Album Review – Witchrot / Soul Cellar (2025)

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Toronto’s own conjurers of doom and psychedelia return with their sophomore opus, reflecting the lives of its creators, delving into themes of hopelessness, betrayal, paranoia, and societal frustration.

Emerging from Toronto’s underground in 2018, Doom/Sludge Metal/Psychedelic Rock conjurers Witchrot have captivated audiences with their heartfelt fusion of Doom Metal with fuzzed-out psychedelia and haunting shoegaze, with their atmospheric melodies and crushing heaviness pushing genre boundaries, creating a sound that lingers like an echo in the abyss. Now in 2025 the band formed of vocalist Lea Reto, guitarist Peter Turik, bassist Jon Ferreira, keyboardist Patrick Sherrard, and drummer Myles Deck is set to release Soul Cellar, the follow-up to their 2021 debut Hollow. Recorded by Nixon Boyd at Simcoe Mechanical and by Dylan Frankland at Palace Sound, with additional recordings by Chad Ross and Scott Deathe, mixed by Dylan Frankland, mastered by Tony Reed at HeavyHead Recording Company, and displaying a darkly sexy cover art by ZZ Corpse, Soul Cellar reflects the lives of its creators, delving into themes of hopelessness, betrayal, paranoia, and societal frustration, inviting listeners to immerse themselves in the raw emotion and sonic depth the band has become known for.

In the opener Possession Deepens, a smooth, sexy and enfolding start gradually evolves into a psychedelic sonic voyage led by the minimalist yet powerful vocals by Lea, supported by the atmospheric sounds by her bandmates; and Peter then enhances the band’s aggressiveness with his sharp riffs in Tombstoned, blending Doom, Sludge and Stoner Metal in great fashion while Myles offers those trademark sluggish beats. Throat Cutter is another song that starts in a phantasmagorical way before exploding into more of their fierce rock and metal sonority, with Peter stealing the show again armed with his axe; whereas adding an extra pinch of old school Rock N’ Roll to their core sound we have Die Alone, with Patrick’s striking keys being nicely boosted by the rumbling kitchen by Jon and Myles. Green River is a way too mellow tune that’s not at the same level as the other songs of the album, flowing into Spineless, sounding a lot heavier, darker and stronger thanks to another mesmerizing vocal performance by Lea, resulting in a lecture in modern-day Doom Metal infused with Psychedelic Rock. And lastly, we face the title-track Soul Cellar, with the reverberating, menacing bass by Jon making your head tremble in the name of dark and merciless Doom Metal.

In Soul Cellar, Witchrot continues to evolve while staying true to their roots, creeping and crawling under your skin armed with their insane grooves and eerie keys that will haunt you for days, sounding absolutely diabolical and addictive. Hence, you can get in touch with this precious gem of the Torontonian underground via Facebook and Instagram, staying up to date with all things Witchrot (including their excellent live performances), subscribe to their YouTube channel, stream their music on Spotify or on any other platform, and of course purchase Soul Cellar from BandCamp. Doom and psychedelia have never sounded better together thanks to the undeniable talented of the Witchrot crew, and once you savor their music for the very first time, there’s no turning back.

Best moments of the album: Tombstoned, Die Alone and Spineless.

Worst moments of the album: Green River.

Released in 2025 Fuzzed and Buzzed Records/Majestic Mountain Records

Track listing
1. Possession Deepens 6:51
2. Tombstoned 5:05
3. Throat Cutter 6:23
4. Die Alone 5:06
5. Green River 2:44
5. Spineless 5:03
6. Soul Cellar 8:14

Band members
Lea Reto – vocals
Peter Turik – guitar
Jon Ferreira – bass
Patrick Sherrard – keyboards
Myles Deck – drums

Concert Review – Paradise Lost (Lee’s Palace, Toronto, ON, 05/18/2025)

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One of the pioneers of death and doom returned to Toronto after seven long years with a beyond flawless performance, sounding absolutely heavy, dark and vibrant.

OPENING ACTS: Nepenthe and Gigan

Concerts on a Sunday night are only truly fun when you don’t have to work the next morning, allowing you to enjoy the whole event to the fullest without checking the time every 30 seconds. Well, fortunately for all Torontonian fans of first-class Doom Metal, the iconic PARADISE LOST, with support from NEPENTHE and GIGAN, brought to the always cozy Lee’s Palace their undisputed The Devil Embraced North America 2025 exactly in the middle of the Victoria Day long weekend, meaning we could inhale all heaviness and doom blasted by one of the trailblazers of the style without worrying about the next day. A huge shout-out to Noel Peters of Inertia Entertainment for not only bringing Paradise Lost to Toronto after almost seven years, but for also fixing the issue with tickets from a few buyers that were showing Helmet instead of Paradise Lost, and another one to Keith Ibbitson of Metal Paparazzi for making magic with the photos of the opening bands as the lighting during both was way too red or too green, plus all the smoke, making it almost impossible to see the bands onstage. They looked like shadows only, to be fair.

The lighting might have been horrible for good photos, but the music by Guelph, Ontario-based Blackened Doom Metal outfit NEPENTHE, the first attraction of the night, was beyond amazing. Playing songs from their two EPs, those being Elegies of Loss and Doom (2020) and The Fading Promise of Tomorrow (2024), both available on Spotify (and I highly recommend you go listen to both), like the excellent Dawn, the band spearheaded by the multi-talented Konrad Schroeder, who has the undisputed ability of playing really complex beats and fills while at the same time delivering solid clean vocals and desperate harsh screams, kicked some serious ass onstage for the delight of everyone who was already at the venue. Seriously, those guys were an incredible opening act, and hopefully I’ll get to see them again on the stages of Toronto in the near future, because the reaction of the crowd to their austere, captivating songs was awesome.

Band members
Konrad Schroeder – vocals, drums, percussion
Scott Rice – lead guitars
Steven Rowlands – rhythm guitars
Chris Rowan – bass

After a quick break (which I used to go grab some food outside, as I was starving), it was time for a lot of noise, heaviness and smoke, courtesy of Chicago, Illinois’ own Progressive/Technical Death Metal entity GIGAN, and when I say there was a lot of smoke, believe, it was A LOT of smoke. Having released the beautifully titled album Anomalous Abstractigate Infinitessimus in 2024, which is by the way available in full on Spotify, the band formed of Jerry Kavouriaris, Eric Hersemann, Rajan Davis, and Nathan Cotton turned Lee’s Palace into a cauldron of violence and insanity, blasting heavier-than-hell sounds that would make your head explode if you were not wearing any type of ear protection. The smoke made it almost impossible to see the band members on stage, only their silhouettes, but that didn’t make their performance any less enjoyable. Eric’s riffs were utterly heavy and dissonant, and when you add to that the insane drumming by Nathan and the demented roars by Jerry, you have the perfect recipe for a brutal sonic chaos. In other words, if Gigan ever visit your city with their live concerts, don’t miss the chance of witnessing a tsunami of first-class noise.

Band members
Jerry Kavouriaris – vocals
Eric Hersemann – guitars
Rajan Davis – bass
Nathan Cotton – drums

PARADISE LOST

After the top-notch concerts by Nepenthe and Gigan, the crowd was more than ready for the feast of top-of-the-line Doom Metal by the main attraction of the night, the one and only PARADISE LOST. Although they’re not purely Doom Metal anymore, blending their core music with Death and Gothic Metal, plus a high dosage of Gothic Rock, the band spearheaded by the “voice of doom” Nick Holmes was finally back in Toronto after so many years, not only playing songs from their latest album Obsidian, released in 2020 (available on Spotify, and which fans in Toronto had never had the chance to see live), but from their entire career, including my favorite Paradise Lost songs of all time, Enchantment and The Last Time. These two were flawless, and the reaction of the fans to them was also beautiful to say the least.

Greg Mackintosh and Aaron Aedy were insane armed with their axes, blasting incredible riffs, solos, and headbanging nonstop like if they were part of the crowd. Steve Edmondson and Guido Zima made sure the venue kept trembling during the entire show with their demonic kitchen, and of course, Mr. Nick Holmes was perfect with both his clean and deep guttural vocals. Songs like As I Die, The Devil Embraced, and No Hope in Sight, which showcase the band’s strongest doom vein, simply darkened the atmosphere (in a very good way, of course) for the delight of the band’s most diehard fans. Add to that the absurdly catchy Say Just Words, and a stunning cover version for Bronski Beat’s Smalltown Boy, and there you have the perfect setlist for a very enjoyable and fun night of heavy music in Toronto. I don’t think it will take another seven years for Paradise Lost to return to the city again, and it doesn’t matter if it’s a holiday or in the middle of the week, or even if it’s Christmas Eve, I’ll be there. Because as the lyrics say in the closing song of the setlist, the excellent Ghosts, “for the ghosts, the ones to break me for Jesus Christ.”

Setlist
Enchantment
Forsaken
Pity the Sadness
Faith Divides Us – Death Unites Us
Eternal
One Second
The Enemy
As I Die
The Devil Embraced
The Last Time
No Hope in Sight
Say Just Words

Encore:
Embers Fire
Smalltown Boy (Bronski Beat cover)
Ghosts

Band members
Nick Holmes – vocals
Greg Mackintosh – lead guitars, keyboards
Aaron Aedy – rhythm guitars
Steve Edmondson – bass
Guido Zima – drums

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Album Review – Unmerciful / Devouring Darkness (2025)

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This Kansas-based Brutal Death Metal beast strikes again with their fourth studio album, delivering ten tracks of unrelenting speed, crushing riffs, and sheer sonic aggression.

Known for their relentless brutality and technically devastating sound, Topeka, Kansas-based Brutal Death Metal creature Unmerciful returns with their fourth full-length opus, titled Devouring Darkness, the follow-up to their 2020 album Wrath Encompassed. Recorded, produced and mixed by Clinton Appelhanz at Waveworks Studio, mastered by Alan Douches, and displaying a visceral artwork by Santiago Francisco Jarramillo, the new album by newcomer Josh Riley on vocals, guitarists/bassists Clinton Appelhanz and Jeremy Turner, and drummer Trynt Kelly delivers ten tracks of unrelenting speed, crushing riffs, and sheer sonic aggression, solidifying their reputation as one of the most punishing acts in modern Death Metal, being therefore recommended for fans of Hate Eternal, Suffocation, and Origin.

Miracle In Fire is a beyond devastating start to the album, kicking us hard in the head with their no shenanigans, devilish sounds led by the guttural gnarls by Josh, and their Brutal Death Metal infused with Technical Death Metal keeps roaring manically in Unnatural Ferocity, with Trynt sounding like a stone crusher from hell on drums. There’s no time to breathe as Unmerciful simply shows no mercy for our necks and bodies in Malice Unbound, spearheaded by a visceral riff attack by Clinton and Jeremy, whereas the title-track Devouring Darkness offers us all a more obscure, doomed side of the band, with Josh barking deeply like a demonic entity. And Relentless Malevolence blasts our faces with two and a half minutes of sheer insanity and ruthless violence, with the crushing beats by Trynt making the earth tremble.

Their cover version for Origin’s Vomit You Out, which original version was part of their 2000 self-titled debut, is a fulminating rendition of such a tech death classic led by the demented growling by Josh; while Infernal Conquering is one of the heaviest, most infernal of all songs, with their scorching riffs and demented beats and fills providing Josh with exactly what he needs to bark like a beast. The Reaping is another explosion of brutality offered by the band, with the demonic growling by Josh and the inhumane drumming by Trynt being perfect for some action inside the mosh pit; and they keep smashing us like putrid insects in Voracious Lunacy, another killer Brutal and Technical Death Metal composition showcasing their passion for extremely heavy riffs. Finally, the album couldn’t have ended in a more ferocious way than with Vengeance Transcending, where their lancinating guitars and blast beats sound absolutely brutal until the very end.

After all is said and done, it’s clear that Unmerciful are definitely cementing their legacy even further with Devouring Darkness, offering more of their signature precision and brutality for the delight of Death Metal fans worldwide, and you can start following this ruthless band on Facebook and on Instagram, as well as stream their music on Spotify and of course purchase a copy of their sanguinary new album from BandCamp or from Willowtip Records. Unmerciful are among us to blast our ears with Brutal Death Metal at its finest, and instead of succumbing to darkness, let’s simply devour it mercilessly to the sound of their infuriated new album.

Best moments of the album: Miracle In Fire, Infernal Conquering and The Reaping.

Worst moments of the album: None.

Released in 2025 Willowtip Records

Track listing
1. Miracle In Fire 4:06
2. Unnatural Ferocity 3:33
3. Malice Unbound 3:39
4. Devouring Darkness 5:35
5. Relentless Malevolence 2:40
6. Vomit You Out (Origin cover) 2:51
7. Infernal Conquering 4:12
8. The Reaping 4:15
9. Voracious Lunacy 3:39
10. Vengeance Transcending 3:51

Band members
Josh Riley – vocals
Clinton Appelhanz – guitar, bass
Jeremy Turner – guitar, bass
Trynt Kelly – drums

Album Review – Undecayed / In Death’s Image (2025)

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The debut album by this ruthless Swedish Death Metal group takes its thematic obsession with death to another level, showing there’s simply no hope for life.

Formed in August 2008 by vocalist Tony Richter and guitarist Mikael Bergman as a result of lineup issues in their respective bands, 9th Plague and Disromance, Helsingborg, Sweden-based Death Metal beast Undecayed is unleashing upon humanity their long-awaited debut album, titled In Death’s Image. Despite their origins, the band eschews the traditional HM-2-driven Swedish sound in favor of a raw and relentless approach deeply rooted in the ferocity of 90’s American Death Metal in their debut offering, recalling the percussive onslaught of Suffocation and the unholy aggression of Deicide, all carefully brought into being by the aforementioned Tony Richter and Mikael Bergman alongside bassist Christoffer Svensson and drummer Jesper Leidbring, all spiced up by the dark and sinister artwork by renowned artist Jon Zig.

Get ready for an avalanche of raw, old school Swedish Death Metal spearheaded by the brutal drums by Jesper in the opening beast The World Shall Know Only Death, while Mikael slits our throats with his lancinating riffs. As you know, death is only the beginning, and Undecayed make sure we face our inevitable end in Death’s Only Demand, highly recommended for slamming into the pit like a true headbanging bastard; whereas in The Descendants of Death they add hints of Blackened Death Metal to their core malevolence, with Tony barking and roaring deeply like a beast. And in the title-track In Death’s Image the quartet shows no mercy for our putrid bodies, brutalizing us all with their undisputed blend of old school Death Metal.

Death Shall Come (Death Shall Prevail) carries a darkly poetic name for a venomous display of extreme music where once again Jesper simply demolishes his drums mercilessly. There’s absolutely no sign of peace or hope in the entire album, and of course Death’s Pallid Coat offers more of the band’s demented sounds led by the hellish riffs by Mikael, whereas  your neck will break in half headbanging manically to World at Death’s Door, with the gruesome vociferations by Tony being nicely complemented by the rumbling bass by Christoffer. Those Swedish metallers show no sign of slowing down in Entreating Death in Vain, continuing to bring forward sheer devastation armed with their heavy riffs and pounding drums; and lastly, it’s time to die to the unrelenting tune The Greatest Death, where the band once again fires their undisputed Death Metal magic while Tony barks rabidly for our total delight.

Likely the first album ever released with the word “death” in the title of every song, In Death’s Image takes its thematic obsession to another level; for instance, in one track, the word “death” is even sung in 19 different languages. Hence, in order to join those talented Swedish metallers in death, you can start following them on Facebook and on Instagram, and of course show them your utmost support by purchasing their new album from the Lethal Scissor Records’ BandCamp or webstore. Because in the end no one and nothing is spared. Humans, animals, vegetation, water, air, everything dies. There is NO hope for life, and there is nothing better than some first-class Swedish Death Metal like what’s found in the new album by Undecayed to remind us of that scary but unavoidable fate.

Best moments of the album: The World Shall Know Only Death, The Descendants of Death and Entreating Death in Vain.

Worst moments of the album: None.

Released in 2025 Lethal Scissor Records

Track listing
1. The World Shall Know Only Death 3:07
2. Death’s Only Demand 3:45
3. The Descendants of Death 4:06
4. In Death’s Image 3:51
5. Death Shall Come (Death Shall Prevail) 3:08
6. Death’s Pallid Coat 4:23
7. World at Death’s Door 3:20
8. Entreating Death in Vain 4:00
9. The Greatest Death 4:01

Band members
Tony Richter – vocals
Mikael Bergman – guitars
Christoffer Svensson – bass
Jesper Leidbring – drums

Album Review – Antropomporphia / Devoid of Light (2025)

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These Dutch death deallers return from the underworld with their newborn beast, combining a wide variety of harsh musical textures and emotions into dark and oppressive soundscapes.

Six years after their 2019 acclaimed studio album Merciless Savagery, the ruthless Tilburg, Netherlands-based death dealers Antropomporphia return with their darkest and most brutal record so far, aptly entitled Devoid of Light. Recorded and mixed by the band’s own drummer Marco Stubbe at Aftermath Studio, with further recording by Daan Janzing at Pitchfork Studio, mastered by Dan Swanö at Unisound, and showcasing a Stygian cover art by Richard Schouten, the new beast by Ferry Damen on vocals and guitar, Jos van den Brand also on the guitar, Jeroen Pleunis on bass, and Marco Stubbe on drums combines a wide variety of harsh musical textures including fanatical, white-eyed aggression, misanthropic and nihilistic lyrics, and dark emotions such as anger, despair, and pain among many others into dark and oppressive soundscapes.

The gates of the underworld are wide open to the sound of the evil guitars by Ferry and Jos in The Withering Stench of Hope, igniting a headbanging beast of Black and Death Metal followed by the title-track Devoid of Light, sounding and feeling even more obscure than the opening track, with the unstoppable drums by Marco matching perfectly with Ferry’s hellish Death Metal roars. Funeral Throne is another sulfurous, unrelenting attack by the quartet where their pulverizing riffage walks hand in hand with the pounding bass by Jeroen; and then adding elements from Doom Metal to their acid essence, the band fires the even heavier and more menacing In Writhing Rapture, led by the steady and vile beats by Marco in an ode to obscurity.

The second half of the album begins in full force with a demented Blackened Death Metal creature named Cancerous Bane, spearheaded by the always demonic guttural by Ferry; and the band continues to haunt our damned souls with their blend of Death and Black Metal in Unending Hunt, with Jeroen’s bass lines sounding utterly brutal, all boosted by a striking guitar solo. After that, the crushing drums by Marco kick off the venomous Ash Drapes the Earth, accompanied by the blackened riffs by Ferry and Jos, resulting in a lesson in extreme music; whereas In the Shade of the Devils Horns carries a beautiful name for another explosion of infernal Death Metal by such an amazing Dutch horde. And last but not least, the band goes full Doom Metal in Triumphant Death, sounding haunting, evil and melodic, albeit lacking the same punch as the rest of the album.

In a nutshell, Devoid of Light shows the world that Antropomporphia are still hungry to push the limits of both themselves and of the Death Metal scene to new frontiers, inviting us all to crank the volume up to 10 and simply let the album rip, which is quite easy to do as you can grab a copy of this sulfurous opus from BandCamp or by clicking HERE. You can also join such an amazing Dutch horde in total darkness by following them on Facebook and on Instagram, keeping an eye on their tour dates, and staying loyal to the foundations of extreme music while also renouncing all light, exactly like what the band wants you to achieve to the sound of their excellent newborn spawn. And if you have what it takes to face Devoid of Light, you’ll certainly have a very good time together with those bringers of Dutch darkness.

Best moments of the album: Devoid of Light, Cancerous Bane and Ash Drapes the Earth.

Worst moments of the album: Triumphant Death.

Released in 2025 Testimony Records

Track listing
1. The Withering Stench of Hope 5:05
2. Devoid of Light 5:17
3. Funeral Throne 3:28
4. In Writhing Rapture 5:04
5. Cancerous Bane 3:37
6. Unending Hunt 5:32
7. Ash Drapes the Earth 3:47
8. In the Shade of the Devils Horns 4:53
9. Triumphant Death 5:58

Band members
Ferry Damen – vocals, guitar
Jos van den Brand – guitar
Jeroen Pleunis – bass
Marco Stubbe – drums

Album Review – Dissociated / No Connections EP (2025)

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This talented Spanish Metalcore act is ready to take their message of liberation and solidarity to  audiences all around the world armed with their striking debut EP.

Forged inside the creative mind of vocalist Kevin Soto during the years of 2019 and 2020 in Palma de Mallorca, Spain, with a deep desire to break free from the traditional bounds of classic Metalcore, the up-and-coming unit Dissociated is ready to take their message of liberation and solidarity to  audiences all around the world armed with their debut EP entitled No Connections, proving that even in the darkest moments, music can be a powerful act of release and transformation. Currently formed of the aforementioned Kevin Soto on lead vocals alongside guitarist Raúl Muñoz, bassist Toni P. Sánchez and drummer Lucas, the band delivers a powerful mix of emotional intensity and technical precision in their debut EP, leaving us eager for more of their music in a not-so-distant future.

The opening track Self-Destructive Chains sounds very introspective and modern from the very first second, exploding into a demented fusion of Metalcore and Deathcore with Djent and dissonant elements while Kevin showcasing his evil creature-like gnarls; and their Progressive Metalcore vein pulses even harder in No Connections, with Toni’s metallic bass hammering our cranial skulls mercilessly. Endless Waves offers another overdose of insanity in the form of modern, visceral Metalcore by the band, where the riffs by Raúl sound at the same time caustic and very melodic, also presenting those downtempo, punishing breaks for our total delight. Then the desperate screeches by Kevin will haunt your damned souls in Timeless Remorse, bringing forward an avalanche of violence amidst an ethereal, grim atmosphere, resulting in the most detailed and dynamic of all songs. Lastly, more of the dissonant yet harmonious riffs by Raúl permeate the air in Lost in Traces, with the entire band sounding tight and sharp until the very end.

You can find more information about this very promising Spanish band on Instagram, and of course show them your support and bang your heads to their sick creations by purchasing their striking EP from Art Gates Records as an “Endless Waves” shirt + fitted cap + CD combo, a “No Connections” hoodie + “Chains” shirt + CD combo, or as a “No Connections” shirt + tote bag + CD combo, or simply click HERE for all things Dissociated. The next step for those Spanish rockers is undoubtedly releasing their first full-length album, and if it’s just half as good as No Connections, we can rest assured the world of Metalcore will be in very good hands in the coming years.

Best moments of the album: No Connections and Timeless Remorse.

Worst moments of the album: None.

Released in 2025 Art Gates Records

Track listing
Self-Destructive Chains 3:15
No Connections 3:59
Endless Waves 4:16
Timeless Remorse 4:26
Lost in Traces 4:27

Band members
Kevin Soto – lead vocals
Raúl Muñoz – guitars
Toni P. Sánchez – bass, vocals
Lucas – drums

Album Review – Cumbeast / Fairytales Of Filth (2025)

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Finish your plate and buckle in, as Finland’s own Brutal Death Metal creature returns with their depraved seventh studio album, their first dive into twisted fairytale territory.

Finish your plate and buckle in, as Turku, Varsinais-Suomi, Finland’s own Brutal Death Metal creature Cumbeast is back with Fairytales Of Filth, their seventh full-length album and the follow-up to their 2019 opus Gore Zoo. Recorded and mixed by Tomi Uusitupa at Oxroad Studios, mastered By Miro Kiiski at Miro Mastering, and embracing new textures without losing sight of their signature groove-heavy and aggressive sound, now enriched by melodic twists, folk influences, and a handful of surprising collaborations the likes of Sami Perttula (Korpiklaani) and John Puig (Phrymerial), the new album by Snoop Rott on vocals and bass, and Rob ‘O Cock on the guitars and additional vocals, plus former drummer Mikko “Fleshpipe Mike” Konki (who left the band after recording the album last year, being replaced by Stinky Minky this year) is their first dive into twisted fairytale territory, pushing their trademark blend of brutal grooves, blast beats, fretless bass, and guttural absurdism into even stranger places.

Cummando sounds and feels heavy-as-hell from the very first second thanks to the scorching riffs by Rob and the venomous beats by Mikko, while Snoop inspires us to slam like true metal beasts; followed by Metham Of Gotham, a first-class Brutal Death Metal extravaganza led by the deep, evil roars by Snoop, perfect for some wild mosh pit action. Then featuring guests Sami Perttula (Korpiklaani) on accordion and John Puig (Phrymerial) on vocals and intro speech we have Captain Cock, where the music sounds as demented as the “story” of its main character; and guest Lukas Swiaczny (Stillbirth) delivers some sick vocal lines in Abacus Of Testicles, with the band’s pounding drums and vicious riffage turning it into a must-listen for fans of the style. Then it’s time for Henri Sorvali (Finntroll, Moonsorrow) to blast some wicked synths in Troll Named Scrot, adding even more insanity to their core heaviness.

Åbomination is another hammering tune by those depraved bastards, with the deep vociferations by Snoop sounding truly inhumane; whereas a lot of groove flows from Snoop’s bass and Mikko’s drums in Forest Fap Frenzy, sounding at the same time perfect for slamming into the pit or for simply enjoying a cold beer in the name of our beloved Brutal Death Metal. In Ghostfuckers I’m not sure if their intention was to add some sort of Rap-like vibe to its core, but it’s by far the weakest of all due to that; and last but definitely not least, Cumbeast still has enough energy to melt our putrid faces with the cryptic, cinematic Spermafrost, sounding like a bulldozer from hell with the guitar by Rob exhaling pure heaviness.

In summary, if you’re a fan of the absurdity and gore crafted by bands such as Dying Fetus, Suffocation, Stillbirth, Aborted, and Party Cannon, you’ll definitely have a very good time listening to the ruthless, visceral Fairytales Of Filth, taking you on a one-way journey into a rotten land where all fairytales end in pure filth. The guys from Cumbeast are waiting for you on Facebook, Instagram, YouTube and Spotify with more of their depraved music, news, tour dates, and an endless dosage of sonic filth, and of course you can show them how demented you are by purchasing a copy of their new album from their own BandCamp. Because although some people might think they live in a fairytale, it’s albums like Fairytales Of Filth by Cumbeast that show those people that the reality is a lot harsher and more gruesome than any type of extreme music.

Best moments of the album: Metham Of Gotham, Abacus Of Testicles and Forest Fap Frenzy.

Worst moments of the album: Ghostfuckers.

Released in 2025 Morbid Generation Records

Track listing
1. Cummando 3:18
2. Metham Of Gotham 3:19
3. Captain Cock 3:45
4. Abacus Of Testicles 3:28
5. Troll Named Scrot 3:48
6. Åbomination 3:39
7. Forest Fap Frenzy 2:36
8. Ghostfuckers 3:13
9. Spermafrost 5:06

Band members
Snoop Rott – vocals, bass
Rob ‘O Cock – guitars, additional vocals
Mikko “Fleshpipe Mike” Konki – drums*

*Mikko “Fleshpipe Mike” Konki left the band in 2024 after the recordings of the album, being replaced by Stinky Minky in 2025.

Sami Perttula – accordion on “Captain Cock”
John Puig – vocals and speech on “Captain Cock”
Lukas Swiaczny – vocals on “Abacus Of Testicles”
Henri Sorvali – synths on “Troll Named Scrot”

Album Review – Vyr Muk / Crimson Fields of Sorrow (2025)

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This dauntless Ukrainian lone wolf returns with a harsh and visceral new album, a raw and atmospheric journey through desolation, sorrow, and the decaying remnants of civilization.

A musical project of vocalist and multi-instrumentalist Vladyslav Blizniuk from Kharkiv, Ukraine which debuted in 2023, Black/Death Metal entity Vyr Muk, or “whirlpool of torment” from Ukrainian, focuses on dark, deep themes including suffering, personal struggles, and the Russian invasion of Ukraine, making it a very personal and intimate project. Mixed and mastered at Anti Social Riddim Studios, and displaying a sinister artwork by Oleksandr Koval, the project’s brand new opus, titled Crimson Fields of Sorrow, is a logical continuation to its 2024 EP Shadows Falling on The Dead Cities, offering us all a raw and atmospheric journey through desolation, sorrow, and the decaying remnants of civilization, immersing the listener in a sonic battlefield where each track is a blade forged from chaos, cutting through the veil of illusion and apathy.

The visceral riffs by Vladyslav will cut your skin deep in Voracity / Ненажерливість, already offering a phantasmagorical, haunting blend of Black Metal boosted by his devilish gnarls and endless obscurity; whereas after a serene yet dark piano intro we’re treated to a Melodic and Atmospheric Black Metal aria titled Cold Steel / Холодна сталь, again translating his personal struggles into captivating extreme music. The harsh vociferations by our lone wolf set the tone in The Era of Rot / Епоха гнилі, where once again he invests in a sharp, austere sonority led by his scorching riffs and blast beats. And get ready for a nine-minute voyage through the realms of darkness and solitude to the sound of Bitterness of Loss / Горіч втрати, starting in an enfolding and melancholic manner, presenting elements of Doom Metal added to its drums and cadaverous guitar lines. Vladyslav’s horror movie-inspired keys darken the skies in the closing tune Oh How It Was / Ой як же було, an instrumental feast of Symphonic Black Metal that sounds as epic as it is cinematic.

Exploring themes of war, existential decay, and inner torment, with lyrics presented in Ukrainian, Crimson Fields of Sorrow (already available in full on YouTube and on Spotify) is a ritual of grief and defiance, a hymn for the fallen and a curse upon the void, and you can put your damned hands on such a personal and acid album by purchasing it from BandCamp or by clicking HERE. Don’t forget to also follow the multi-talented Vladyslav and his Vyr Muk on Instagram, showing your support not only to Ukrainian extreme music, but to Ukraine as a whole during such difficult times to their citizens. Because Crimson Fields of Sorrow is not just music. It is a howl from the void. It is struggle, grief, and truth, and you should definitely give it a listen to be part of that harsh yet unique sonic experience.

Best moments of the album: Voracity / Ненажерливість, The Era of Rot / Епоха гнилі and Bitterness of Loss / Горіч втрати.

Worst moments of the album: None.

Released in 2025 Independent

Track listing
1. Voracity / Ненажерливість 6:04
2. Cold Steel / Холодна сталь 6:28
3. The Era of Rot / Епоха гнилі 6:32
4. Bitterness of Loss / Горіч втрати 9:00
5. Oh How It Was / Ой як же було 4:37

Band members
Vladyslav Blizniuk – vocals, all instruments

Album Review – Devine Defilement / Ruthless (2025)

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This ruthless Icelandic crew returns in full force with their third opus, stripped down of the melodic parts for more favorable “slam worship”, speed and brutality.

When you think of Scandinavia, let’s say that slamming and brutality aren’t the first things to come to mind. That’s until the Reykjavík-based Brutal Death Metal/Deathcore slam crew of Devine Defilement spewed onto the Icelandic scene in late 2016, drawing inspiration from a variety of Death Metal sub-genres and having concocted a brutal cocktail of groove, slams, blasts and ferocity that has made them a force to be reckoned with. Now in 2025 such an insane horde formed of Freyr Hreinsson and Ingólfur Ólafsson on vocals, Guðmundur Hermann Lárusson and Sigurjón Óli Gunnarsson on the guitars, Arek Alenjikov on bass, and Stefán Friðriksson on drums returns in full force with Ruthless, their third full-length offering, following up on their 2024 beast Age of Atrocities. Mixed and mastered by Floor VK at GLDCHN Studios, Ruthless is stripped down of the melodic parts for more favorable “slam worship”, speed and brutality, focusing more on the groove and amplifying what makes the crowd move, with its lyrics about murderers, neglect, suicide, cannibalism, and violence being tailored for fans of Ingested, Vulvodynia, Whitechapel, and Pathology, among countless others.

Human Sewer is a beyond bestial and devastating way to kick off the album, with Stefán’s stone crushing drums inviting us all to slam into the pit like a bunch of headbanging bastards, followed by Abusement Park, the perfect fusion of Brutal Death Metal and Deathcore, with the demented guttural by both Freyr and Ingólfur sounding utterly inhumane. Then the Cannibal Corpse-inspired riffage by Guðmundur and Sigurjón match perfectly with all haunting background sounds in Terror Tales, whereas massive blast beats and a striking guitar solo ignite the also ruthless Excreted Entity, with their monstrous dual vocal attack melting our faces mercilessly. Internal Delusions of the Torn Mind carries a very Death Metal name for what’s perhaps the most Death Metal of all songs, with Stefán demolishing everything and everyone that crosses his path on drums, while Pulverised Secretions is simply pulverizing from start to finish, with Freyr and Ingólfur unleashing their deepest, most infuriated growls of the album.

The two-part song “Anthropophagic Apocalypse” kicks off in full force with Anthropophagic Apocalypse Pt. 1 Collapse, a slab of sheer brutality by this Icelandic squad spearheaded by the cryptic riffs blasted by their unrelating guitar duo, whereas Anthropophagic Apocalypse Pt. 2 Lord of Flesh is another demonic onrush of Brutal Death Metal with symphonic elements, elevating the album’s reach and punch to a whole new level. Get ready to have your head smashed in the curb to the sound of Curbstomp the Predator, perfect for some “no holds barred” action inside the pit; and the infernal, metallic bass by Arek and the unstoppable beats and fills by Stefán will make the earth tremble in Draco Dominus, followed by the beautifully titled Bio-Organic Liquid-Slam, starting with a TV ad-like intro for some sort of “action figures” before all hell breaks loose to the demented vociferations by the band’s two-headed vocal beast. Lastly, the album ends on a dark and mysterious note with Beyond the Veil of Death, offering over five minutes of melodic yet hard hitting Brutal Death Metal with lots of Deathcore nuances.

The guys from Devine Defilement are eagerly waiting to consume your putrid body on Facebook and on Instagram, and you can obviously stream all of their vicious, demented creations on Spotify, and purchase a copy of the unrelenting Ruthless from BandCamp, from Time to Kill Records, or simply click HERE for all things Devine Defilement. There’s no better word to describe the music found in Ruthless than its own title. It’s a ruthless album, a putrid Death Metal and Deathcore attack made in Iceland, and once you’re caught inside their gory mosh pit, you’ll never see the light of day again.

Best moments of the album: Abusement Park, Internal Delusions of the Torn Mind, Anthropophagic Apocalypse Pt. 2 Lord of Flesh and Bio-Organic Liquid-Slam.

Worst moments of the album: Draco Dominus.

Released in 2025 Time To Kill Records

Track listing
1. Human Sewer 3:46
2. Abusement Park 2:46
3. Terror Tales 3:09
4. Excreted Entity 4:10
5. Internal Delusions of the Torn Mind 2:54
6. Pulverised Secretions 3:51
7. Anthropophagic Apocalypse Pt. 1 Collapse 5:08
8. Anthropophagic Apocalypse Pt. 2 Lord of Flesh 3:36
9. Curbstomp the Predator 2:10
10. Draco Dominus 2:27
11. Bio-Organic Liquid-Slam 2:45
12. Beyond the Veil of Death 5:49

Band members
Freyr Hreinsson – vocals
Ingólfur Ólafsson – vocals
Guðmundur Hermann Lárusson – guitar
Sigurjón Óli Gunnarsson – guitar
Arek Alenjikov – bass, backing vocals
Stefán Friðriksson – drums

Album Review – Escarnium / Inexorable Entropy (2025)

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This Brazilian outfit continues to craft raw, visceral Death Metal fueled by anguish and nihilistic idea in their new album, cementing their name as one of the driving forces of the current scene.

Formed in 2008 in the city of Salvador, Brazil, Escarnium emerged in the local scene committed to crafting raw, visceral Death Metal fueled by anguish and nihilistic ideas. Now in 2025 the band currently formed of Victor Elian on vocals and guitars, Alex Hahn also on the guitars, Gabriel Dantas on bass, and Nestor Carrera on drums returns with their fourth full-length album Inexorable Entropy, featuring nine track of unrelenting, blast beats driven, infernal Death Metal. Recorded at Walzwerk Tonstudio (vocals), Escarnium Studio (guitars and bass), and RMS Studio (drums), mixed and mastered at Walzwerk Tonstudio, and displaying a suffocating, anguished artwork by Hugo Venancio and Nestor Carrera, Inexorable Entropy is highly recommended for fans of Dead Congregation, Cruciamentum, Krisiun, and Fossilization, among others, cementing the band’s name as one of the driving forces of the current Brazilian Death Metal scene.

In the intro Fentanyl, the somber keys by Nestor will darken the skies before the band pulverizes us all with Relentless Katabasis, a demented onrush of classic, infernal Death Metal where Nestor also sounds inhumane on drums. Cancerous Abyss is another ruthless display of heaviness and savagery, also carrying a beyond sinister name, where Victor’s deep guttural will send shivers down your spine while the same Victor and Alex extract sheer aggressiveness from their axes; whereas the title-track Inexorable Entropy reeks of the music by their countrymen Krisiun, which means it’s a visceral, undisputed tune tailored for fans of crushing Death Metal. And Gabriel and Nestor keep shaking the foundations of the earth in The Heritage, crafting a thunderous atmosphere perfect for Victor’s demonic growling.

Gabriel’s reverberating, metallic bass lines set the tone in Revulsion Of Carbon, offering more of the band’s spine crushing, no shenanigans Death Metal for our absolute delectation, and they show zero mercy for our souls and bodies in Through The Depths Of The 12th Gate, adding hints of Doom Metal to their core essence to make things even more obscure, and with Nestor delivering venomous yet intricate beats flawlessly. Before all is said and done, the cryptic interlude Ashen Path will warm us up for their final attack entitled Pyroscene’s Might, starting in a neck-breaking manner to the vicious riffs and solos by Victor and Alex, again blending their trademark Death Metal with doomed elements while Nestor hammers his drums like a demonic beast nonstop.

As aforementioned, Escarnium are undoubtedly one of the frontrunners of the current Death Metal scene in their homeland, and their brutal and visceral new album is a strong confirmation of their growing importance to the extreme music scene worldwide. You can get in touch with those Brazilian metallers via Facebook and Instagram for new, tour dates and more of their music, stream their ruthless discography on Spotify and purchase a copy of the austere, infernal Inexorable Entropy via mailorder or from BandCamp, or simply click HERE for all things Escarnium, proving you’re a true servant of old school Death Metal, therefore keeping the violence crafted by the band throughout the entire album flowing to all four corners of our dying world.

Best moments of the album: Relentless Katabasis, Inexorable Entropy and Revulsion Of Carbon.

Worst moments of the album: None.

Released in 2025 Everlasting Spew Records

Track listing
1. Fentanyl 1:15
2. Relentless Katabasis 3:47
3. Cancerous Abyss 4:15
4. Inexorable Entropy 4:58
5. The Heritage 3:07
6. Revulsion Of Carbon 3:31
7. Through The Depths Of The 12th Gate 4:38
8. Ashen Path 1:45
9. Pyroscene’s Might 4:00

Band members
Victor Elian – vocals, guitars
Alex Hahn – guitars
Gabriel Dantas – bass
Nestor Carrera – drums, keyboards on “Fentanyl”