#tombmold — Public Fediverse posts

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

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

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

Nocturnal Visions by Invictus

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

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

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

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

Re-Buried – Flesh Mourning Review

By Steel Druhm

My second discount ticket to Scum Town in one week and the third since July started, Re-Buried’s sophomore outing, Flesh Mourning, brings more gruesome death to wallow in. These cretins of the crypt left a favorable impression on Olde Steelio with their 2023 Repulsive Nature debut, courtesy of hideously inspired death vocals and crushing riff work. It felt massive, monolithic, and inevitable, and the sheer weight of it all overcame occasional gaps in their songcraft. Flesh Mourning is more of the same festering, moldy-oldey brand of death with one foot in the morgue and the other in the swamp, with vocals that sound like a dying hobo wrenching out the contents of his ulcerated stomach after a long night of on-the-cheap debauchery. And like the debut, Flesh Mourning is short, leaning toward anorexic. How can that recipe fail to earn a Michelin Star at the Slop House of Steel? Let’s poke the putridities with the pokey stick

Things open promisingly enough with vocalist Chris Pinto vomiting forth a feral hairball before the slime-flavored riffs kick in, and you get a standard yet basically effective mid-tempo death ditty without bells and whistles, but plenty of creepy atmosphere and phlegmy noises. It’s essentially Autopsycore, but lacking the jackhammer power heard at key moments on Repulsive Nature, and it feels a bit…safe. “Jagged Psyche” feels more brutish and nasty with extra vigor in the riffs, but the band seems stuck in a mid-tempo plod and struggles to kick into higher gears. This quickly becomes the story of Flesh Mourning as song after song duplicates these middling tempos with everything motoring along at a safe speed with too few bursts of speed and aggression. Worse still, the tracks aren’t as memorable as last time, and they all sound way too similar due to the consistent pacing and writing style.

“Rotted Back to Life” features some extra-heavy grooves that wake you up a bit, but it’s hard to shake the nagging feeling that this is all standard and recycled fare without an identity of its own. As things grind along in a “we have Bolt Thrower at home” manner with little variation in pacing, it falls to Chris Pinto to keep things interesting by deploying all manner of hideous sounds and monster moaning. He apes a staggering ghoul or a hospice patient in agony, and it’s impressive, but it isn’t enough to keep the material from bleeding into a big, greasy mush where one song becomes indistinguishable from the next. At just under 30 minutes, there isn’t much meat on the corpse bone, and things end with a 2-plus minute instrumental outro that’s all atmosphere and no payoff. It’s clear Re-Buried didn’t have a wealth of inspiration in the writing room and struggled to churn out a mere handful of basic, generic death ditties. That’s quite disappointing.

Chris Pinto is the star here, as he’s one of the most committed death metal vocalists out there. His weird body horror noises are wild, especially his hairball trick, which features prominently across the album. He’s a gem in search of a skilled jeweler, as the material he’s given to work with simply doesn’t deliver the knockout power his performance deserves. Paul Richards and Eddie Bingaman know all the death metal tropes and tricks and craft spot-on impersonations of classic Autopsy and Incantation fare, but so much of what they do here revolves around mid-tempo chugging and slight variations on the same kinds of swampy riffs, so it takes a hyper-intense listen to divine the differences between the individual tracks. If they wanted to create a 26-minute uni-glob effect, they accomplished it.

Flesh Mourning is a step backward from Repulsive Nature. The blunt force of the prior album is simply not here, replaced by a pornucopia of monotonous riffs and crazed cavern hollaring. It doesn’t stick or hold the attention, and while there are isolated cool/interesting bits and pieces, it’s really just off-brand Autopsy with Tomb Mold on it, and it’s devoid of songs that scream replay or demand dissemination onto playlists. It seems Re-Buried lack a potent muse and can’t craft a full-length album with consistently killer tunes, and they’re trending downwards early into their career. I hope for a speedy recovery, but the patient’s prognosis isn’t looking good.

Rating: 2.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Translation Loss
Websites: re-buried.bandcamp.com | facebook.com/reburieddeath | instagram.com/reburied_death
Releases Worldwide: July 18th, 2025

#20 #2025 #AmericanMetal #Autopsy #DeathMetal #Disma #Incantation #Jul25 #ReBuried #RepulsiveNature #Review #Reviews #TombMold #TranslationLossRecords #Undeath #Undergang

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

Let's start filling the playlist of @Kitty's #MittwochMetalMix, so they'll have something to listen to early in the morning:

Blood Incantation: Obliquity of the Eclectic

https://song.link/i/1702049457

FFO #Horrendous #SpectralVoice #TombMold