#undergang — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #undergang, aggregated by home.social.
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Azatoth – Carnal Lust of Blasphemy Review By Steel DruhmLord, bless this cess! Out of left field, from the old laundry-detergent sump behind the abandoned meatpacking emporium, come the horrible sounds of Finland’s Azatoth. Lurking around the worst corners of the Finnish death scene since 2020, Azatoth finally unleashes their full-length debut on a not-so-innocent world. With a team of well-traveled vets involved, what does Carnal Lust of Blasphemy offer a death metal fan besides the most cut-and-paste title possible? In short, it serves up a nasty bit of retro, caveman death and grind with distasteful blacked edges. Moreover, it gives nothing back to the academic community and provides no public service of any kind. It’s disgusting, repellent shit with reeking bits of Autopsy, Morbid Angel, and Undergang clinging to the unwashed carcASS of their musical abomination. Are you ready to disimpact? Here it comes!
Opener “Flooding Human Remains” is everything one could want from an excessive serving of greasy death biscuits. The speed is unsafe, the vocals belch from the deepest depths of the human pus center, and the drumming is berserk enough to shake your fillings out. In other words, it’s a fucking glorious rip-ride as it stumbles from early 90s death into grind and back again. The vocals are so damn moist and viscous, you can feel yourself slipping on them as you try to comprehend the insane guitar pyrotechnics destabilizing your brain. Oh, and there are whammy dives! “Veins of Rotten Blood” is more of the same unhealthy ear abuse with the right blend of aggression, insanity, and unpleasantness. The vocals are almost comical in their over-the-topitude, and goddamn, those riffs and solos are labyrinthine but so hooky, festooned with jagged pinch harmonics. Yeah, this shit is pinchy.
The first 18 minutes of Carnal Lust of Blasphemy offer some of the best death metal I’ve heard in a while, and I want 5 hours of the same shitfun. “Abomination of the Underworld” lurches from face-blasting aggression to doomy digressions, and even teases with vague hints of Death right as they begin transitioning from caveman to prog circa Human. For bonus points, they toss in some classy James Murphy-esque solos, and they hit the nostalgia nerve hard. There are some minor stumbles along the blasphemy path, however. “Sulfuric Paths to Agony” is a meaty hot pocket of death excess interwoven with doomy and ritualistic bits. It’s good but doesn’t hit as hard as the early numbers, and at 6 minutes it feels like it overstays its welcome. That leads right into a short moody interlude, and the combination of the two tracks tends to bog the album down a notch or two. Luckily, “Blasphemous Flesh” is a sick beast bent on regaining the momentum. It sounds like the bastard spawn of a sleazy hookup between Incantation and Morbid Angel after it was raised by honey badgers and meth heads till the age of 20. This is the shit I love, and boy howdy do they bring it good and hard. Also… whammy dives! The back third of the album is all killer and no filler, leaving you bruised, contused, and utterly amused. At a tight 39 minutes, there isn’t much fat on this rotten sack o’ guts. The production suits the material with a shock-and-awe sound that leaves room for slime and cave moss.
The vocals by Nuclear Lucifer are over-indulgent and grotesque. You can almost feel the throat coatings hit you in the face, and something in there is way more liquid than it should be. The croaking, grunting, and vomiting are all first-rate and convincing. The real stars of the show, though, are Chainsaw Gamache and Bogman Levo, who tear your entire skinsuit off with insane fretboard molestation. These boys can shred more than flesh, and at times their solos are jaw-droppingly insane. I hesitate to say they hit neo-classical levels, but they get close before returning to their murder riffs and brainsaw leads that slither and bite. I would be remiss not to mention the crazed drum performance by Godvomit Hämäläinen.1 The man has 6 arms, or else it’s all studio trickery. Either way, it’s a vulgar display of meat shower.
Azatoth may be an unknown name in death circles, but an album like Carnal Lust of Blasphemy is how one gets noticed fast. This is high-grade death metal with bells and whistles that never detract from the caveman and the cavern lifestyle. It’s short, nasty, and brutish, and that’s exactly what I need. Don’t let this one fly under your metal detector, people. This is the womit pile you want to fall in.2
Rating: 3.5/5.0
#2026 #35 #Aug26 #Autopsy #Azatoth #CarnalLustOfBlasphemy #DeathMetal #ExtremelyRottenProductions #FinnishMetal #MorbidAngel #Review #Reviews #Undergang
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Extremely Rotten Productions
Websites: azatoth-fin.bandcamp.com | facebook.com/azatothband | instagram.com/azatothdm
Releases Worldwide: Augst 21st, 2026 -
Kan meddela att kokkaffe inte längre är för mig. Kostan pallar det inte längre.
Så nu ber vi en tyst bön över mitt favoritkaffe.
#kokkaffe #katastrof #undergång #livet -
Enden er nær
Enden er nær er en udforskning af denne Verden vi lever i, og hvordan vi alle, hver især, formes af den. Vi indtager alle en position i det her puramidespil af smerte, vi kalder kapitalismen.
Kan vi fortsat holde ud at være til i denne Verden, eller bliver vi nødt til at forlade den, inden vi alle går under.
Bogen er også science-fiction. Det er en undergangsroman, for det er kun når vi tænker Verden til ende, at vi kan se den klart.Således indbyder bagsiden læseren til Jamal Bendahmans roman “Enden er nær”. Eller, hvis man er denne læser: således sætter bagsiden forhindringer i vejen for at gå i kast med bogen. For den fremstår prædikende og selvfed – men lokker dog med dette lille “science-fiction” til sidst.
#dansk #JamalBendahman #scienceFiction #Undergang
Bagsiden er fejlslagen helt igennem: “Enden er nær” er hverken prædikende, selvfed eller science fiction – men for fanden, hvor er den godt skrevet.
Vi starter med enden: Amir vågner op på Rigshospitalet og lader til at være Palle alene i verden. Toner af “28 dage senere” og “The Walking Dead”, uden der dog lægges op til drama og action. Dernæst begiver vi os bagud i tiden og bevæger os i cirkler omkring Amir – kapitler præsenterer os for hans bror, ven, far, chef og kæreste.
Hvilket stort set fortsætter frem til slutningen på bogen – med minimale træk af noget, der kan kaldes fantastik. Men det er egentlig lige meget, for Jamal Bendahman kan skrive!
Jeg kan godt undres over, hvorfor jeg som læser skal præsenteres for disse mennesker, og hvor science fiction-elementet bliver af, for det er i bund og grund en socialrealistisk bog, der er tale op, med masser af hug til det danske samfund – men det ændrer ikke ved, at Bendahman fik mig interesseret næsten fra første færd. Han skriver let, flydende og overraskende – og formår at levere en bog, der tydeligvis er hård og har et budskab, men aldrig bliver forelæsende. Den lander lidt samme sted i min hjerne som Theis Ørntofts “Solar” – vrede unge mænds billede af verden gennem en let forvredet linse; blot er “Enden er nær” skarpere og mere lige på for mig.
Men science fiction? Jo, såmænd, på sådan en homøopatisk vis, vel. Velskrevet? Ja, ufortyndet og lige i hovedåren. Jeg er fristet til at kaste mig over Bendahmans debut, “Vidnet”, selv om den er helt uden for min sfære – så på den måde virkede bagsideteksten vel egentlig efter hensigten. -
Let's start here, today. https://undergang.bandcamp.com/album/aldrig-i-livet #Undergang #MittwochMetalMix
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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
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#BrooklynVegan
Sodom playing first NYC show in 18 years with Whiplash & Hirax & other rare US dates
The German thrash legends are playing the Maryland and California Deathfests and they also have MDF-presented shows in NYC and Chicago.#Sodom #NYCshow #18years #Whiplash #Hirax #StressAngel #BrooklynMonarch #MarylandDeathfest #MDFpreFest #CaliforniaDeathfest #ChicagoShow #Dismember #Vomitory #Undergang #MorpheusDescends
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Dismember playing debut album in NYC after Maryland Deathfest (w/ Vomitory, Undergang & more)
https://www.brooklynvegan.com/dismember-playing-debut-album-in-nyc-after-maryland-deathfest-w-vomitory-undergang-more/#brooklynvegan_category_music #Heavy_Metal #Music #tour_dates #California_Deathfest #Dismember #Malignancy #Maryland_Deathfest #Morpheus_Descends #Undergang #vomitory
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#MetalInjection
Actor JOHN WATERS Was Spotted At An UNDERGANG & PISSGRAVE Show
John Waters is into some grimy death metal.https://metalinjection.net/news/actor-john-waters-was-spotted-at-an-undergang-pissgrave-show
#JohnWaters
#Undergang
#Pissgrave
#LiveShow
#80sCultIcon
#MetalScene
#MovieLegend -
#screenshotsunday
Switched to dwm-bar scripts (modified) in dwm on one of my laptops.
Jumped to arch on my phone and so for I like it better than mobian.#dwm #dwm-bar #arch #pinephone #spectralvoice #candlemass #kingdiamond #undergang
