Album Review – Signs of the Swarm / To Rid Myself of Truth (2025)

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Continuing to molt their slamming Deathcore exoskeleton, Pittsburgh, Pennsylvania’s own beast is unleashing upon us their strongest and most violent album to date.

Continuing to molt their slamming Deathcore exoskeleton, with their metal metamorphosis revealing a band now as indebted to Meshuggah, Gojira and Fear Factory as any of the Deathcore bands they grew up on, Pittsburgh, Pennsylvania’s own beast Signs of the Swarm is unleashing upon humanity their new offering, titled To Rid Myself of Truth, following up on their 2023 slab of brutality Amongst the Low & Empty. Produced by Josh Schroeder at Random Awesome! Recording Studio, and featuring guest appearances by Will Ramos (Lorna Shore), Phil Bozeman (Whitechapel), Jack Murray (156/Silence) and Johnny Crowder (Prison), the new album by David Simonich on vocals, Carl Schulz on the guitars, Michael Cassese on bass, and Bobby Crow on drums carries a title that exudes confidence while the band’s pursuit of substance over style of the month is as refreshing as it could be surprising.

The title-track To Rid Myself of Truth already showcases the band’s ruthless welcome card, with the bludgeoning riffs and bass lines by Carl and Michael, respectively, bringing absolute heaviness and violence to the atmosphere; followed by Hell Must Fear Me, also stylized as HELLMUSTFEARME, a lesson in modern-day Deathcore with the inhumane, deep growling by David haunting our souls for all eternity, not to mention how demented Bobby sounds on drums. Natural Selection reminds me of some of the darkest creations by Thy Art Is Murder, with David once again stealing the show with his creature from the abyss-like roars; and the way they managed to match David’s growls with the pulverizing drums by Bobby is outstanding in Scars Upon Scars, as if they were a two-headed beast of violence and Deathcore, sounding very progressive and multi-layered as well. Chariot keeps the album as demented and aggressive as possible, with Carl’s visceral riffs cutting our skin deep mercilessly; and David is joined by the one and only Will Ramos for a demented display of Deathcore in Clouded Retinas, showcasing the most Stygian form of vociferations imaginable, and the final result is insanely good.

Iron Sacrament is another song that reeks of violence and dementia just the way we like it in Deathcore, featuring guest vocals by Phil Bozeman, and of course the sick riffs by Carl will inspire you to bang your head nonstop when those guys take your city by storm; whereas Forcing to Forget is a bit too modern or alternative for my personal taste, lacking the same level of aggressiveness from all previous songs. Then back to a more visceral, headbanging sound we have Sarkazein, with Bobby once again providing David with exactly what he needs to scream like a bestial entity nonstop. Needless to day, it should also work really well if played live. Then guest vocalists Jack Murray and Johnny Crowder bring an endless amount of stamina and rage to their already infernal music in Fear & Judgment, turning it into a must-listen for fans of the genre, whereas closing such an incandescent album of Deathcore we’re treated to Creator, where their core essence is infused with the Djent sounds blasted by their idols Meshuggah, and the final result couldn’t have been heavier.

To Rid Myself of Truth is clearly the band’s strongest, darkest and most diverse album to date, showcasing a healthy evolution in their undisputed sound while remaining loyal to their foundations, becoming therefore a must-listen for both old school, diehard fans of the band, and newcomers to their reign of violence and heaviness. You can keep in touch with the boys from Signs of the Swarm by following them on Facebook and on Instagram, including their demented live performances, stream their full discography on most platforms like Spotify, and of course add the caustic, harsh To Rid Myself of Truth to your devilish collection by purchasing it from BandCamp or by clicking HERE. In our chaotic world where truth and lies walk hand in hand, there’s nothing better than the savage Deathcore by Signs of the Swarm to give us strength to keep on moving forward no matter what, with their newborn beast definitely representing the most important step in their already solid and thrilling career.

Best moments of the album: Hell Must Fear Me, Scars Upon Scars, Clouded Retinas and Fear & Judgment.

Worst moments of the album: Forcing to Forget.

Released in 2025 Century Media Records

Track listing
1. To Rid Myself of Truth 3:38
2. Hell Must Fear Me 3:07
3. Natural Selection 3:56
4. Scars Upon Scars 3:00
5. Chariot 3:31
6. Clouded Retinas 3:12
7. Iron Sacrament 3:24
8. Forcing to Forget 3:36
9. Sarkazein 4:26
10. Fear & Judgment 4:19
11. Creator 3:47

Band members
David Simonich – vocals
Carl Schulz – guitars
Michael Cassese – bass
Bobby Crow – drums

Guest musicians
Johnny Crowder – vocals on “Fear & Judgment”
Jack Murray – vocals on “Fear & Judgment”
Will Ramos – vocals on “Clouded Retinas”
Phil Bozeman – vocals on “Iron Sacrament”

Album Review – Retching / Charming the Decomposed (2025)

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If you’re into Death Metal that’s heavy, catchy, and fun, but also not completely senseless, this American duo will make your day to the sound of their debut album.

Having found a way to present the gore-soaked, rotten, old school-inclined Death Metal sound that we all love with quality songwriting that elevates it beyond the nostalgic, aspiring bands of this ilk, Rhode Island, United States-based Death Metal duo Retching is unleashing upon humanity their depraved debut, beautifully entitled Charming the Decomposed. Displaying a gory artwork by Slimeweaver, the new offering by Mondo on “erotic moans and six string razor wire” (aka vocals and guitars), and Latex on “low end garrote and oil drums” (aka bass and drums) is highly recommended for fans of Broken Hope, Cannibal Corpse, Fulci, Undeath, Mortician, and Devourment, offering a much-desired dose of primal brutality while inviting listeners to keep coming back for more as the album offers more than just simplified caveman-mosh Death Metal savagery.

The wicked intro Moonlight Perversions, inspired by some of the weirdest things you can find in the United States, sets the tone for Gorging on Ecstacy, an explosion of classic Death Metal where the inhumane growling by Mondo is nicely complemented by Latex’s demented kitchen. The duo shows no mercy for our putrid bodies in Premature Decapitation, blasting an overdose of violence and gore through their incendiary riffs, blast beats and venomous guttural; and Latex continues to hammer his bass and drums in Shower Curtain Silhouette, crafting a reverberating sound that lives up to the legacy of Death Metal. and of course, a name like Foaming deserved the most destructive form of Death Metal imaginable, all boosted by the deranged roaring by Mondo.

Vulgar Celluloid Trophy is another song with a very peculiar name, with their heaviness and groove punching us mercilessly in the head; whereas Mondo keeps vociferating like a demonic entity in the also heavy-as-hell Septic Entombment, supported by the brutal bass and drums by Latex, highly inspired by 90’s Death Metal. Fetid Abattoir is by far the weakest of all songs, sounding a bit generic if compared to all devastation that happens throughout the rest of the album, and the fact it’s kind of an instrumental track doesn’t help either; and last but definitely not least, the duo gets back on track with the most destructive song of the album, entitled Mortuary of Desire, offering their trademark dirty riffs, crushing beats, and the always gruesome vociferations by Mondo until the very last second.

Assimilating influences from various Death Metal giants the likes of Cannibal Corpse and Suffocation, while at the same time attempting to go about creating something delectable and effective in their own way, Retching will crush your senses to the sound of Charming the Decomposed, available from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store, and you can also find more details about the duo on Instagram. Who knows, maybe we’ll see those guys take some stages by storm in their homeland soon. Put differently, if you’re into Death Metal that’s heavy, catchy, and fun, but also not completely senseless, Retching will certainly make your day to the sound of their demented debut album.

Best moments of the album: Premature Decapitation, Foaming and Mortuary of Desire.

Worst moments of the album: Fetid Abattoir.

Released in 2025 Transcending Obscurity Records

Track listing
1. Moonlight Perversions (Intro) 1:25
2. Gorging on Ecstacy 4:00
3. Premature Decapitation 3:35
4. Shower Curtain Silhouette 3:29
5. Foaming 4:28
6. Vulgar Celluloid Trophy 3:10
7. Septic Entombment 4:12
8. Fetid Abattoir 4:21
9. Mortuary of Desire 3:32

Band members
Mondo – vocals, guitars
Latex – bass, drums

Album Review – Cancerbero / Sempiternal Decay (2025)

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One of the most ruthless entities hailing from Chile is back with a lesson in devilish and archaic Death Metal, exactly the way it was meant to be in the 80’s.

Originally formed in Concepción, Chile in 1987 by vocalist Peter and split up in 1994 with two demos recorded before that, the unrelenting Death Metal beast known as Cancerbero is ready to kill once again armed with their third full-length opus, entitled Sempiternal Decay, following up on their 2019 sophomore Reconquering the Throne of Death. Recorded by V. Wraith, and displaying an ass-kicking, classic cover art by Mörtuus Art, the new album by Peter on vocals and bass, Evil Killer and Silencio on the guitars, and L. Grave on drums is an album that’s most definitely a lesson in devilish and archaic Death Metal the way it was meant to be in the 80’s, not just musically, but also in essence, spirit and attitude.

The intro The Arrival feels like the sounds of evil entities arising from the pits of the underworld, warning us all about the demented feast that’s about to begin in Primal Deities, with L. Grave already pounding his drums in the best Doom Metal style while Evil Killer and Silencio melt our faces with an overdose of harsh riffs and solos. The quartet continues to darken the skies with their undisputed blend of Death Metal in Infernal Fire, with Peter not only roaring like a beast, but his bass lines also sound demonic; and delivering a more straightforward, no shenanigans Death Metal onrush we face Obscure Rites, led by the classic beats and fills by L. Grave, sounding perfect for slamming into the pit like there’s no tomorrow.

Bollocide (Deathrashing Chaos) is another song with a charming name that will inspire you to dive deep into the circle pit while Evil Killer and Silencio fire classic (and absolutely demented) Death Metal riffs, and the band will then drag you six feet deep in Burial, offering that traditional Death Metal sound perfect for some wild headbanging. They continue to crush our damned souls in Serpent’s Domain, spearheaded by another demonic vocal performance by Peter and the always pulverizing beats by L. Grave; whereas lastly, they offer our putrid ears almost seven minutes of Death Metal insanity in Burning Angels, starting with another riff-attack by the band’s guitar duo, with their gore, violence and obscurity flowing manically until the very last second.

Extremely recommended to fans of Morbid Angel, Possessed, Mortem, Sadistic Intent, Asphyx, Celtic Frost, Death, Messiah, and Pentacle, among countless other giants of old school Death Metal, Sempiternal Decay (available in full on YouTube) will crush you like a putrid insect, proving why the band has become a synonym to the genre in their homeland. Hence, you can get in touch with the guys from Cancerbero on Facebook, staying up to date with all of their news, tour dates and so on, and of course grab a copy of their new album from Memento Mori. Cancerbero are the epitome of primeval, no shenanigans Death Metal, and once you listen to their bestial new offering, your putrid bodies and minds will never be the same again.

Best moments of the album: Primal Deities, Obscure Rites and Serpent’s Domain.

Worst moments of the album: None.

Released in 2025 Memento Mori

Track listing
1. The Arrival (intro) 1:04
2. Primal Deities 3:53
3. Infernal Fire 4:59
4. Obscure Rites 4:48
5. Bollocide (Deathrashing Chaos) 3:54
6. Burial 5:56
7. Serpent’s Domain 4:29
8. Burning Angels 6:40

Band members
Peter – vocals, bass
Evil Killer – guitars
Silencio – guitars
L. Grave – drums

Album Review – Blackbraid / Blackbraid III (2025)

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Behold the stunning next chapter in the musical and spiritual journey of the witch hawk of Black Metal hailing from the Adirondack Mountains.

A solo indigenous Black Metal project from the depths of the Adirondack wilderness, creating music as raw and powerful as the mountains from whence it came, New York’s own Atmospheric Black Metal entity Blackbraid, the brainchild of the beyond talented vocalist and multi-instrumentalist Sgah’gahsowáh, is finally back with the highly anticipated follow-up to his critically acclaimed 2023 album Blackbraid II. Fully composed and performed by Sgah’gahsowáh, with drums, recording, mixing and mastering done by Neil Schneider (of the excellent bands Calling of Phasmic Presence, Diplegia, Telepathic Ceremony and Vintertodt), and displaying a stunning artwork with painting by Adam Burke of Nightjar Illustration and ilustration by Adrian Baxter, with visual development and graphic design by Wolf Mountain Productions, the breathtaking Blackbraid III is another beast of an album by our witch hawk Jon Krieger, showcasing a huge step forward in his already beautiful career and, therefore, resulting in a must-listen for fans of contemporary Atmospheric and Melodic Black Metal.

The acoustic, atmospheric intro Dusk (Eulogy) warms up our souls for the blackened feast titled Wardrums At Dawn On The Day Of My Death, with Sgah’gahsowáh powerfully declaiming the song’s dark and poetic words (“Awakened by a western wind / The blood of chaos seeps into dawn / A call to war in honor and death / The warrior’s fate to ride the storm / Ride”), always supported by Neil’s insane beats and fills. The Dying Death Of A Sacred Stag is another massive chant with pensive, introspective lyrics (“Upon a great throne of black mountains / Born in the heart of the storm / A keeper of shadow and twilight / A sentinel of lands long forlorn / Born within the eyes of the storm”) while our dauntless witch hawk keeps slashing his axe nonstop; and we’re then treated to the ethereal interlude The Earth Is Weeping before all hell breaks loose in God Of Black Blood, featuring a guest guitar solo by Randy Moore, a tribal, ruthless aria by Sgah’gahsowáh perfect for dancing and prancing around the fire like a true Native American.

It’s impressive how Sgah’gahsowáh can craft delicate yet obscure instrumental pieces like Traversing The Forest Of Eternal Dusk, setting the tone for the absolute demolishing Tears Of The Dawn, a lecture in Atmospheric Black Metal with the pounding drums by Neil walking hand in hand with the visceral roars and scorching riffage by Sgah’gahsowáh. Like Wind Through The Reeds Making Waves Like Water, the last interlude of the album, once again sounds enfolding, melancholic and whimsical, soothing our heats and souls before we face the flawless And He Became The Burning Stars…, one of the best Blackbraid songs of all time, with all harsh vociferations, scathing riffs and blast beats flowing perfectly until the very last second, taking us on a way one journey into the heart of the Adirondack Mountains. And finally, we have Fleshbound, an amazing cover version for a classic by Lord Belial, from their 2005 album Nocturnal Beast (check out the original HERE), and Sgah’gahsowáh’s rendition is just as visceral, aggressive and detailed.

Ready to embark on a North American headlining tour this year with support from Lamp of Murmuur, Dödsrit, and Gudsforlad, Sgah’gahsowáh and his Blackbraid are poised to conquer the entire world of heavy music with the third chapter in his musical and spiritual journey, and not only you can find the album in full on YouTube and on Spotify, but you should definitely purchase it from BandCamp or from the project’s official merch store in the United States or in the European Union. Don’t forget to also give Sgah’gahsowáh a shout on Instagram, and to stream all of his songs and albums on YouTube, Spotify or any other streaming service. Because the witch hawk of Black Metal is back, sounding heavier and more epic than ever, with the first-class music found in his new album majestically echoing through the misty mountains.

Best moments of the album: Wardrums At Dawn On The Day Of My Death, God Of Black Blood, Tears Of The Dawn and And He Became The Burning Stars…

Worst moments of the album: None.

Released in 2025 Independent

Track listing
1. Dusk (Eulogy) 1:02
2. Wardrums At Dawn On The Day Of My Death 4:54
3. The Dying Death Of A Sacred Stag 7:44
4. The Earth Is Weeping 3:39
5. God Of Black Blood 5:52
6. Traversing The Forest Of Eternal Dusk 3:39
7. Tears Of The Dawn 9:18
8. Like Wind Through The Reeds Making Waves Like Water 2:49
9. And He Became The Burning Stars… 9:50
10. Fleshbound (Lord Belial cover) 4:03

Band members
Sgah’gahsowáh – vocals, guitars, bass

Guest musicians
Neil Schneider – drums (session)
Randy Moore – lead guitars on “God of Black Blood”

Album Review – Eight Lives Down / Fates (2025)

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This multinational Progressive/Groove Metal four-headed creature is back with its sophomore opus, looking at forces beyond human control and how we respond in the face of helplessness.

Looking at forces beyond human control and how we respond in the face of helplessness, building and exploring tensions created from a sense of unease, Fates, the sophomore album by the multinational Progressive/Groove Metal four-headed creature Eight Lives Down, is a journey into the shadows of mortality. Recorded and mixed by Dan Baune at Tectonic Tone, mastered by Rasmus Andersen at Raw Sound Studio, and with a classy artwork by Diana Sawicka of What the Moon Brings, the follow-up to their 2020 debut Humans turns inward and downward, fixating on death, decay, and forces beyond human control. It’s a gaze into the abyss, and a study in how we respond when all sense of agency is stripped away, all masterfully brought into being by Aliki Katriou on vocals, Paul Allain on the guitar, Marcin Orczyk on bass, and Rodrigo Moraes Cruz on drums.

Dark and sluggish sounds kick off the opening tune Void before exploding into a modern-day blend of Groove and Progressive Metal, all embraced by Aliki’s vicious, raspy vociferations, who also declaims the words to the next song, titled Dog’s Breakfast, with tons of passion (“Everything changed seemingly overnight / Everything messed up and suddenly felt so right / Everyone covered eyes and ears / And climbed inside the anthill / Of despair and death / To practice learned helplessness”) amidst an overdose of heaviness. Fishbones sounds less violent while also leaning towards more melodic and experimental sounds, with Paul’s guitar transpiring electricity; and Aliki’s dark and pensive vocals are perfect for Phobia, again exploding into a feast of heavy and groovy sounds with Rodrigo dictating the song’s frantic pace with his classic beats and fills. Deicide brings forward more of the band’s caustic riffs supported by Marcin’s heavy-as-hell bass and Rodrigo’s killer beats; and Aliki sometimes sounds like a Death Metal version of the iconic Mike Patton, which is obviously awesome, like in the visceral tune The Point.

Then the band switches gears to a more melancholic, darker sonority in Green Light in the Distance without forgetting to blast our faces with their harsh sounds and tones; and the quartet still has a lot of fuel to burn, with Left Behind being a very good example of how they can mix harsher metal sounds with nuances from several non-metal styles. Marcin then blasts his bass, extracting pure metallic sounds in Storm, while Aliki keeps declaiming the song’s Stygian words nonstop (“It starts like liquid, water / One and the same / And I find comfort in the shelter / Hiding from the blame / I feed off you every day / And you infect my mind / In this race of coming out ahead / I’ve already fallen behind”). Constantinople is a bit disappointing compared to the rest of the album, sounding generic at times, but the band gets back on track in The Process of Dying, one of the most diverse, dynamic and vibrant of all songs, with Aliki kicking some serious ass on vocals. Furthermore, the bonus track (available on Spotify) featuring the iconic metal choir Hellscore, directed by Noa Gruman, sounds even more powerful.

Musically, Eight Lives Down maintained their progressive spin, with raw thrash foundations audibly peaking through in Fates (available in full on  Spotify), while the album weaves Greek Zeibekiko, snotty Punk, Black Metal, NWOBHM, and even Brazilian Forró rhythms into a dynamic sonic landscape, being therefore highly recommended for fans of System of a Down, Rage Against the Machine, Sepultura, Carcass, Pantera, Prong, Faith No More, Lamb of God, and Jinjer. you can find those unstoppable metallers on Facebook and on Instagram, subscribe to their YouTube channel, and purchase Fates from their own BandCamp page, from their webstore, or by clicking HERE. In other words, simply sit down, relax, and descend into the abyss of heavy music crafted by Eight Lives Down. You won’t regret the experience at all.

Best moments of the album: Void, Phobia, Storm and The Process of Dying.

Worst moments of the album: Constantinople.

Released in 2020 Independent

Track listing
1. Void 4:51
2. Dog’s Breakfast 5:39
3. Fishbones 4:35
4. Phobia 4:28
5. Deicide 4:20
6. The Point 3:17
7. Green Light in the Distance 7:16
8. Left Behind 4:48
9. Storm 7:33
10. Constantinople 4:56
11. The Process of Dying 7:17

Spotify bonus track
12. The Process of Dying (Hellscore version) 7:14

Band members
Aliki Katriou – vocals
Paul Allain – guitar
Marcin Orczyk – bass
Rodrigo Moraes Cruz – drums

Guest musicians
Hellscore – metal choir on “The Process of Dying”

Album Review – Castrator / Coronation of the Grotesque (2025)

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New York-based Death Metal maidens are back with their relentless sophomore album, firmly cementing the band among the extreme music elite.

Three years after their crushing debut Defiled in Oblivion, New York-based Death Metal maidens Castrator return with Coronation of the Grotesque, an album that not only exceeds all expectations, but leaves them shattered in its wake, firmly cementing the band among the North American Death Metal elite. Recorded across multiple studios with key figures in the United States Death Metal scene, mixed and mastered by Noah Buchanan at Mercinary Studios, produced by Carolina Perez and Taylor Nordberg (Deicide, Inhuman Condition, Ribspreader), and displaying a gruesome, dystopian artwork by Jon Zig, the new album by the badass Clarissa Badini on vocals, Sara Loerlein on the guitars, Robin Mazen on bass, and Carolina Perez on drums explores a range of historical and societal themes that reflect on injustice, victimization, and human suffering. Among the topics confronted are the tragic killing of Mahsa Amini, the ancient Sumerian practice of eunuchization, and seething condemnation of predator Naasón Joaquín García.

The opening tune Fragments of Defiance will already melt your damned faces to the demented beats and fills by Carolina and the she-demon gnarls by Clarissa, resulting in an insane way to kick off the album, and Sara showcases all her dexterity and rage armed with her stringed axe in I Am Eunuch, delivering pure Death Metal riffs for our total delight. Covenant of Deceit is another song that reeks of Death Metal, starting with a cryptic intro before Sara and Robin hammer their sonic weapons mercilessly until the very last second; whereas Clarissa’s vocals get even deeper and more demonic in Mortem Opeterie, which is Latin for “to meet a violent death”, always supported by the visceral, no shenanigans sounds blasted by her bandmates. And Carolina keeps showing no mercy at all for our necks and bodies in Remnants of Chaos, inviting us all for some wild action inside the pit.

Those girls are definitely not fooling around when it comes to playing old school Death Metal, with Deviant Miscreant sounding as infernal as it is technical and vibrant, led by the stone crushing drums by Carolina, followed by Psalm of the Beguiled, less frantic but heavy-as-hell, with Sara delivering some Cannibal Corpse-inspired riffs that will burn you alive accompanied by the low-tuned, menacing bass lines by Robin. After such an imposing tune, Sara continues to strike us all with her riffs and solos in Blood Bind’s Curse, adding an extra touch of insanity to the band’s onrush of brutality while Clarissa barks and roars nonstop, and those girls are on absolute fire in the also demented Discordant Rumination, keeping the album at an insane level of violence. Last but definitely not least, their cover version for the all-time classic Metal Command by Exodus, from their 1985 masterpiece Bonded By Blood (check the original version HERE), is a stunning Death Metal rendition of such a thrashing beast, with Clarissa and Sara stealing the spotlight with their respective roars and riffs.

“We see it as a leap forward,” exclaims drummer Carolina Perez. “It’s by far the strongest work we’ve done to date. Writing Coronation of the Grotesque was an incredibly enjoyable experience, and everything seemed to come together much more naturally this time. While the album still retains elements of who we were as a band, it’s much more refined, cohesive, and brutal.” And if you want to join those absolutely talented and ferocious ladies in their quest for Death Metal you can start following them on Facebook and on Instagram, stream their ass-kicking music on Spotify, and of course grab a copy of the incendiary Coronation of the Grotesque from the Dark Descent Records’ BandCamp or  webstore (as a CD, LP, or tape), or simply click HERE for all things Castrator. Those girls are not fooling around when it comes to crafting brutal, in-your-face Death Metal, and you better be ready as once you have the pleasure of listening to their scathing new opus, you’ll be pulverized by their undisputed heavy music.

Best moments of the album: Fragments of Defiance, Mortem Opeterie, Blood Bind’s Curse and Metal Command.

Worst moments of the album: None.

Released in 2025 Dark Descent Records

Track listing
1. Fragments of Defiance 3:33
2. I Am Eunuch 3:42
3. Covenant of Deceit 4:08
4. Mortem Opeterie 3:18
5. Remnants of Chaos 3:17
6. Deviant Miscreant 3:15
7. Psalm of the Beguiled 3:41
8. Blood Bind’s Curse 3:46
9. Discordant Rumination 4:20
10. Metal Command (Exodus cover) 4:13

Band members
Clarissa Badini – vocals
Sara Loerlein – guitars
Robin Mazen – bass
Carolina Perez – drums

Album Review – The Final Witness / Beneath The Altar (2025)

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Behold the debut album by this Phoenix, Arizona-based Progressive Thrash/Death Metal one-man act, progressing with intense aggression, passages of amazing, atmospheric, melodious reflection and a staggering array of riffs.

Solo projects are not the rare entity that they once were in the multitude of metal genres, and an album can simply pass us by as just another barely noted scrap of information. However, when the songs are so individual, complex and emotionally charged it can still take your breath away. That’s exactly the case with The Final Witness, the debut album by Phoenix, Arizona-based Progressive Thrash/Death Metal act The Final Witness, the brainchild of vocalist and multi-instrumentalist Josh Henderson. Produced by Jason Wisdom of Becoming The Archetype, Beneath The Altar offers no gradual immersion into its turbulent waters, no gradual revealing of its unpredictable nature, progressing with intense aggression, incredible guitar solos, passages of amazing, atmospheric, melodious reflection and a staggering array of riffs.

Josh’s incendiary riffs set fire to the atmosphere in Principalities, also presenting crushing beats and fills, and his trademark demonic roars, resulting in a great start to the album, followed by Coronation, even more melodic than the opening track, with Josh shredding his axe in the name of Progressive Death Metal. The title-track Beneath The Altar also brings to our avid ears Josh’s share of aggressiveness mixed with pure melody and intricacy, not to mention his work on the guitars and drums is fantastic; and he keeps roaring and barking nonstop in Sanctum of the Holy, offering more of his Progressive Death Metal blend, with his scorching riffs adding intricacy and rage to the music. Our lone wolf then puts the pedal to the metal in the infuriated Negative World, offering a high dosage of Death and Thrash Metal violence armed with his blast beats and visceral growling. Testimony, the second to last song from the album, is a burst of pure energy, keeping the fun inside the pit flowing until we face The Blood, another complex and long composition presenting his piercing riffage and progressive beats and fills, resulting in a multi-layered tune recommended for fans of the genre.

Highly recommended for fans of bands the likes of Sadus, White Stones, Coroner, and Moonloop, among others, Beneath The Altar definitely deserves a listen by any fan of high quality extreme music with a strong progressive and melodic vein, and you can get to know more about Josh and his The Final Witness on Facebook and on Instagram, stream the album in full sooner than later on Spotify, and of course, grab a copy of it from the Rottweiler Records’ BandCamp or webstore, as well as from DistroKid, or simply click HERE for all things The Final Witness. It’s time for Beneath The Altar to be unleashed, positioning The Final Witness as a force to be reckoned with in the current American scene, therefore inspiring the multi-talented Josh to keep venturing through the wild and unpredictable lands of progressiveness as a true lone wolf, always putting a huge smile on our faces with more excellent releases like Beneath The Altar.

Best moments of the album: Coronation, Beneath The Altar and Negative World.

Worst moments of the album: None.

Released in 2025 Rottweiler Records

Track listing
1. Principalities 5:13
2. Coronation 3:56
3. Beneath The Altar 5:14
4. Sanctum of the Holy 4:27
5. Negative World 4:59
6. Testimony 6:13
7. The Blood 6:40

Band members
Josh Henderson – vocals, all instruments

Album Review – Incite / Savage New Times (2025)

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This Phoenix, Arizona brigade is back with a new powerhouse of modern Thrash Metal, encapsulating the pure nature of the band instilled with their unyielding drive and years of dedication to honing their sound.

Ever since their beginnings, Phoenix, Arizona’s own Thrash/Groove Metal brigade Incite has been fiercely devoted to crafting their distinctive sound, making their mark since their 2009 debut The Slaughter. Now in 2025 the band formed of Richie Cavalera on vocals, Layne Richardson on the guitars, Christopher “EL” on bass, and Lennon Lopez on drums presents their most ferocious incarnation in the form of Savage New Times, the follow-up to their 2022 album Wake Up Dead. Recorded by Steve Evetts at Bell House Studios, mixed by Arthur Rizk, and displaying a dystopian artwork by Marcelo Vasco, Savage New Times is a powerhouse of modern Thrash Metal, encapsulating the pure nature of the band instilled with their unyielding drive and years of dedication to honing their sound.

Eli, Christopher and Lennon begin hammering their sonic weapons in the name of Thrash Metal in Lies, being quickly joined by the visceral vocals by Richie; followed by Feel This Shit (I’m Fired Up), another feast of Thrash and Groove Metal where Richie screams like a demented beast while Lennon invites us all to slam into the pit to the sound of his unstoppable beats and fills. Then the scorching riffs by Eli keep burning our skin in Just a Rat, offering more of the band’s trademark fusion of Groove Metal and heavier sounds, whereas Chucked Off is also heavy as hell, albeit a bit confusing compared to the other songs, with Eli still showcasing a good performance armed with his axe. And Doubts and the Fear lives up to the legacy of modern-day Thrash and Groove Metal, with Richie once again bursting his lungs roaring.

A sinister intro gradually morphs into a harsh and obscure metal attack titled Dolores, showcasing the band’s darkest, most introspective side, with Lennon dictating the pace with his hammering beats, and the quartet then offers an overdose of groove and violence in the form of No Mercy No Forgiveness, with Eli and Christopher extracting sheer aggression form their stringed weapons. Richie declaims pensive, dark words with tons of hatred in Used and Abused, resulting in a vile and infernal metal attack by the band, while Never Die Once reminds me of some of the creations by Soulfly, offering a strong Groove Metal sound boosted by Lennon’s pounding drums. Finally, closing the album we’re treated to two minutes of violence and animosity in the form of the title-track Savage New Times, inspiring us all for some wild, neck-breaking headbanging together with the boys.

With sheer determination and raw talent, Incite have carved out a place in modern thrash, dominating every stage with their unbreakable, unforgiving sound, and their new opus Savage New Times represents a true coronation of their focus, hard work and passion for heavy music. Hence, you can get in touch with those Phoenix thrashers via Facebook and Instagram, stream their wicked music on Spotify, and above all that, show them your utmost support by purchasing Savage New Times by clicking HERE or HERE. Our rotten and decaying society is definitely living its most savage, evil times in history, and in order to survive that there’s nothing better than our good old Thrash Metal, just like what Incite are offering in their scathing new album.

Best moments of the album: Feel This Shit (I’m Fired Up), No Mercy No Forgiveness and Savage New Times.

Worst moments of the album: Chucked Off.

Released in 2025 Reigning Phoenix Music

Track listing
1. Lies 3:27
2. Feel This Shit (I’m Fired Up) 2:33
3. Just a Rat 2:40
4. Chucked Off 2:48
5. Doubts and the Fear 3:15
6. Dolores 5:42
7. No Mercy No Forgiveness 2:46
8. Used and Abused 3:11
9. Never Die Once 3:22
10. Savage New Times 2:28

Band members
Richie Cavalera – vocals
Layne Richardson – guitars
Christopher “EL” – bass
Lennon Lopez – drums

Album Review – Baest / Colossal (2025)

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Back from the fires of Denmark with a fresh sound and a badass attitude, this unstoppable creature will crush you with their fourth studio album, a thrilling celebration of Heavy Metal played with Extreme Metal intensity.

Back once again from the fires of Aarhus, Denmark with a fresh sound and a badass attitude, the ruthless Death Metal creature known as Baest will crush our damned minds and souls with their fourth full-length opus, entitled Colossal, following up on their fantastic albums Danse Macabre (2018), Venenum (2019) and Necro Sapiens (2021) while also cementing their reputation as Extreme Metal mavericks with an ear for lethal hooks. Produced, recorded, mixed and mastered by Tue Madsen at Antfarm Studio, and featuring a demonic artwork by Solo Macello, the new offering by frontman Simon Olsen, axemen Lasse Revsbech and Svend Karlsson, bassist Mattias “Muddi” Melchiorsen, and drummer Sebastian Abildsten is an absolute monster, bursting at the seams with catchy riffs and classy melodies, with stylistic salutes to everyone from Ozzy Osbourne and Dokken, through to Iron Maiden and Whitesnake, while still rooted in the belligerent Death Metal that informed previous records, resulting in a magnificent Rock N’ Roll rebirth of such a prominent beast from the Danish metal scene.

The AC/DC-infused riffs by Lasse and Svend ignite the opening tune Stormbringer before the music turns into a wild fusion of Death Metal with Progressive Rock and Metal elements, followed by the indomitable Colossus, showcasing heavy-as-hell, Doom Metal-infused lyrics growled by Simon (“Colossus / Breath the air of the deceit / Colossus / Feel the weight of your defeat / Colossus / Never stray from the common line / Colossus / Crushed under the weight of the colossus”) while the sounds blasted by his bandmates are absolutely dark and menacing. The band keeps delivering sheer adrenaline spearheaded by the venomous vocals by Simon in In Loathe and Love, a lesson in modern-day Death Metal, whereas in King of the Sun, featuring Jesper Binzer of Danish rock band D-A-D on guest vocals, we’re treated to a rockin’ sonority led by the classic beats and fills by Sebastian.

Then blending the fury of Death Metal with the heaviness of Doom and Sludge Metal we have Imp of the Perverse, with Mattias and Sebastian hammering their thunderous weapons mercilessly; and featuring additional vocals by Danish black metal band ORM, the band offers another blast of insanity, heaviness and classy Death Metal in Misfortunate Son, with the riffage by Lasse and Svend exhaling pure adrenaline. Then get ready to be crushed into tiny pieces to the sound of Mouth of the River, where Simon’s deranged growls walk hand in hand with Sebastian’s pounding drums; and a guitar-driven instrumental tune titled Light the Beacons, which feels like an ode to all of their idols and influences, sets the stage for Depraved World, a multi-layered, groovy and vibrant composition where the deep roars by Simon match perfectly with all riffs, bass lines and beats, putting a climatic ending to the album.

Colossal never bends to current trends; instead, it is a thrilling celebration of Heavy Metal played with Extreme Metal intensity, representing a wholesale transformation. Inspired by and infused with old school, classic metal riffs, Colossal is an album that delights in the glory of Heavy Metal and the fine art of rocking out, inviting us all to bang our heads and raise our horns together with those beyond talented Danes, and they’re waiting for you on Facebook, Instagram, YouTube and Spotify with more of their ass-kicking music, undisputed attitude, and deep passion for all types of rock and metal music. Hence, you can purchase a copy of Colossal by clicking HERE, or you can also click HERE for all things Baest, getting to know more about one of the best bands of the current scene worldwide. As you might have noticed, something colossal is coming, and you better brace for impact as those boys are armed to the teeth with the pulverizing sounds of their incendiary newborn beast.

Best moments of the album: Colossus, In Loathe and Love, Mouth of the River and Depraved World.

Worst moments of the album: None.

Released in 2025 Century Media Records

Track listing
1. Stormbringer 4:32
2. Colossus 4:23
3. In Loathe and Love 5:09
4. King of the Sun 4:09
5. Imp of the Perverse 5:56
6. Misfortunate Son 4:02
7. Mouth of the River 4:24
8. Light the Beacons 3:42
9. Depraved World 6:03

Band members
Simon Olsen – vocals
Lasse Revsbech – guitars
Svend Karlsson – guitars
Mattias “Muddi” Melchiorsen – bass
Sebastian Abildsten – drums, percussion

Guest musicians
Jesper Binzer – vocals on “King of the Sun”
ORM – vocals on “Misfortunate Son”

Album Review – Cytolysis / Surge Of Cruelty (2025)

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This one-man Technical and Brutal Death Metal machine is back with its ruthless sophomore opus, constructed from eleven sonic acts of torture.

Born in Naugatuck, Connecticut, but currently based in Boston, Massachusetts, vocalist and multi-instrumentalist Darren Cesca, the demented drummer with Goratory, Eschaton and previously Deeds Of Flesh, has returned with Surge Of Cruelty, the second album from his unconscionably brutal solo project, Cytolysis, following up on his 2020 debut Portraits of Malevolence. Mixed and mastered by Darren Cesca himself, adorned in the hypnotically horrifying artwork of Vladimir Cebakov (Six Feet Under, 1914, DeadHead), and featuring brutal guest vocal performances from Mac Smith (Eschaton), Brian Forgue (Syphilic), Adam Mason (Goratory) and Flo Butcher (Tortured), Surge Of Cruelty is constructed from eleven sonic acts of torture, where twisted technicality and methodical precision collide with frenzied explosions of fury and unnerving alien atmospheres, offering exactly what we’re always looking for in high-quality Technical and Brutal Death Metal in the vein of Cannibal Corpse, Deeds Of Flesh, In Asymmetry, and Incinerate.

Darren wastes no time and ignite his demented metal attack in the form of Your Slow Demise, where his infernal gnarling matches perfectly with his killer blast beats; and featuring guest vocals by Mac Smith, Devout Sacrifice is a beyond demented creation where the sound of his riffs is truly piercing and austere, resulting in a lecture in violence and gore. Then in the title-track Surge of Cruelty our dauntless Darren keeps barking like a demented creature while also firing some of his most intricate and visceral riffage, and get ready to headbang until your neck breaks in half to the sound of Consenting Brood, with Darren’s metallic bass and pounding drums boosting his visceral growls in great fashion. After such an insane tune, guest Brian Forgue lends his demented gnarls to A Blood-Soaked Offering, leaning towards the most gruesome form of Brutal Death Metal.

The Stygian, atmospheric interlude Ritual Carnage will darken the skies before Darren comes ripping once again with Tribal Savagery, where his deep pig-like screeches will disturb your frail mind while he keeps blasting his drums in the name of extreme music. Then featuring guest vocals by Adam Mason, Tortured Flesh brings forward more of the inhumane fusion of Brutal Death Metal and classic Deathcore by Cytolysis, spiced up by some nicely inserted cryptic nuances; and of course with a guy like Flo Butcher as a guest vocalist the final result was going to be demolishing to say the least in Mark of the Demons, offering those downtempo breaks perfect for some brutal slamming. Darren doesn’t sound human with his deep guttural and unstoppable beats and fills in Innocence is Raped, offering an avalanche of first-class Brutal Death Metal, whereas the last song of the album, titled Hung from the Rafters, is just as insane and demented, with Darren hammering his guitars and bass until the very end.

Not only a seasoned musician who has already played with tons of amazing underground bands the likes of Eschaton, Goratory, Pillory, Serpent of Gnosis, Vile, In Asymmetry, Virulence, Hideous Deformity, Arsis, Blasphemer, Deeds of Flesh, Incinerate , Burn in Silence, Strappado, and Embers from Cremation, Darren has also studied Performance: Percussion at Berklee College of Music, and appeared as a guest drummer in the video game Call of Duty: Black Ops II, just to give you an idea of how talented he is, and how he crafted Surge of Cruelty to sound as catchy as razor wire through flesh, offering a blend of Technical and Brutal Death Metal of the highest order. You can find more information about him on Facebook, and put your dirty hands on Surge Of Cruelty via Comatose Music’s BandCamp or webstore, supporting such an amazing underground musician in his quest for extreme music.

Best moments of the album: Devout Sacrifice, A Blood-Soaked Offering and Innocence is Raped.

Worst moments of the album: Ritual Carnage.

Released in 2025 Comatose Music

Track listing
1. Your Slow Demise 4:29
2. Devout Sacrifice 4:29
3. Surge of Cruelty 4:32
4. Consenting Brood 3:19
5. A Blood-Soaked Offering 3:41
6. Ritual Carnage (Instrumental) 1:34
7. Tribal Savagery 3:40
8. Tortured Flesh 4:58
9. Mark of the Demons 5:07
10. Innocence is Raped 3:48
11. Hung from the Rafters 4:03

Band members
Darren Cesca – vocals, all instruments

Guest musician
Mac Smith – vocals on “Devout Sacrifice”
Brian Forgue – vocals on “A Blood-Soaked Offering”
Adam Mason – vocals on “Tortured Flesh”
Flo Butcher – vocals on “Mark of the Demons”