barebones masterclass on Allegaeon’s modus operandi.

This isn’t to say that The Ossuary Lens is infallible. Early tracks “Chaos Theory” and “Driftwood” are technically proficient, but fail to reach the emotional highs of the rest of their brethren. Final track “Scythe,” while holding some excellent verse grooves, feels underbaked after the astonishing “Wake Circling Above,” and its cropped ending leaves the album on more of a question mark than a statement. And there’s the lingering issue of the DR5 master and production, which, while not as obscene as earlier records, is still crushed and fatiguing. But overall, The Ossuary Lens represents a massively successful repositioning for the Coloradoans, making it one of my favorite spins of the year for its precision, refinement, and memorability. If Allegaeon continue on this trajectory, we may see their best work yet just over the horizon.

Rating: 3.5/5.0

#2025 #30 #35 #Allegaeon #AmericanMetal #Apr25 #Arsis #DeathMetal #FirstFragment #Insomnium #Melodeath #MelodicDeathMetal #MetalBlade #MetalBladeRecords #ProgressiveDeath #ProgressiveDeathMetal #ProgressiveTechnicalDeathMetal #Review #Reviews #Revocation #RodrigoYGabriela #Rush #TechnicalDeathMetal #TheOssuaryLens #VenomPrison #Yes

SUPREME VOID (Polònia) presenta nou single: "Dissolution of Power" #SupremeVoid #TechnicalDeathMetal #Abril2025 #Polònia #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

Stuck in the Filter: August and September 2024

By Kenstrosity

I am a stubborn bitch. I work my underlings hard, and I won’t let up until they dig up shiny goodies for me to share with the general public. Share might be a generous term. Foist upon is probably more accurate…

In any case, despite some pretty intense setbacks on my end, I still managed to collect enough material for a two-month spread. HUZZAH! REJOICE! Now get the hell away from me and listen to some of our very cool and good tunes.

Kenstrosity’s Turgid Truncheons

Tenue // Arcos, bóvedas, pórticos [August 1st, 2024 – Self-Release]

Spanish post-black/crust/screamo quartet Tenue earned my favor with their debut record, Anábasis, back in 2018. Equal parts vicious, introspective, and strangely uplifting, that record changed what I thought I could expect from anything bearing the screamo tag. By integrating ascendant black metal tremolos within post-punk structures and crusty attitude, Tenue established a sound that not only opened horizons for me taste-wise but also brought me a great deal of emotional catharsis on its own merit. Follow-up Arcos, bóvedas, pórticos deepens that relationship. Utilizing a wider atmospheric palette (“Distracción”), a shift towards epic song lengths (“Inquietude, and a greater variety of instrumentation (observe the beautiful horns on long-form opener “Inquietude”), and a bluesier swagger than previous material exhibited (“Letargo”), Tenue’s second salvo showcases a musical versatility I wasn’t expecting to complement the bleeding-heart emotional depth I knew would return. This expansion of scale and skillset sets the record apart from almost anything else I’ve heard this year. Even though one or two moments struggle to stick long-term (“Enfoque”), Arcos, bóvedas, pórticos represents an affecting, creative, and ridiculously engaging addition to my listening schedule. And for the low low price of NYP, it ought to be a part of yours as well.

Open Flesh Wound // Vile Putrefaction [August 28th, 2024 – Inherited Suffering Records]

Thicc, muggy slam with a million pick scrapes. Who could ask for anything more? Not I, and so it is with great pleasure that I introduce to my AMG fam Pennsylvania’s very own Open Flesh Wound and their debut LP Vile Putrefaction. Essentially the result of Analepsy’s and Devourment‘s carnal lovemaking, Vile Putrefaction is a nasty, slammy, brutal expulsion of chunky upchuck. Only those with the most caved-in craniums will appreciate the scraping swamp-ass riffs showcased on such slammers as “Smashed in Liquids” and “Cinder Block to the Forehead,” or the groove-laden thuggery of death-focused tracks like the title track, “Fermented Intestinal Blockage” and “Body Baggie.” Vile Putrefaction’s molasses-like production is an absolute boon to this sound as well, with just enough gloss to provide a deliciously moist texture which imparts an unlikely clarity to especially gruesome details in “Stoma Necrosis” and “Skin Like Jelly.” It’s dumb as hell, and isn’t doing anything new, but is an overdose of good, dirty fun. Simple as.

The Flaying // Ni dieu, ni ma​î​tre [September 5th, 2024 – Self Release]

I’ve been singing Canadian melodic death metal quartet The Flaying’s praises for almost six years now. And still to this day not enough people choose to sing with me. Why? Because they wouldn’t know sickeningly fun death metal if it hacked their faces right off. That’s okay, because The Flaying do hack faces right off regardless, and it feels so good to watch the faces of those who don’t heed my call get hacked right off. Third onslaught Ni dieu, ni ma​î​tre proves that once again, The Flaying are an unstoppable force of bass wizardry, riff mastery, and hook-laden songwriting. Opener “Le nécrologiste” perfectly encapsulates The Flaying’s particularly addicting brew of Cannibal Corpse, The Black Dahlia Murder, and De Profundis influences, shaken and stirred until the resulting cocktail blooms with a flavor all its own. Technical and brutally fast, follow-up track “L’enclave” continues the deadly rampage, featuring noodly bass lines guaranteed to elicit stank face in the even most prim and proper elite. A trim twenty nine minutes, spread over ten tightly trained tracks, Ni dieu, ni ma​î​tre boasts unbeatable replay value. Highlights “Ni dieu, ni ma​î​tre,” “Les Frondes” “La forge,” and “Noyau sombre” seal the deal by providing sharp hard points and memorable landmarks to which any listener would look forward. Simply put, this record rocks my socks and further proves that I am right about The Flaying, and those who ignore my recommendation are wrong.

Dolphin Whisperer’s All-Seeing Affirmations

Eye Eater // Alienate [August 1st, 2024 – Self Release]

In a post-Ulcerate world, the modern output of atmosphere-minded death metal has grown exponentially. With ringing dissonant chords and slow post-informed builds taking center stage, bands like New Zealand’s unheralded Eye Eater borrow plenty from the Destroyers of All sound. However, while many acts would be content to dial in the space or ramp up the dissonance to try and put their own twist on this growing post-death movement, Eye Eater looks to the laser-precise melodic tones of progressive, core-borrowing names like Fallujah and Vildhjarta to carve an identity into each of Alienate’s album eight sprawling tracks. Swinging sustained brightness in one hand about the grizzly chug-crush of the other, burly bangers like “Other Planets” and “Failure Artifacts” find churning, djentrified grooves that amplify the swell of the blaring melodies that swirl above the low-end clamor. And though the main refrains of “Alienate” and “Everything You Fear and Hope For” sound like loving odes to their Kiwi Forebears, the growth into sonorous and lush-chorded peaks lands much closer to the attraction of turn of the 10s progressive death/metalcore luminaries The Contortionist had they stayed closer to their heavy-toned, hefty-voiced roots. As an anonymous act with little social presence, it’s hard to say whether Eye Eater has more cooking for the future. With their ears tuned to the recent past for inspiration, it’s easy to see how a band with this kind of melodic immediacy—still wrapped in the weight of a brooding, death metal identity—could easily play for the tops of underground charts. To those who have been following the twists and turns of both underground and accessible over the past decade or so, Eye Eater may not sound entirely novel. But Alienate’s familiarity in presence against its quality of execution and fullness of sound makes it easy to ensnare all the same.

Dissolve // Polymorphic Ways of Unconsciousness [September 20th, 2024 – Self Release]

From the sand-blasted, monochrome human escaping the floor of Polymorphic Ways’ cover to the tags of technical, progressive, death that adorn the Bandcamp tags, it’s easy to put a band like Dissolve in a box, mentally. But with the first bent guitar run that sets off “Efficiency Defiled” in a run like Judas Priest more than Spawn of Possession, it’s clear that Dissolve plays by a different set of rules than your average chug and run tech death band. Yet true to their French nature, the riffs that litter Polymorphic Ways of Unconsciousness possess a tangible groove following the footsteps of lesser-known tricksters Trepalium and Olympic titans of metal Gojira (“The Great Pessimistic,”1 “Polymorphic Ways of Unconsciousness,” “Vultures”). And while too Dissolve finds a base in the low-end trem assault of Morbid Angel (“Ignorance Will Prevail”), there’s a thrash and bark energy at play that nets a rambunctious and experimental sound recalling the warped Hetfield-ian (Metallica) scrawl of Destroy Erase Improve Meshuggah, right down to the monstrous bass tone that defines Sonny Bellonie’s (Sanctuary, ODC) growling, extended range performance. As a trio it’d be easy for guitarist Briac Turquety (Smerter, ex-Sideburn) to rely on overdubs for saturation of sound and complexity of layers—and for solo cut-ins he definitely does—but equally as often his choice to let certain chords and notes escape a thrashy muting to ring in distorted harmony against snaking bass lines. And speaking of solos, Turquety’s prowess ranges from bluesy shred (“The Great Pessimistic,” “Ropes of Madness”) to noisy, jazzy explorations (“Polymorphic…,” “Shattered Minds of Evolution”) to Satriani on Slayer whammy abuse (“Bonfire of the Vanities”)—a true treat to lovers of tasteful shred. Turquety, Bellonie, and Quentin Feron (on drums, also of Smerter) sound as if they’ve been playing together for much longer than the year that Dissolve has existed. With a debut this polished, it’s anyone’s guess as to what kind of monster will emerge from the talent that appears so effortless in assembly.

Obsidian Mantra // As We All Will [September 27th, 2024 – Self Release]

Sometimes, a tangled and foreboding cover sits as the biggest draw amongst a crowd of death metal albums alight with splattered zombie remains, illegible logos, and alarm-colored palettes. And in the case of Obsidian Mantra, it doesn’t hurt that lead single “Cult of Depression” possesses a devastating, hypnotic groove that recalls the once captivating technical whiplash of an early Decapitated. However, rather than wrestle with tones that incite a pure and raw violence like that cornerstone act (or similar Poldeath that has followed in its legacy like Dormant Ordeal), Obsidian Mantra uses aggressive and bass-loaded rhythmic forms to erupt in spacious and glass-toned guitar chimes to create an engrossing neck-snapping (“Slave Without a Master,” “Condemned to Oppression”). Whether we call these downcast refrains a dissonant melody or slowly resolving phrase, they grow throughout each track in a manner that calls continual reinforcement from a rhythm section that can drop into hammering blasts at a dime and a vocal presence that oscillates between vicious snarl and reverberating howl. In its most accessible numbers (“Chaos Will Consume Us All,” “Weavers of Misery”), Obsidian Mantra finds an oppressive warmth that grows to border anthemic, much in the way like beloved blackened/progressive acts like Hath do with their biggest moments. As We All Will still never quite reaches that full mountainous peak, though, opting to pursue the continual call of the groove to keep the listener coming back. Having come a long way from the Meshuggah-centered roots where Obsidian Mantra first sowed their deathly seeds, As We All Will provides 30 minutes of modern, pulsating, and venomous kick-driven pieces that will flare easy motivation for either a brutalizing pit or a mightily-thrusted iron on leg day.

Thus Spoke’s Cursed Collection

Esoctrilihum // Döth-Derniàlh [September 20th, 2024 – I, Voidhanger Records]

We complete another orbit around the Sun, and Esoctrilihum completes another album; such are the inalterable laws governing each 365.25 Earth day period in our Solar System. Possessed by some mad, restless spirit, it seems they cannot be stopped. Ever the experimenter, sole member Asthâghul now picks up an acoustic guitar, a nickelharpa, and warms up his throat for more clean vocals to further bizarre-ify his avant-garde black metal. As we travel into the cosmos for Döth-Derniàlh, Esoctrilihumisms abound in the see-sawing strings and echoes of chanted singing and throaty snarls. The addition of more acoustic elements does bring some weird delicacy to moments here and there (“Zilthuryth (Void of Zeraphaël),” “Murzaithas (Celestial Voices)”), and it adds layers of beauty in addition to those already harmonious passages. it’s striking how well these new instruments blend with the overall sound: so well, in fact, that it almost feels like Esoctrilihum hasn’t evolved at all. This isn’t even a bad thing, because Döth-Derniàlh still feels like an improvement. Past albums have always had at least sections of perfection, where the scattered clouds of self-interfering chaos or repetition blow away and the brilliant light of the moon shines strongly. Döth-Derniàlh has more of these than ever, some extending to whole, 16-minute songs (“Dy’th Eternalhys (The Mortuary Renewal),”).2 If you have it in you to listen to one (more) album over an hour long, and you don’t already know you hate Esoctrilihum, sit down with a drink, and maybe a joint, and go where Döth-Derniàlh takes you.

#2024 #Alienate #AmericanMetal #ArcosBóvedasPórticos #AsWeAllWill #AtmosphericDeathMetal #Aug24 #AvantGarde #BlackMetal #BrutalDeathMetal #CanadianMetal #CannibalCorpse #DeProfundis #DeathMetal #Decapitated #Dissolve #DormantOrdeal #DöthDerniàlh #Esoctrilihum #EyeEater #Fallujah #FrenchMetal #Gojira #GrandMagus #GrendelSSÿster #Gygax #HarcorePunk #IVoidhangerRecords #InheritedSufferingRecords #JethroTull #JudasPriest #MelodicDeathMetal #Meshuggah #Metallica #MorbidAngel #NewZealandMetal #NiDieuNiMaîTre #ObsidianMantra #ODC #OpenFleshWound #PolishMetal #PolymorphicWaysOfUnconsciousness #PostDeathMetal #PostMetal #postPunk #ProgressiveDeathMetal #ProgressiveMetal #Punk #Sanctuary #Screamo #SelfRelease #Sep24 #Sideburn #Slam #Slayer #Smerter #SpanishMetal #SpawnOfPossession #StuckInTheFilter #StuckInTheFilter2024 #TechnicalDeathMetal #Tenue #TheBlackDahliaMurder #TheContortionist #TheFlaying #ThinLizzy #Trepalium #Vildhjarta #VilePutrefaction #WishboneAsh

Stuck in the Filter: August and September 2024

By Kenstrosity

I am a stubborn bitch. I work my underlings hard, and I won’t let up until they dig up shiny goodies for me to share with the general public. Share might be a generous term. Foist upon is probably more accurate…

In any case, despite some pretty intense setbacks on my end, I still managed to collect enough material for a two-month spread. HUZZAH! REJOICE! Now get the hell away from me and listen to some of our very cool and good tunes.

Kenstrosity’s Turgid Truncheons

Tenue // Arcos, bóvedas, pórticos [August 1st, 2024 – Self-Release]

Spanish post-black/crust/screamo quartet Tenue earned my favor with their debut record, Anábasis, back in 2018. Equal parts vicious, introspective, and strangely uplifting, that record changed what I thought I could expect from anything bearing the screamo tag. By integrating ascendant black metal tremolos within post-punk structures and crusty attitude, Tenue established a sound that not only opened horizons for me taste-wise but also brought me a great deal of emotional catharsis on its own merit. Follow-up Arcos, bóvedas, pórticos deepens that relationship. Utilizing a wider atmospheric palette (“Distracción”), a shift towards epic song lengths (“Inquietude, and a greater variety of instrumentation (observe the beautiful horns on long-form opener “Inquietude”), and a bluesier swagger than previous material exhibited (“Letargo”), Tenue’s second salvo showcases a musical versatility I wasn’t expecting to complement the bleeding-heart emotional depth I knew would return. This expansion of scale and skillset sets the record apart from almost anything else I’ve heard this year. Even though one or two moments struggle to stick long-term (“Enfoque”), Arcos, bóvedas, pórticos represents an affecting, creative, and ridiculously engaging addition to my listening schedule. And for the low low price of NYP, it ought to be a part of yours as well.

Open Flesh Wound // Vile Putrefaction [August 28th, 2024 – Inherited Suffering Records]

Thicc, muggy slam with a million pick scrapes. Who could ask for anything more? Not I, and so it is with great pleasure that I introduce to my AMG fam Pennsylvania’s very own Open Flesh Wound and their debut LP Vile Putrefaction. Essentially the result of Analepsy’s and Devourment‘s carnal lovemaking, Vile Putrefaction is a nasty, slammy, brutal expulsion of chunky upchuck. Only those with the most caved-in craniums will appreciate the scraping swamp-ass riffs showcased on such slammers as “Smashed in Liquids” and “Cinder Block to the Forehead,” or the groove-laden thuggery of death-focused tracks like the title track, “Fermented Intestinal Blockage” and “Body Baggie.” Vile Putrefaction’s molasses-like production is an absolute boon to this sound as well, with just enough gloss to provide a deliciously moist texture which imparts an unlikely clarity to especially gruesome details in “Stoma Necrosis” and “Skin Like Jelly.” It’s dumb as hell, and isn’t doing anything new, but is an overdose of good, dirty fun. Simple as.

The Flaying // Ni dieu, ni ma​î​tre [September 5th, 2024 – Self Release]

I’ve been singing Canadian melodic death metal quartet The Flaying’s praises for almost six years now. And still to this day not enough people choose to sing with me. Why? Because they wouldn’t know sickeningly fun death metal if it hacked their faces right off. That’s okay, because The Flaying do hack faces right off regardless, and it feels so good to watch the faces of those who don’t heed my call get hacked right off. Third onslaught Ni dieu, ni ma​î​tre proves that once again, The Flaying are an unstoppable force of bass wizardry, riff mastery, and hook-laden songwriting. Opener “Le nécrologiste” perfectly encapsulates The Flaying’s particularly addicting brew of Cannibal Corpse, The Black Dahlia Murder, and De Profundis influences, shaken and stirred until the resulting cocktail blooms with a flavor all its own. Technical and brutally fast, follow-up track “L’enclave” continues the deadly rampage, featuring noodly bass lines guaranteed to elicit stank face in the even most prim and proper elite. A trim twenty nine minutes, spread over ten tightly trained tracks, Ni dieu, ni ma​î​tre boasts unbeatable replay value. Highlights “Ni dieu, ni ma​î​tre,” “Les Frondes” “La forge,” and “Noyau sombre” seal the deal by providing sharp hard points and memorable landmarks to which any listener would look forward. Simply put, this record rocks my socks and further proves that I am right about The Flaying, and those who ignore my recommendation are wrong.

Dolphin Whisperer’s All-Seeing Affirmations

Eye Eater // Alienate [August 1st, 2024 – Self Release]

In a post-Ulcerate world, the modern output of atmosphere-minded death metal has grown exponentially. With ringing dissonant chords and slow post-informed builds taking center stage, bands like New Zealand’s unheralded Eye Eater borrow plenty from the Destroyers of All sound. However, while many acts would be content to dial in the space or ramp up the dissonance to try and put their own twist on this growing post-death movement, Eye Eater looks to the laser-precise melodic tones of progressive, core-borrowing names like Fallujah and Vildhjarta to carve an identity into each of Alienate’s album eight sprawling tracks. Swinging sustained brightness in one hand about the grizzly chug-crush of the other, burly bangers like “Other Planets” and “Failure Artifacts” find churning, djentrified grooves that amplify the swell of the blaring melodies that swirl above the low-end clamor. And though the main refrains of “Alienate” and “Everything You Fear and Hope For” sound like loving odes to their Kiwi Forebears, the growth into sonorous and lush-chorded peaks lands much closer to the attraction of turn of the 10s progressive death/metalcore luminaries The Contortionist had they stayed closer to their heavy-toned, hefty-voiced roots. As an anonymous act with little social presence, it’s hard to say whether Eye Eater has more cooking for the future. With their ears tuned to the recent past for inspiration, it’s easy to see how a band with this kind of melodic immediacy—still wrapped in the weight of a brooding, death metal identity—could easily play for the tops of underground charts. To those who have been following the twists and turns of both underground and accessible over the past decade or so, Eye Eater may not sound entirely novel. But Alienate’s familiarity in presence against its quality of execution and fullness of sound makes it easy to ensnare all the same.

Dissolve // Polymorphic Ways of Unconsciousness [September 20th, 2024 – Self Release]

From the sand-blasted, monochrome human escaping the floor of Polymorphic Ways’ cover to the tags of technical, progressive, death that adorn the Bandcamp tags, it’s easy to put a band like Dissolve in a box, mentally. But with the first bent guitar run that sets off “Efficiency Defiled” in a run like Judas Priest more than Spawn of Possession, it’s clear that Dissolve plays by a different set of rules than your average chug and run tech death band. Yet true to their French nature, the riffs that litter Polymorphic Ways of Unconsciousness possess a tangible groove following the footsteps of lesser-known tricksters Trepalium and Olympic titans of metal Gojira (“The Great Pessimistic,”1 “Polymorphic Ways of Unconsciousness,” “Vultures”). And while too Dissolve finds a base in the low-end trem assault of Morbid Angel (“Ignorance Will Prevail”), there’s a thrash and bark energy at play that nets a rambunctious and experimental sound recalling the warped Hetfield-ian (Metallica) scrawl of Destroy Erase Improve Meshuggah, right down to the monstrous bass tone that defines Sonny Bellonie’s (Sanctuary, ODC) growling, extended range performance. As a trio it’d be easy for guitarist Briac Turquety (Smerter, ex-Sideburn) to rely on overdubs for saturation of sound and complexity of layers—and for solo cut-ins he definitely does—but equally as often his choice to let certain chords and notes escape a thrashy muting to ring in distorted harmony against snaking bass lines. And speaking of solos, Turquety’s prowess ranges from bluesy shred (“The Great Pessimistic,” “Ropes of Madness”) to noisy, jazzy explorations (“Polymorphic…,” “Shattered Minds of Evolution”) to Satriani on Slayer whammy abuse (“Bonfire of the Vanities”)—a true treat to lovers of tasteful shred. Turquety, Bellonie, and Quentin Feron (on drums, also of Smerter) sound as if they’ve been playing together for much longer than the year that Dissolve has existed. With a debut this polished, it’s anyone’s guess as to what kind of monster will emerge from the talent that appears so effortless in assembly.

Obsidian Mantra // As We All Will [September 27th, 2024 – Self Release]

Sometimes, a tangled and foreboding cover sits as the biggest draw amongst a crowd of death metal albums alight with splattered zombie remains, illegible logos, and alarm-colored palettes. And in the case of Obsidian Mantra, it doesn’t hurt that lead single “Cult of Depression” possesses a devastating, hypnotic groove that recalls the once captivating technical whiplash of an early Decapitated. However, rather than wrestle with tones that incite a pure and raw violence like that cornerstone act (or similar Poldeath that has followed in its legacy like Dormant Ordeal), Obsidian Mantra uses aggressive and bass-loaded rhythmic forms to erupt in spacious and glass-toned guitar chimes to create an engrossing neck-snapping (“Slave Without a Master,” “Condemned to Oppression”). Whether we call these downcast refrains a dissonant melody or slowly resolving phrase, they grow throughout each track in a manner that calls continual reinforcement from a rhythm section that can drop into hammering blasts at a dime and a vocal presence that oscillates between vicious snarl and reverberating howl. In its most accessible numbers (“Chaos Will Consume Us All,” “Weavers of Misery”), Obsidian Mantra finds an oppressive warmth that grows to border anthemic, much in the way like beloved blackened/progressive acts like Hath do with their biggest moments. As We All Will still never quite reaches that full mountainous peak, though, opting to pursue the continual call of the groove to keep the listener coming back. Having come a long way from the Meshuggah-centered roots where Obsidian Mantra first sowed their deathly seeds, As We All Will provides 30 minutes of modern, pulsating, and venomous kick-driven pieces that will flare easy motivation for either a brutalizing pit or a mightily-thrusted iron on leg day.

Thus Spoke’s Cursed Collection

Esoctrilihum // Döth-Derniàlh [September 20th, 2024 – I, Voidhanger Records]

We complete another orbit around the Sun, and Esoctrilihum completes another album; such are the inalterable laws governing each 365.25 Earth day period in our Solar System. Possessed by some mad, restless spirit, it seems they cannot be stopped. Ever the experimenter, sole member Asthâghul now picks up an acoustic guitar, a nickelharpa, and warms up his throat for more clean vocals to further bizarre-ify his avant-garde black metal. As we travel into the cosmos for Döth-Derniàlh, Esoctrilihumisms abound in the see-sawing strings and echoes of chanted singing and throaty snarls. The addition of more acoustic elements does bring some weird delicacy to moments here and there (“Zilthuryth (Void of Zeraphaël),” “Murzaithas (Celestial Voices)”), and it adds layers of beauty in addition to those already harmonious passages. it’s striking how well these new instruments blend with the overall sound: so well, in fact, that it almost feels like Esoctrilihum hasn’t evolved at all. This isn’t even a bad thing, because Döth-Derniàlh still feels like an improvement. Past albums have always had at least sections of perfection, where the scattered clouds of self-interfering chaos or repetition blow away and the brilliant light of the moon shines strongly. Döth-Derniàlh has more of these than ever, some extending to whole, 16-minute songs (“Dy’th Eternalhys (The Mortuary Renewal),”).2 If you have it in you to listen to one (more) album over an hour long, and you don’t already know you hate Esoctrilihum, sit down with a drink, and maybe a joint, and go where Döth-Derniàlh takes you.

#2024 #Alienate #AmericanMetal #ArcosBóvedasPórticos #AsWeAllWill #AtmosphericDeathMetal #Aug24 #AvantGarde #BlackMetal #BrutalDeathMetal #CanadianMetal #CannibalCorpse #DeProfundis #DeathMetal #Decapitated #Dissolve #DormantOrdeal #DöthDerniàlh #Esoctrilihum #EyeEater #Fallujah #FrenchMetal #Gojira #GrandMagus #GrendelSSÿster #Gygax #HarcorePunk #IVoidhangerRecords #InheritedSufferingRecords #JethroTull #JudasPriest #MelodicDeathMetal #Meshuggah #Metallica #MorbidAngel #NewZealandMetal #NiDieuNiMaîTre #ObsidianMantra #ODC #OpenFleshWound #PolishMetal #PolymorphicWaysOfUnconsciousness #PostDeathMetal #PostMetal #postPunk #ProgressiveDeathMetal #ProgressiveMetal #Punk #Sanctuary #Screamo #SelfRelease #Sep24 #Sideburn #Slam #Slayer #Smerter #SpanishMetal #SpawnOfPossession #StuckInTheFilter #StuckInTheFilter2024 #TechnicalDeathMetal #Tenue #TheBlackDahliaMurder #TheContortionist #TheFlaying #ThinLizzy #Trepalium #Vildhjarta #VilePutrefaction #WishboneAsh

Stuck in the Filter: August and September 2024

By Kenstrosity

I am a stubborn bitch. I work my underlings hard, and I won’t let up until they dig up shiny goodies for me to share with the general public. Share might be a generous term. Foist upon is probably more accurate…

In any case, despite some pretty intense setbacks on my end, I still managed to collect enough material for a two-month spread. HUZZAH! REJOICE! Now get the hell away from me and listen to some of our very cool and good tunes.

Kenstrosity’s Turgid Truncheons

Tenue // Arcos, bóvedas, pórticos [August 1st, 2024 – Self-Release]

Spanish post-black/crust/screamo quartet Tenue earned my favor with their debut record, Anábasis, back in 2018. Equal parts vicious, introspective, and strangely uplifting, that record changed what I thought I could expect from anything bearing the screamo tag. By integrating ascendant black metal tremolos within post-punk structures and crusty attitude, Tenue established a sound that not only opened horizons for me taste-wise but also brought me a great deal of emotional catharsis on its own merit. Follow-up Arcos, bóvedas, pórticos deepens that relationship. Utilizing a wider atmospheric palette (“Distracción”), a shift towards epic song lengths (“Inquietude, and a greater variety of instrumentation (observe the beautiful horns on long-form opener “Inquietude”), and a bluesier swagger than previous material exhibited (“Letargo”), Tenue’s second salvo showcases a musical versatility I wasn’t expecting to complement the bleeding-heart emotional depth I knew would return. This expansion of scale and skillset sets the record apart from almost anything else I’ve heard this year. Even though one or two moments struggle to stick long-term (“Enfoque”), Arcos, bóvedas, pórticos represents an affecting, creative, and ridiculously engaging addition to my listening schedule. And for the low low price of NYP, it ought to be a part of yours as well.

Open Flesh Wound // Vile Putrefaction [August 28th, 2024 – Inherited Suffering Records]

Thicc, muggy slam with a million pick scrapes. Who could ask for anything more? Not I, and so it is with great pleasure that I introduce to my AMG fam Pennsylvania’s very own Open Flesh Wound and their debut LP Vile Putrefaction. Essentially the result of Analepsy’s and Devourment‘s carnal lovemaking, Vile Putrefaction is a nasty, slammy, brutal expulsion of chunky upchuck. Only those with the most caved-in craniums will appreciate the scraping swamp-ass riffs showcased on such slammers as “Smashed in Liquids” and “Cinder Block to the Forehead,” or the groove-laden thuggery of death-focused tracks like the title track, “Fermented Intestinal Blockage” and “Body Baggie.” Vile Putrefaction’s molasses-like production is an absolute boon to this sound as well, with just enough gloss to provide a deliciously moist texture which imparts an unlikely clarity to especially gruesome details in “Stoma Necrosis” and “Skin Like Jelly.” It’s dumb as hell, and isn’t doing anything new, but is an overdose of good, dirty fun. Simple as.

The Flaying // Ni dieu, ni ma​î​tre [September 5th, 2024 – Self Release]

I’ve been singing Canadian melodic death metal quartet The Flaying’s praises for almost six years now. And still to this day not enough people choose to sing with me. Why? Because they wouldn’t know sickeningly fun death metal if it hacked their faces right off. That’s okay, because The Flaying do hack faces right off regardless, and it feels so good to watch the faces of those who don’t heed my call get hacked right off. Third onslaught Ni dieu, ni ma​î​tre proves that once again, The Flaying are an unstoppable force of bass wizardry, riff mastery, and hook-laden songwriting. Opener “Le nécrologiste” perfectly encapsulates The Flaying’s particularly addicting brew of Cannibal Corpse, The Black Dahlia Murder, and De Profundis influences, shaken and stirred until the resulting cocktail blooms with a flavor all its own. Technical and brutally fast, follow-up track “L’enclave” continues the deadly rampage, featuring noodly bass lines guaranteed to elicit stank face in the even most prim and proper elite. A trim twenty nine minutes, spread over ten tightly trained tracks, Ni dieu, ni ma​î​tre boasts unbeatable replay value. Highlights “Ni dieu, ni ma​î​tre,” “Les Frondes” “La forge,” and “Noyau sombre” seal the deal by providing sharp hard points and memorable landmarks to which any listener would look forward. Simply put, this record rocks my socks and further proves that I am right about The Flaying, and those who ignore my recommendation are wrong.

Dolphin Whisperer’s All-Seeing Affirmations

Eye Eater // Alienate [August 1st, 2024 – Self Release]

In a post-Ulcerate world, the modern output of atmosphere-minded death metal has grown exponentially. With ringing dissonant chords and slow post-informed builds taking center stage, bands like New Zealand’s unheralded Eye Eater borrow plenty from the Destroyers of All sound. However, while many acts would be content to dial in the space or ramp up the dissonance to try and put their own twist on this growing post-death movement, Eye Eater looks to the laser-precise melodic tones of progressive, core-borrowing names like Fallujah and Vildhjarta to carve an identity into each of Alienate’s album eight sprawling tracks. Swinging sustained brightness in one hand about the grizzly chug-crush of the other, burly bangers like “Other Planets” and “Failure Artifacts” find churning, djentrified grooves that amplify the swell of the blaring melodies that swirl above the low-end clamor. And though the main refrains of “Alienate” and “Everything You Fear and Hope For” sound like loving odes to their Kiwi Forebears, the growth into sonorous and lush-chorded peaks lands much closer to the attraction of turn of the 10s progressive death/metalcore luminaries The Contortionist had they stayed closer to their heavy-toned, hefty-voiced roots. As an anonymous act with little social presence, it’s hard to say whether Eye Eater has more cooking for the future. With their ears tuned to the recent past for inspiration, it’s easy to see how a band with this kind of melodic immediacy—still wrapped in the weight of a brooding, death metal identity—could easily play for the tops of underground charts. To those who have been following the twists and turns of both underground and accessible over the past decade or so, Eye Eater may not sound entirely novel. But Alienate’s familiarity in presence against its quality of execution and fullness of sound makes it easy to ensnare all the same.

Dissolve // Polymorphic Ways of Unconsciousness [September 20th, 2024 – Self Release]

From the sand-blasted, monochrome human escaping the floor of Polymorphic Ways’ cover to the tags of technical, progressive, death that adorn the Bandcamp tags, it’s easy to put a band like Dissolve in a box, mentally. But with the first bent guitar run that sets off “Efficiency Defiled” in a run like Judas Priest more than Spawn of Possession, it’s clear that Dissolve plays by a different set of rules than your average chug and run tech death band. Yet true to their French nature, the riffs that litter Polymorphic Ways of Unconsciousness possess a tangible groove following the footsteps of lesser-known tricksters Trepalium and Olympic titans of metal Gojira (“The Great Pessimistic,”1 “Polymorphic Ways of Unconsciousness,” “Vultures”). And while too Dissolve finds a base in the low-end trem assault of Morbid Angel (“Ignorance Will Prevail”), there’s a thrash and bark energy at play that nets a rambunctious and experimental sound recalling the warped Hetfield-ian (Metallica) scrawl of Destroy Erase Improve Meshuggah, right down to the monstrous bass tone that defines Sonny Bellonie’s (Sanctuary, ODC) growling, extended range performance. As a trio it’d be easy for guitarist Briac Turquety (Smerter, ex-Sideburn) to rely on overdubs for saturation of sound and complexity of layers—and for solo cut-ins he definitely does—but equally as often his choice to let certain chords and notes escape a thrashy muting to ring in distorted harmony against snaking bass lines. And speaking of solos, Turquety’s prowess ranges from bluesy shred (“The Great Pessimistic,” “Ropes of Madness”) to noisy, jazzy explorations (“Polymorphic…,” “Shattered Minds of Evolution”) to Satriani on Slayer whammy abuse (“Bonfire of the Vanities”)—a true treat to lovers of tasteful shred. Turquety, Bellonie, and Quentin Feron (on drums, also of Smerter) sound as if they’ve been playing together for much longer than the year that Dissolve has existed. With a debut this polished, it’s anyone’s guess as to what kind of monster will emerge from the talent that appears so effortless in assembly.

Obsidian Mantra // As We All Will [September 27th, 2024 – Self Release]

Sometimes, a tangled and foreboding cover sits as the biggest draw amongst a crowd of death metal albums alight with splattered zombie remains, illegible logos, and alarm-colored palettes. And in the case of Obsidian Mantra, it doesn’t hurt that lead single “Cult of Depression” possesses a devastating, hypnotic groove that recalls the once captivating technical whiplash of an early Decapitated. However, rather than wrestle with tones that incite a pure and raw violence like that cornerstone act (or similar Poldeath that has followed in its legacy like Dormant Ordeal), Obsidian Mantra uses aggressive and bass-loaded rhythmic forms to erupt in spacious and glass-toned guitar chimes to create an engrossing neck-snapping (“Slave Without a Master,” “Condemned to Oppression”). Whether we call these downcast refrains a dissonant melody or slowly resolving phrase, they grow throughout each track in a manner that calls continual reinforcement from a rhythm section that can drop into hammering blasts at a dime and a vocal presence that oscillates between vicious snarl and reverberating howl. In its most accessible numbers (“Chaos Will Consume Us All,” “Weavers of Misery”), Obsidian Mantra finds an oppressive warmth that grows to border anthemic, much in the way like beloved blackened/progressive acts like Hath do with their biggest moments. As We All Will still never quite reaches that full mountainous peak, though, opting to pursue the continual call of the groove to keep the listener coming back. Having come a long way from the Meshuggah-centered roots where Obsidian Mantra first sowed their deathly seeds, As We All Will provides 30 minutes of modern, pulsating, and venomous kick-driven pieces that will flare easy motivation for either a brutalizing pit or a mightily-thrusted iron on leg day.

Thus Spoke’s Cursed Collection

Esoctrilihum // Döth-Derniàlh [September 20th, 2024 – I, Voidhanger Records]

We complete another orbit around the Sun, and Esoctrilihum completes another album; such are the inalterable laws governing each 365.25 Earth day period in our Solar System. Possessed by some mad, restless spirit, it seems they cannot be stopped. Ever the experimenter, sole member Asthâghul now picks up an acoustic guitar, a nickelharpa, and warms up his throat for more clean vocals to further bizarre-ify his avant-garde black metal. As we travel into the cosmos for Döth-Derniàlh, Esoctrilihumisms abound in the see-sawing strings and echoes of chanted singing and throaty snarls. The addition of more acoustic elements does bring some weird delicacy to moments here and there (“Zilthuryth (Void of Zeraphaël),” “Murzaithas (Celestial Voices)”), and it adds layers of beauty in addition to those already harmonious passages. it’s striking how well these new instruments blend with the overall sound: so well, in fact, that it almost feels like Esoctrilihum hasn’t evolved at all. This isn’t even a bad thing, because Döth-Derniàlh still feels like an improvement. Past albums have always had at least sections of perfection, where the scattered clouds of self-interfering chaos or repetition blow away and the brilliant light of the moon shines strongly. Döth-Derniàlh has more of these than ever, some extending to whole, 16-minute songs (“Dy’th Eternalhys (The Mortuary Renewal),”).2 If you have it in you to listen to one (more) album over an hour long, and you don’t already know you hate Esoctrilihum, sit down with a drink, and maybe a joint, and go where Döth-Derniàlh takes you.

#2024 #Alienate #AmericanMetal #ArcosBóvedasPórticos #AsWeAllWill #AtmosphericDeathMetal #Aug24 #AvantGarde #BlackMetal #BrutalDeathMetal #CanadianMetal #CannibalCorpse #DeProfundis #DeathMetal #Decapitated #Dissolve #DormantOrdeal #DöthDerniàlh #Esoctrilihum #EyeEater #Fallujah #FrenchMetal #Gojira #GrandMagus #GrendelSSÿster #Gygax #HarcorePunk #IVoidhangerRecords #InheritedSufferingRecords #JethroTull #JudasPriest #MelodicDeathMetal #Meshuggah #Metallica #MorbidAngel #NewZealandMetal #NiDieuNiMaîTre #ObsidianMantra #ODC #OpenFleshWound #PolishMetal #PolymorphicWaysOfUnconsciousness #PostDeathMetal #PostMetal #postPunk #ProgressiveDeathMetal #ProgressiveMetal #Punk #Sanctuary #Screamo #SelfRelease #Sep24 #Sideburn #Slam #Slayer #Smerter #SpanishMetal #SpawnOfPossession #StuckInTheFilter #StuckInTheFilter2024 #TechnicalDeathMetal #Tenue #TheBlackDahliaMurder #TheContortionist #TheFlaying #ThinLizzy #Trepalium #Vildhjarta #VilePutrefaction #WishboneAsh

Stuck in the Filter: August and September 2024

By Kenstrosity

I am a stubborn bitch. I work my underlings hard, and I won’t let up until they dig up shiny goodies for me to share with the general public. Share might be a generous term. Foist upon is probably more accurate…

In any case, despite some pretty intense setbacks on my end, I still managed to collect enough material for a two-month spread. HUZZAH! REJOICE! Now get the hell away from me and listen to some of our very cool and good tunes.

Kenstrosity’s Turgid Truncheons

Tenue // Arcos, bóvedas, pórticos [August 1st, 2024 – Self-Release]

Spanish post-black/crust/screamo quartet Tenue earned my favor with their debut record, Anábasis, back in 2018. Equal parts vicious, introspective, and strangely uplifting, that record changed what I thought I could expect from anything bearing the screamo tag. By integrating ascendant black metal tremolos within post-punk structures and crusty attitude, Tenue established a sound that not only opened horizons for me taste-wise but also brought me a great deal of emotional catharsis on its own merit. Follow-up Arcos, bóvedas, pórticos deepens that relationship. Utilizing a wider atmospheric palette (“Distracción”), a shift towards epic song lengths (“Inquietude, and a greater variety of instrumentation (observe the beautiful horns on long-form opener “Inquietude”), and a bluesier swagger than previous material exhibited (“Letargo”), Tenue’s second salvo showcases a musical versatility I wasn’t expecting to complement the bleeding-heart emotional depth I knew would return. This expansion of scale and skillset sets the record apart from almost anything else I’ve heard this year. Even though one or two moments struggle to stick long-term (“Enfoque”), Arcos, bóvedas, pórticos represents an affecting, creative, and ridiculously engaging addition to my listening schedule. And for the low low price of NYP, it ought to be a part of yours as well.

Open Flesh Wound // Vile Putrefaction [August 28th, 2024 – Inherited Suffering Records]

Thicc, muggy slam with a million pick scrapes. Who could ask for anything more? Not I, and so it is with great pleasure that I introduce to my AMG fam Pennsylvania’s very own Open Flesh Wound and their debut LP Vile Putrefaction. Essentially the result of Analepsy’s and Devourment‘s carnal lovemaking, Vile Putrefaction is a nasty, slammy, brutal expulsion of chunky upchuck. Only those with the most caved-in craniums will appreciate the scraping swamp-ass riffs showcased on such slammers as “Smashed in Liquids” and “Cinder Block to the Forehead,” or the groove-laden thuggery of death-focused tracks like the title track, “Fermented Intestinal Blockage” and “Body Baggie.” Vile Putrefaction’s molasses-like production is an absolute boon to this sound as well, with just enough gloss to provide a deliciously moist texture which imparts an unlikely clarity to especially gruesome details in “Stoma Necrosis” and “Skin Like Jelly.” It’s dumb as hell, and isn’t doing anything new, but is an overdose of good, dirty fun. Simple as.

The Flaying // Ni dieu, ni ma​î​tre [September 5th, 2024 – Self Release]

I’ve been singing Canadian melodic death metal quartet The Flaying’s praises for almost six years now. And still to this day not enough people choose to sing with me. Why? Because they wouldn’t know sickeningly fun death metal if it hacked their faces right off. That’s okay, because The Flaying do hack faces right off regardless, and it feels so good to watch the faces of those who don’t heed my call get hacked right off. Third onslaught Ni dieu, ni ma​î​tre proves that once again, The Flaying are an unstoppable force of bass wizardry, riff mastery, and hook-laden songwriting. Opener “Le nécrologiste” perfectly encapsulates The Flaying’s particularly addicting brew of Cannibal Corpse, The Black Dahlia Murder, and De Profundis influences, shaken and stirred until the resulting cocktail blooms with a flavor all its own. Technical and brutally fast, follow-up track “L’enclave” continues the deadly rampage, featuring noodly bass lines guaranteed to elicit stank face in the even most prim and proper elite. A trim twenty nine minutes, spread over ten tightly trained tracks, Ni dieu, ni ma​î​tre boasts unbeatable replay value. Highlights “Ni dieu, ni ma​î​tre,” “Les Frondes” “La forge,” and “Noyau sombre” seal the deal by providing sharp hard points and memorable landmarks to which any listener would look forward. Simply put, this record rocks my socks and further proves that I am right about The Flaying, and those who ignore my recommendation are wrong.

Dolphin Whisperer’s All-Seeing Affirmations

Eye Eater // Alienate [August 1st, 2024 – Self Release]

In a post-Ulcerate world, the modern output of atmosphere-minded death metal has grown exponentially. With ringing dissonant chords and slow post-informed builds taking center stage, bands like New Zealand’s unheralded Eye Eater borrow plenty from the Destroyers of All sound. However, while many acts would be content to dial in the space or ramp up the dissonance to try and put their own twist on this growing post-death movement, Eye Eater looks to the laser-precise melodic tones of progressive, core-borrowing names like Fallujah and Vildhjarta to carve an identity into each of Alienate’s album eight sprawling tracks. Swinging sustained brightness in one hand about the grizzly chug-crush of the other, burly bangers like “Other Planets” and “Failure Artifacts” find churning, djentrified grooves that amplify the swell of the blaring melodies that swirl above the low-end clamor. And though the main refrains of “Alienate” and “Everything You Fear and Hope For” sound like loving odes to their Kiwi Forebears, the growth into sonorous and lush-chorded peaks lands much closer to the attraction of turn of the 10s progressive death/metalcore luminaries The Contortionist had they stayed closer to their heavy-toned, hefty-voiced roots. As an anonymous act with little social presence, it’s hard to say whether Eye Eater has more cooking for the future. With their ears tuned to the recent past for inspiration, it’s easy to see how a band with this kind of melodic immediacy—still wrapped in the weight of a brooding, death metal identity—could easily play for the tops of underground charts. To those who have been following the twists and turns of both underground and accessible over the past decade or so, Eye Eater may not sound entirely novel. But Alienate’s familiarity in presence against its quality of execution and fullness of sound makes it easy to ensnare all the same.

Dissolve // Polymorphic Ways of Unconsciousness [September 20th, 2024 – Self Release]

From the sand-blasted, monochrome human escaping the floor of Polymorphic Ways’ cover to the tags of technical, progressive, death that adorn the Bandcamp tags, it’s easy to put a band like Dissolve in a box, mentally. But with the first bent guitar run that sets off “Efficiency Defiled” in a run like Judas Priest more than Spawn of Possession, it’s clear that Dissolve plays by a different set of rules than your average chug and run tech death band. Yet true to their French nature, the riffs that litter Polymorphic Ways of Unconsciousness possess a tangible groove following the footsteps of lesser-known tricksters Trepalium and Olympic titans of metal Gojira (“The Great Pessimistic,”1 “Polymorphic Ways of Unconsciousness,” “Vultures”). And while too Dissolve finds a base in the low-end trem assault of Morbid Angel (“Ignorance Will Prevail”), there’s a thrash and bark energy at play that nets a rambunctious and experimental sound recalling the warped Hetfield-ian (Metallica) scrawl of Destroy Erase Improve Meshuggah, right down to the monstrous bass tone that defines Sonny Bellonie’s (Sanctuary, ODC) growling, extended range performance. As a trio it’d be easy for guitarist Briac Turquety (Smerter, ex-Sideburn) to rely on overdubs for saturation of sound and complexity of layers—and for solo cut-ins he definitely does—but equally as often his choice to let certain chords and notes escape a thrashy muting to ring in distorted harmony against snaking bass lines. And speaking of solos, Turquety’s prowess ranges from bluesy shred (“The Great Pessimistic,” “Ropes of Madness”) to noisy, jazzy explorations (“Polymorphic…,” “Shattered Minds of Evolution”) to Satriani on Slayer whammy abuse (“Bonfire of the Vanities”)—a true treat to lovers of tasteful shred. Turquety, Bellonie, and Quentin Feron (on drums, also of Smerter) sound as if they’ve been playing together for much longer than the year that Dissolve has existed. With a debut this polished, it’s anyone’s guess as to what kind of monster will emerge from the talent that appears so effortless in assembly.

Obsidian Mantra // As We All Will [September 27th, 2024 – Self Release]

Sometimes, a tangled and foreboding cover sits as the biggest draw amongst a crowd of death metal albums alight with splattered zombie remains, illegible logos, and alarm-colored palettes. And in the case of Obsidian Mantra, it doesn’t hurt that lead single “Cult of Depression” possesses a devastating, hypnotic groove that recalls the once captivating technical whiplash of an early Decapitated. However, rather than wrestle with tones that incite a pure and raw violence like that cornerstone act (or similar Poldeath that has followed in its legacy like Dormant Ordeal), Obsidian Mantra uses aggressive and bass-loaded rhythmic forms to erupt in spacious and glass-toned guitar chimes to create an engrossing neck-snapping (“Slave Without a Master,” “Condemned to Oppression”). Whether we call these downcast refrains a dissonant melody or slowly resolving phrase, they grow throughout each track in a manner that calls continual reinforcement from a rhythm section that can drop into hammering blasts at a dime and a vocal presence that oscillates between vicious snarl and reverberating howl. In its most accessible numbers (“Chaos Will Consume Us All,” “Weavers of Misery”), Obsidian Mantra finds an oppressive warmth that grows to border anthemic, much in the way like beloved blackened/progressive acts like Hath do with their biggest moments. As We All Will still never quite reaches that full mountainous peak, though, opting to pursue the continual call of the groove to keep the listener coming back. Having come a long way from the Meshuggah-centered roots where Obsidian Mantra first sowed their deathly seeds, As We All Will provides 30 minutes of modern, pulsating, and venomous kick-driven pieces that will flare easy motivation for either a brutalizing pit or a mightily-thrusted iron on leg day.

Thus Spoke’s Cursed Collection

Esoctrilihum // Döth-Derniàlh [September 20th, 2024 – I, Voidhanger Records]

We complete another orbit around the Sun, and Esoctrilihum completes another album; such are the inalterable laws governing each 365.25 Earth day period in our Solar System. Possessed by some mad, restless spirit, it seems they cannot be stopped. Ever the experimenter, sole member Asthâghul now picks up an acoustic guitar, a nickelharpa, and warms up his throat for more clean vocals to further bizarre-ify his avant-garde black metal. As we travel into the cosmos for Döth-Derniàlh, Esoctrilihumisms abound in the see-sawing strings and echoes of chanted singing and throaty snarls. The addition of more acoustic elements does bring some weird delicacy to moments here and there (“Zilthuryth (Void of Zeraphaël),” “Murzaithas (Celestial Voices)”), and it adds layers of beauty in addition to those already harmonious passages. it’s striking how well these new instruments blend with the overall sound: so well, in fact, that it almost feels like Esoctrilihum hasn’t evolved at all. This isn’t even a bad thing, because Döth-Derniàlh still feels like an improvement. Past albums have always had at least sections of perfection, where the scattered clouds of self-interfering chaos or repetition blow away and the brilliant light of the moon shines strongly. Döth-Derniàlh has more of these than ever, some extending to whole, 16-minute songs (“Dy’th Eternalhys (The Mortuary Renewal),”).2 If you have it in you to listen to one (more) album over an hour long, and you don’t already know you hate Esoctrilihum, sit down with a drink, and maybe a joint, and go where Döth-Derniàlh takes you.

Show 2 footnotes

1. Remember, they’re French, not English majors. ↩
2. This sounds like a horrible backhanded compliment, but when you’re making music this esoteric and long-winded, it’s unironically impressive. ↩

#2024 #Alienate #AmericanMetal #ArcosBóvedasPórticos #AsWeAllWill #AtmosphericDeathMetal #Aug24 #AvantGarde #BlackMetal #BrutalDeathMetal #CanadianMetal #CannibalCorpse #DeProfundis #DeathMetal #Decapitated #Dissolve #DormantOrdeal #DöthDerniàlh #Esoctrilihum #EyeEater #Fallujah #FrenchMetal #Gojira #GrandMagus #GrendelSSÿster #Gygax #HarcorePunk #IVoidhangerRecords #InheritedSufferingRecords #JethroTull #JudasPriest #MelodicDeathMetal #Meshuggah #Metallica #MorbidAngel #NewZealandMetal #NiDieuNiMaîTre #ObsidianMantra #ODC #OpenFleshWound #PolishMetal #PolymorphicWaysOfUnconsciousness #PostDeathMetal #PostMetal #postPunk #ProgressiveDeathMetal #ProgressiveMetal #Punk #Sanctuary #Screamo #SelfRelease #Sep24 #Sideburn #Slam #Slayer #Smerter #SpanishMetal #SpawnOfPossession #StuckInTheFilter #StuckInTheFilter2024 #TechnicalDeathMetal #Tenue #TheBlackDahliaMurder #TheContortionist #TheFlaying #ThinLizzy #Trepalium #Vildhjarta #VilePutrefaction #WishboneAsh

When Pink Floyd meets Death Metal:

#BloodIncantation: The Stargate

The whole:
- https://www.youtube.com/watch?v=6N4rLtjPzH0
- https://redirect.invidious.io/watch?v=6N4rLtjPzH0

The three parts:
- https://song.link/t3pt4s7wwgrrv
- https://song.link/cjm3kcrq3rnwq
- https://song.link/smtd2t58r7g62

#ProgressiveDeathMetal #TechnicalDeathMetal

FFO #Horrendous #SpectralVoice #TombMold

#OwlClub

For #ThursDeath:

#Ulcerate: To Flow Through Ashen Hearts

https://song.link/mstdgfmnsvwtq

#BrutalDeathMetal #ProgressiveDeathMetal #TechnicalDeathMetal

FFO #Cosmitorium #Pestifer #TombMold

The whole album quickly grew on me and if I'd assemble an AOTY list, this would be top tier