#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

There are few concepts in the Western tradition as misunderstood as that of “the death of God.” It is not a triumphant proclamation, nor a call for apathetic nihilism. What has been coined in recent online discourse as a ‘meaning crisis’ is only barely getting the point. The Loss of Transcendence—some universal, ultimate, mind-independent Truth and set of values—is a beginning, an event that should prompt critical thought and action and confrontation of a human condition that we sedate ourselves out of with belief in a higher power or sense and reason in the universe; hope; or the rescinding of responsibility to the idea that ‘nothing matters.12 The Great Observer seem to have done their homework for the most part, with their debut channeling their thrashy blackened death into a philosophical call to action that blends Existentialism with Stoicism and Epicureanism. Fresh on the scene and immediately going all-in in aggression and storytelling, what can The Great Observer give to us?

On the face of it, Loss of Transcendence is standard black/death/thrash, with a rotating emphasis on each of those three components. Sticking primarily to up-tempo, gritty riffing in a vein somewhere between Necrophobic, Tomb Mold, and Morbid Angel—though a less flashy iteration—The Great Observer do nonetheless find time to linger in some cavernousness that vaguely recalls Disembowelment. They further emphasise their mean streak with a pervasive vocal echo that adds to the grime of the throaty howls and is compounded during the many instances when such vocals are multi-tracked or delivered as a group. But not all of this energy is used in service of evil; there’s a strong anthemic side to these choruses and a jaunty bombast to many a beat. In many ways, it gives off the aura of classical extreme metal—back when Black Metal was an album title, and ugliness, speed, and aggression were the name of the game in a fundamentally different way to how they are now. And yet, under the layers of dirt and behind the malevolence lie small seeds of nuance, and it is to Loss of Transcendence’s great detriment that they remain scattered seeds alone.

Loss of Transcendence flirts with many things—intrigue, atmosphere, tenacity—but never quite wins any of them over. Riffs generally check boxes for pugnacity, but even at their most brutish and slick (“The Great Observer,” “Impervious Creation”), they have no edge, no force. At the worst end, guitar lines are entirely blunt thanks to nondescript, generic-sounding melodies and patterns (“Herald of Thorns,” “How Far the Faithless will Venture”). It’s unfortunate that all of the best guitar sits in the record’s back half, with “Impervious Creation” and “The Weight of Being Free” delivering shimmying, sliding shredding capable of winning over the harshest of critics, and the latter track featuring a genuinely beautiful, buttery smooth solo that combines everything great about grimy yet gorgeous extreme metal. The frequent use of group vocals, which sometimes creates an impressive miasma of harrowing calls (“Impervious Creation,” title track), falls awkwardly flat when delivered as rousing shouts (“Sentenced at High Noon,” “At The Summit of Consciousness,” “The Weight…”) thanks to the latter’s surprising corniness. The Great Observer also experiment in an exasperatingly random manner with distortion, with a liquid, Worm-adjacent effect appearing in random snatches never to develop (“Parénklisis (Fallen Into Existence),” “How Far…,” “The Weight…,” title track); and the worst part is that it’s good! The pace, generally high, is also stymied by not one but two synth-heavy instrumentals as “Parénklisis…” opens the album with a gravitas that never appears again, and “Ékstasis (The Lonesome Path)” needlessly presses pause for two minutes of ambience and whispering.

In reality, Loss of Transcendence feels frustratingly lukewarm. A mix that pushes guitars erratically between the far background and the very forefront, and a baffling decision3 to layer vocal tracks and reverb like lasagna over these riffs (“The Great Observer,” “Sentenced at High Noon,” “The Weight…,” title track) makes what could be decent blackened death sound almost poor. Almost the only time the guitars sound good is when they sound great, soloing in sudden clarity (“Sentenced…,” “Impervious Creation”) and with fluent expressiveness (“The Weight…,”), and these highlights appear exclusively in the second half. Given this, it becomes harder to forgive the swing of strangely upbeat gang shouts (“Sentenced…,” “Herald of Thorns”) and a brusque attitude to riff-writing that tends to shy away from character.

It’s always a shame when a concept I’m particularly interested in is delivered in mediocre form. Loss of Transcendence strikes as an album that would have had heads spinning and Bibles being reached for in the early 90s but now its grit cannot make up for its shortcomings. Failing to develop their best ideas and sidelining their assets far too often, The Great Observer still haven’t seen how to capitalise on their strengths, and Loss of Transcendence loses more than higher values as a result.

Rating: Disappointing
DR: 9 | Format Reviewed: 320 kbps mp3
Label: BlackSeed Productions
Website: Bandcamp | Facebook
Releases Worldwide: April 30th, 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

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

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

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

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

Disembodiment – Spiral Crypts Review

By Steel Druhm

It’s been a minute since I got my iron claws stuck into some rancid, cesspool-grade death metal, and I was badly jonesing for some. Along comes Quebec-based filth-death crew Disembodiment with their Spiral Crypts debut, and they put Steel right back in the rot pit! Featuring a former member of Serpent Corpse, these canucks bring the seeping offal to the public toilets with nary an ounce of excrement left unsmeared. Spiral Crypts is disgusting caverncore awfulness for the caveman death setters, and you’ll feel the toxic grime and gunk accumulating in your pores before you get through the first song. It’s every bit the unnatural mating of Incantation with Autopsy and early Tomb Mold, with bits of Cannibal Corpse and Suffocation stuck in the soft serve like corn. But is an unapologetic scuzz-bucket puke product enough to sell a cynical deathhead on what Disembodiment is hawking? Let’s dive in!

The album opens appropriately with the sounds of something wet leaking somewhere sticky as flies buzz and a woman whimpers and screams in abject horror. Soon the band shows us why, as they kick the basement door in and proceed to put the “fist” in fistula on “Morbid Infestation.” It’s chuggy OSDM with enough scab and pus on the sound profile to put off all but the twisted. The tempos skew wildly from doomy, oppressive plods and blasty, thrash explosions that reek of the late 80s/early 90s death landmarks, and at times, little strains of vintage Death surface from the primordial ooze. It’s not reinventing the wheel, but it’s gumming up the rotors with lots of raw sewage. The riffs are spicy and interesting, and the vocals approximate an overworked garbage disposal trying to process an entire Christmas ham. It’s a shitshow, but one you can’t look away from. The band demonstrates a bit more range on “Stygian Overture,” playing with mood and tempo for a more expansive sound, making sure the rubber boot never comes too far off the trachea as they slow things down and showcase impressive riff-sense. What’s most entertaining is the way the band tries to be more “proggy” while the vocalist seems to devolve into something even less human.

My favorite moment comes on “Larval,” where all the maggots come home to roost. This one kicks off with an insanely heavy, utterly brainless chug stomp that will flatten your ass. Those chug grooves are heavy enough to decimate a concrete bunker, and you will feel yourself regress to your most apeish nature as you blast this one. While some tracks hit harder than others, none disappoint or leave you feeling clean and safe spacey. Every tune is infused with swampy but sharp riffing and enough tempo shifts to shake your IQ downward several points. At a very reasonable 30 minutes, Disembodiment know that too much of a rancid thing may lead to cesspool fatigue, so things go down the drain before you retch up any organs you might really need. The production is a master class in muck, crust, sleaze and revoltingness. The guitar tons is nasty as fook, and the bass is booming and oppressive. My only complaint is that there are skips in the master where it sounds like someone cut a few seconds of the song out entirely. It only happens a few times, but it’s weird and disruptive.

Mathieu Breton is credited as the lead voKillizer, and he does a convincing job of sounding like he’s hurling up the biggest, wettest loogey-woogey in the history of mankind. He’s perfectly vile and repellant, and I love everything he does. Guitarist Chris unleashes a vast collection of scathing, scouring riffs and makes Spiral Crypts an exceptionally riffy death metal platter. His style is heavily grounded in the Incantation / Autopsy school but he wanders into the realms of Death and Morbid Angel as well. He has a great handle on atmosphere and mood, and he can craft a creepy doom riff that makes you feel legitimately uneasy. This is a crew that knows how to snake a shitter.

Spiral Crypts is one of the those fucking disgusting OSDM albums you hear and love on the very first salvo, and it offers everything you could want from this unclean, unsanitary style. Disembodiment are now on my radar and I’m eager to hear what they dump on the floor next. Someone wise once said, in a world of shit, be the grossest turd in the bowl, That’s the Disembodiment way. Get your face in this crawlspace and huff deeply.

Rating: 3.5/5.0
DR: | Format Reviewed: 320 kbps mp3
Label: Everlasting Spew
Websites: facebook.com/disembodimentdeath | instagram.com/disembodimentdeath
Releases Worldwide: July 11th, 2025

#2025 #35 #Autopsy #CanadianMetal #DeathMetal #Disembodiment #EverlastingSpewRecords #Incantation #Jul25 #Review #SpiralCrypts #TombMold

Festergore – Constellation of Endless Blight Review

By Kenstrosity

The old school death metal revival burgeons as profusely as ever. Countless buzzsaws, endless riff salads, and innumerable gravelly roars populate the landscape of the genre, with only the occasional differentiation to be found in the gene pool. Yet, we metalheads at large eat it right up. From aesthetics all the way down to engineering, albums released under the OSDM umbrella use and abuse a long-standing formula way past its expiration date, and still bangers abound. This, interestingly, makes the field an especially challenging one in which to excel. Staten Island’s newest old-school death quintet, Festergore, place their first bid in the pot with their debut Constellation of Endless Blight. Is endless blight fatal enough?

If you’ve heard anything from Cannibal Corpse, Rotpit, earlier Tomb Mold, or the more energetic side of Incantation, you know exactly how Festergore sounds. Chunky riffs, big grooving rhythms and beats, and vomiting vocals litter the record with a total disrespect for their surroundings. This is the way it should be. That’s the way it is. Constellation of Endless Blight houses no surprises nor twists, no novelties nor nuance. Meat and potatoes is the only item on the menu, and for what it’s worth, everything is prepared by the book with unflappable consistency.

Reliability is a virtue, and Festergore’s debut record is nothing if not reliable as far as sound and execution are concerned. Top bangers “Ironborn,” “SMA,” and “What Once Was Proud” excel in their delivery of properly crafted death, yet each take their own course to that satisfying result. “Ironborn” dabbles in the doom-tinged Incantationanigans of olde, but supplements them with a punkier Master personality to give the whole extra oomph. “SMA” is just pure Cannibal Corpse filth, boasting excellent riffcraft and an infinitely repeatable lyrical phrase, “DIE, DIE, DIE WITH YOUR EYES OPEN.” Closer “What Once Was Proud” possesses the same kind of grooving swagger as Tomb Mold’s material usually does, though simplified for maximum headbangability. In all these examples and others, the greatest rewards come from living and listening in the moment, as there is absolutely nothing that can stop this runaway train of killer riffs sourced from the tried and the true.

Unfortunately, that adherence to influence renders Constellation of Endless Blight predictable and derivative. By the time “The View from Halfway Down” passes by, the initial thrill of great riffs and infectious rhythms starts fading out of focus. In its place, the persistent vague impression that I’ve heard every note of this record before. “Surrender to Madness” and “Cryogenic Display,” for example, lose a lot of their charm simply by mimicking the charm of at least two of the aforementioned reference points at a time. While stitching together an amalgam of techniques perfected by great bands is a respectable way to enter a crowded field, I crave something more creative that Constellation of Endless Blight simply can’t deliver. Furthermore, the inclusion of not one, but two fluffy instrumental interludes on a thirty-three-minute record just feels cheap. It’s not enough to totally ruin the experience—after all, four minutes of disposable waste product will never be enough to taint a full twenty-nine minutes of ripping tuneage in my house—but it is enough to mildly annoy me until the next track beats my battered face against another curb.

Constellation of Endless Blight is more than a competent execution of a well-worn style of death. It is also, on the other hand, built almost entirely out of other band’s building blocks. I don’t mean to imply that Festergore have committed plagiarism of any sort. They haven’t. But the lack of creativity I can detect out of this seven-song (I am subtracting those interludes) lineup disappointed me in the end. Constellation of Endless Blight offers a lot of bang for the buck if the buyer is already a fan of the style. I definitely fit into that demographic. However, as a work of art, it lacks a distinct identity to help it stand out from an undoubtedly overpopulated crowd.

Rating: Mixed
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Personal Records
Websites: festergore.bandcamp.com | facebook.com/profile.php
Releases Worldwide: November 29th, 2024

#25 #2024 #AmericanMetal #CannibalCorpse #ConstellationOfEndlessBlight #DeathMetal #Festergore #Incantation #Master #Nov24 #OSDM #PersonalRecords #Review #Reviews #Rotpit #TombMold

Festergore – Constellation of Endless Blight Review

By Kenstrosity

The old school death metal revival burgeons as profusely as ever. Countless buzzsaws, endless riff salads, and innumerable gravelly roars populate the landscape of the genre, with only the occasional differentiation to be found in the gene pool. Yet, we metalheads at large eat it right up. From aesthetics all the way down to engineering, albums released under the OSDM umbrella use and abuse a long-standing formula way past its expiration date, and still bangers abound. This, interestingly, makes the field an especially challenging one in which to excel. Staten Island’s newest old-school death quintet, Festergore, place their first bid in the pot with their debut Constellation of Endless Blight. Is endless blight fatal enough?

If you’ve heard anything from Cannibal Corpse, Rotpit, earlier Tomb Mold, or the more energetic side of Incantation, you know exactly how Festergore sounds. Chunky riffs, big grooving rhythms and beats, and vomiting vocals litter the record with a total disrespect for their surroundings. This is the way it should be. That’s the way it is. Constellation of Endless Blight houses no surprises nor twists, no novelties nor nuance. Meat and potatoes is the only item on the menu, and for what it’s worth, everything is prepared by the book with unflappable consistency.

Reliability is a virtue, and Festergore’s debut record is nothing if not reliable as far as sound and execution are concerned. Top bangers “Ironborn,” “SMA,” and “What Once Was Proud” excel in their delivery of properly crafted death, yet each take their own course to that satisfying result. “Ironborn” dabbles in the doom-tinged Incantationanigans of olde, but supplements them with a punkier Master personality to give the whole extra oomph. “SMA” is just pure Cannibal Corpse filth, boasting excellent riffcraft and an infinitely repeatable lyrical phrase, “DIE, DIE, DIE WITH YOUR EYES OPEN.” Closer “What Once Was Proud” possesses the same kind of grooving swagger as Tomb Mold’s material usually does, though simplified for maximum headbangability. In all these examples and others, the greatest rewards come from living and listening in the moment, as there is absolutely nothing that can stop this runaway train of killer riffs sourced from the tried and the true.

Unfortunately, that adherence to influence renders Constellation of Endless Blight predictable and derivative. By the time “The View from Halfway Down” passes by, the initial thrill of great riffs and infectious rhythms starts fading out of focus. In its place, the persistent vague impression that I’ve heard every note of this record before. “Surrender to Madness” and “Cryogenic Display,” for example, lose a lot of their charm simply by mimicking the charm of at least two of the aforementioned reference points at a time. While stitching together an amalgam of techniques perfected by great bands is a respectable way to enter a crowded field, I crave something more creative that Constellation of Endless Blight simply can’t deliver. Furthermore, the inclusion of not one, but two fluffy instrumental interludes on a thirty-three-minute record just feels cheap. It’s not enough to totally ruin the experience—after all, four minutes of disposable waste product will never be enough to taint a full twenty-nine minutes of ripping tuneage in my house—but it is enough to mildly annoy me until the next track beats my battered face against another curb.

Constellation of Endless Blight is more than a competent execution of a well-worn style of death. It is also, on the other hand, built almost entirely out of other band’s building blocks. I don’t mean to imply that Festergore have committed plagiarism of any sort. They haven’t. But the lack of creativity I can detect out of this seven-song (I am subtracting those interludes) lineup disappointed me in the end. Constellation of Endless Blight offers a lot of bang for the buck if the buyer is already a fan of the style. I definitely fit into that demographic. However, as a work of art, it lacks a distinct identity to help it stand out from an undoubtedly overpopulated crowd.

Rating: Mixed
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Personal Records
Websites: festergore.bandcamp.com | facebook.com/profile.php
Releases Worldwide: November 29th, 2024

#25 #2024 #AmericanMetal #CannibalCorpse #ConstellationOfEndlessBlight #DeathMetal #Festergore #Incantation #Master #Nov24 #OSDM #PersonalRecords #Review #Reviews #Rotpit #TombMold

Festergore – Constellation of Endless Blight Review

By Kenstrosity

The old school death metal revival burgeons as profusely as ever. Countless buzzsaws, endless riff salads, and innumerable gravelly roars populate the landscape of the genre, with only the occasional differentiation to be found in the gene pool. Yet, we metalheads at large eat it right up. From aesthetics all the way down to engineering, albums released under the OSDM umbrella use and abuse a long-standing formula way past its expiration date, and still bangers abound. This, interestingly, makes the field an especially challenging one in which to excel. Staten Island’s newest old-school death quintet, Festergore, place their first bid in the pot with their debut Constellation of Endless Blight. Is endless blight fatal enough?

If you’ve heard anything from Cannibal Corpse, Rotpit, earlier Tomb Mold, or the more energetic side of Incantation, you know exactly how Festergore sounds. Chunky riffs, big grooving rhythms and beats, and vomiting vocals litter the record with a total disrespect for their surroundings. This is the way it should be. That’s the way it is. Constellation of Endless Blight houses no surprises nor twists, no novelties nor nuance. Meat and potatoes is the only item on the menu, and for what it’s worth, everything is prepared by the book with unflappable consistency.

Reliability is a virtue, and Festergore’s debut record is nothing if not reliable as far as sound and execution are concerned. Top bangers “Ironborn,” “SMA,” and “What Once Was Proud” excel in their delivery of properly crafted death, yet each take their own course to that satisfying result. “Ironborn” dabbles in the doom-tinged Incantationanigans of olde, but supplements them with a punkier Master personality to give the whole extra oomph. “SMA” is just pure Cannibal Corpse filth, boasting excellent riffcraft and an infinitely repeatable lyrical phrase, “DIE, DIE, DIE WITH YOUR EYES OPEN.” Closer “What Once Was Proud” possesses the same kind of grooving swagger as Tomb Mold’s material usually does, though simplified for maximum headbangability. In all these examples and others, the greatest rewards come from living and listening in the moment, as there is absolutely nothing that can stop this runaway train of killer riffs sourced from the tried and the true.

Unfortunately, that adherence to influence renders Constellation of Endless Blight predictable and derivative. By the time “The View from Halfway Down” passes by, the initial thrill of great riffs and infectious rhythms starts fading out of focus. In its place, the persistent vague impression that I’ve heard every note of this record before. “Surrender to Madness” and “Cryogenic Display,” for example, lose a lot of their charm simply by mimicking the charm of at least two of the aforementioned reference points at a time. While stitching together an amalgam of techniques perfected by great bands is a respectable way to enter a crowded field, I crave something more creative that Constellation of Endless Blight simply can’t deliver. Furthermore, the inclusion of not one, but two fluffy instrumental interludes on a thirty-three-minute record just feels cheap. It’s not enough to totally ruin the experience—after all, four minutes of disposable waste product will never be enough to taint a full twenty-nine minutes of ripping tuneage in my house—but it is enough to mildly annoy me until the next track beats my battered face against another curb.

Constellation of Endless Blight is more than a competent execution of a well-worn style of death. It is also, on the other hand, built almost entirely out of other band’s building blocks. I don’t mean to imply that Festergore have committed plagiarism of any sort. They haven’t. But the lack of creativity I can detect out of this seven-song (I am subtracting those interludes) lineup disappointed me in the end. Constellation of Endless Blight offers a lot of bang for the buck if the buyer is already a fan of the style. I definitely fit into that demographic. However, as a work of art, it lacks a distinct identity to help it stand out from an undoubtedly overpopulated crowd.

Rating: Mixed
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Personal Records
Websites: festergore.bandcamp.com | facebook.com/profile.php
Releases Worldwide: November 29th, 2024

#25 #2024 #AmericanMetal #CannibalCorpse #ConstellationOfEndlessBlight #DeathMetal #Festergore #Incantation #Master #Nov24 #OSDM #PersonalRecords #Review #Reviews #Rotpit #TombMold

For @HailsandAles' #BlackMetalMonday:

#Hellbutcher: The Sword of Wrath

https://song.link/8pr3rhcd8gvqc

#BlackenedThrashMetal #ThrashenedBlackMetal

FFO #Avmakt #SpectralWound #TombMold

The last one for #ThursDeath for this week is #FromTheVaults:

#SwallowTheSun: With You Came The Whole Of The World's Tears

https://song.link/2swzcthnb5v4v

#MelodicDoom

FFO #MotherOfGraves #TombMold #TreesOfEternity

@HailsandAles I liked Stoned Jesus's cover, simple yet pleasing and unconventional for the genre.
Suhnopfer's record is on the other hand quite cliche, but works well and gives me creeps.
Also, I like the style of whoever draws Tomb Mold covers, but I liked the previous one even better.
Hope those are all 2023 albums, because I don't really keep track :)

#StonedJesus #Stoner
https://stonedjesus.bandcamp.com/album/father-light

#Suhnopfer #BlackMetal
https://suhnopfer.bandcamp.com/album/nous-sommes-dhier

#TombMold #DeathMetal
https://20buckspin.bandcamp.com/album/the-enduring-spirit

@HailsandAles I liked Stoned Jesus's cover, simple yet pleasing and unconventional for the genre.
Suhnopfer's record is on the other hand quite cliche, but works well and gives me creeps.
Also, I like the style of whoever draws Tomb Mold covers, but I liked the previous one even better.
Hope those are all 2023 albums, because I don't really keep track :)

#StonedJesus #Stoner
https://stonedjesus.bandcamp.com/album/father-light

#Suhnopfer #BlackMetal
https://suhnopfer.bandcamp.com/album/nous-sommes-dhier

#TombMold #DeathMetal
https://20buckspin.bandcamp.com/album/the-enduring-spirit

@HailsandAles I liked Stoned Jesus's cover, simple yet pleasing and unconventional for the genre.
Suhnopfer's record is on the other hand quite cliche, but works well and gives me creeps.
Also, I like the style of whoever draws Tomb Mold covers, but I liked the previous one even better.
Hope those are all 2023 albums, because I don't really keep track :)

#StonedJesus #Stoner
https://stonedjesus.bandcamp.com/album/father-light

#Suhnopfer #BlackMetal
https://suhnopfer.bandcamp.com/album/nous-sommes-dhier

#TombMold #DeathMetal
https://20buckspin.bandcamp.com/album/the-enduring-spirit

@HailsandAles I liked Stoned Jesus's cover, simple yet pleasing and unconventional for the genre.
Suhnopfer's record is on the other hand quite cliche, but works well and gives me creeps.
Also, I like the style of whoever draws Tomb Mold covers, but I liked the previous one even better.
Hope those are all 2023 albums, because I don't really keep track :)

#StonedJesus #Stoner
https://stonedjesus.bandcamp.com/album/father-light

#Suhnopfer #BlackMetal
https://suhnopfer.bandcamp.com/album/nous-sommes-dhier

#TombMold #DeathMetal
https://20buckspin.bandcamp.com/album/the-enduring-spirit

@HailsandAles I liked Stoned Jesus's cover, simple yet pleasing and unconventional for the genre.
Suhnopfer's record is on the other hand quite cliche, but works well and gives me creeps.
Also, I like the style of whoever draws Tomb Mold covers, but I liked the previous one even better.
Hope those are all 2023 albums, because I don't really keep track :)

#StonedJesus #Stoner
https://stonedjesus.bandcamp.com/album/father-light

#Suhnopfer #BlackMetal
https://suhnopfer.bandcamp.com/album/nous-sommes-dhier

#TombMold #DeathMetal
https://20buckspin.bandcamp.com/album/the-enduring-spirit