Tag Archives: brutal death metal

Album Review – Cryptworm / Infectious Pathological Waste (2026)

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A prolific entity hailing from the always visceral and grim UK Death Metal scene returns with their third studio album, pulling the listener into a sea of absolute disgust and violence.

A prolific entity hailing from the always visceral and grim UK Death Metal scene, Bristol, England-based horde Cryptworm is sinking their teeth into us all with their third studio album Infectious Pathological Waste, following up on their 2023 sophomore Oozing Radioactive Vomition while refining their sound to an unstoppable force of blunt-force trauma. Displaying a beyond gory and vile artwork by Skaðvaldur, the new offering by Tibor Hanyi on vocals and guitars, Joss Farrington on bass, and Jamie Wintle on drums pulls the listener into a sea of absolute disgust and violence, as the convulsing spew of guitars and regurgitating vocals flow like molten rot atop a crushing drum performance, being therefore a must-listen for fans of the sickest form of Death Metal.

It’s a morbid feast of gore and violence from the very first second in Gallons of Molten Hominal Goo, with Tibor’s inhumane guttural adding an extra dosage of insanity to their already vile music, whereas Maimed and Gutted lives up to the legacy of Death Metal giants the likes of Cannibal Corpse, with Jamie delivering sheer heaviness and fury through his pounding drums, being therefore perfect for headbanging and slamming nonstop. Their Death Metal machine keeps demolishing everything in their path in Drowning in Purulent Excrementia, with Joss delivering those primeval bass lines we all love in old school extreme music; and it’s time to slow things down an invest in absolute heaviness and groove in Infectious Pathological Waste, a worthy sound to carry the name of the album.

Embedded with Parasitic Larvae brings to our avid ears five minutes of nonstop savagery by the trio, with the scathing riffage by Tibor matching perfectly with the hammering drums by Jamie in a lecture in Death Metal; followed by Emanations of Corporeal Pyosis, flirting with Brutal Death Metal albeit there’s something missing in the final result, like heavier drums or crazier riffs. The trio gets back on track with the infuriated Gastrointestinal Seepage, inviting us all to dive deep into the circle pit like headbanging bastards, all led by another gruesome vocal performance by Tibor, and lastly, we see the band delivering a striking fusion of Death and Doom Metal in Encephalic Feast, ending the album on a gory, disturbing mode not recommended for the lighthearted.

Powerful drum-fills and autopsy-invoking riffs are something this band has seemingly mastered creating, because there is no shortage of this magnificent mutilating music flowing forth from the speakers to maim you in their ruthless new album, and if you want to be smashed by their music you can find the band on Facebook and on Instagram, where you can stay up to date with everything surrounding the band (including their killer live concerts), stream their putrefying creations on any platform such as Spotify, and of course purchase the venomous Infectious Pathological Waste from the Me Saco Un Ojo Records’ BandCamp or webstore (CD or LP). Because this is how primeval Death Metal should be done. Gory, violent, evil, and above all, relentless.

Best moments of the album: Maimed and Gutted, Embedded with Parasitic Larvae and Gastrointestinal Seepage.

Worst moments of the album: Emanations of Corporeal Pyosis.

Released in 2026 Me Saco Un Ojo Records/Extremely Rotten Productions

Track listing
1. Gallons of Molten Hominal Goo 3:06
2. Maimed and Gutted 4:40
3. Drowning in Purulent Excrementia 5:58
4. Infectious Pathological Waste 4:41
5. Embedded with Parasitic Larvae 5:16
6. Emanations of Corporeal Pyosis 2:57
7. Gastrointestinal Seepage 4:09
8. Encephalic Feast 4:36

Band members
Tibor Hanyi – vocals, guitars
Joss Farrington – bass
Jamie Wintle – drums

Concert Review – Lamb of God (Great Canadian Toronto, Mississauga, ON, 03/20/2026)

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Metalheads from all over the GTA walked with Lamb of God in hell once again on a fantastic Friday night of pure heavy music.

OPENING ACTS: Sanguisugabogg, Fit For An Autopsy and Kublai Khan Tx

After a full day of rain in Toronto and vicinities, the weather finally settled down closer to the evening, and it was only slightly cold (for Canadian standards, of course, as it was still very cold for anyone else) when the almighty LAMB OF GOD took the always welcoming Great Canadian Toronto by storm with their undisputed North America 2026 Tour, featuring the more than special guests SANGUISUGABOGG, FIT FOR AN AUTOPSY and KUBLAI KHAN TX, on a night of pure adrenaline and a celebration of heavy music. It was a true honor for Keith Ibbitson of Metal Paparazzi and I to cover such an amazing night, and as the show at the casino was one hundred percent SOLD OUT, you can imagine how much fun everyone who attended the show had inside the massive circle pits formed during all four concerts.

It was around 7pm when Columbus, Ohio’s own Brutal Death Metal/Deathcore entity SANGUISUGABOGG kicked off the party with their vicious attack. Having released the excellent Hideous Aftermath in 2025, available on both BandCamp and Spotify, the band formed of the unstoppable frontman Devin Swank, guitarist Drew Arnold, bassist Ced Davis, and drummer Cody Davidson put on a phenomenal performance onstage, already inspiring the crowd to headbang and slam like true metalmaniacs until the very last second. What a wild kickoff, with the very romantic songs Face Ripped Off and Dead as Shit making the entire casino shake. I’m sure Sanguisugabogg will return to Toronto with their undisputed violence sooner than you can say their name, spell their name, or read their logo. Any of these work.

Setlist
Rotted Entanglement
Face Ripped Off
Felony Abuse of a Corpse
Abhorrent Contraception
Dead as Shit

Band members
Devin Swank – vocals
Drew Arnold – guitars
Ced Davis – bass
Cody Davidson – drums

The bar was set super high with Sanguisugabogg, but of course nothing that New Jersey’s own Death Metal/Deathcore beast FIT FOR AN AUTOPSY couldn’t take care of armed with their venomous and melodic brutality. Frontman Joe Badolato was having an amazing time onstage “managing” the vicious circle pit going, and the crowd roared back at him during their incendiary performance. Playing songs from their already solid discography (available on Spotify), including some killer tunes from their latest opus The Nothing That Is, from 2024, those being Lower Purpose, Hostage, and Savior of None / Ashes of All, the band delivered everything their fans were expecting and more, with the intense crowd surfing getting to a point I lost count of how many of the “banana boys” crossed my path after letting their peels being touched by all fans inside the pit. Maybe I should say the entire venue went bananas during Fit For An Autopsy, right?

Setlist
Lower Purpose
It Comes for You
The Wretch
Black Mammoth
Hostage
Savior of None / Ashes of All
Warfare
Pandora
Far From Heaven

Band members
Joe Badolato – lead vocals
Pat Sheridan – guitars, backing vocals
Tim Howley – guitars
Will Putney – guitars
Peter “Blue” Spinazola – bass
Josean Orta – drums

Although I’m familiar with the music by Texan Metalcore ensemble KUBLAI KHAN TX, I didn’t know they were so famous and loved by the Toronto fans. Every single person in the room was having an amazing time during their performance, singing all songs along with the band led by the charismatic Matt Honeycutt. The guy didn’t stop a single second onstage, and that obviously translated into a lot of action inside the pit. In addition, it’s impressive how heavy their kitchen formed of bassist Eric English and drummer Isaac Lamb sounds, in special the utterly thunderous bass by Eric. The guy was making my chest tremble with his jabs. If you know nothing about those talented and humble guys, you can check their ass-kicking music on Spotify, like their 2024 album Exhibition of Prowess, but get ready as they will smash your cranial skull mercilessly.

Setlist
Darwinism
Supreme Ruler
Low Tech
Antpile
Boomslang
The Hammer
The Mountain of Corsicana
Antpile 2
Self-Destruct
Mud
Swan Song
Theory of Mind

Band members
Matt Honeycutt – vocals
Nicholas Adams – guitar, backing vocals
Eric English – bass, backing vocals
Isaac Lamb – drums

LAMB OF GOD

At long last, it was time to walk with Richmond, Virginia’s own Groove Metal masters LAMB OF GOD in hell during their absolutely heavy, vibrant and flammable performance. Having released the phenomenal Into Oblivion just a week before the show (available on Spotify and also on the special Into Oblivion website), the band fronted by the iconic D. Randall “Randy” Blythe showed no mercy for our necks and bodies with another killer performance in Canadian lands. It’s so cool how Lamb of God moved from a small venue like The Opera House when they first played in Toronto years and years ago, to selling out such a massive venue like the casino. To be fair, that’s expected when the music in question is so good, catchy and electrifying.

Randy was on fire during their entire show, as well as his bandmates, with Mark Morton and Willie Adler showing why they’re two of the best metal guitarists of the current scene. John Campbell and his trademark headbanging were also excellent, not to mention Art Cruz delivered a striking drum solo for our total delight. Before the show, he hid a few drumsticks around the venue for fans to try to find them, an initiative that I personally considered very cool (despite the fact I couldn’t find any of them). All that talent made their already amazing songs like Ruin, Laid to Rest and 11th Hour sound even stronger live, driving fans wild during their entire set, and maybe because it was a Friday night at a venue with no curfew we were also treated to a classic that hadn’t been played before Friday, the awesome Omerta.

Their new songs also sounded incredible, in special the infuriated Parasocial Christ, making the circle pit move even faster. There were some tunes that were screamed by the entire crowd together with the band, like 512, Walk With Me in Hell, and Memento Mori, three of my favorite Lamb of God songs, and you can imagine how happy I was seeing so many fans from all ages having such a great time with Randy and his henchmen. And as the icing on the cake, we could all scream, raise our fists, headbanging and jump up and down together with the boys during their metal masterpiece Redneck, putting a beyond epic and climatic ending to the show.

I wish I could have stayed longer at the casino after the show to eat something and maybe even try my luck, but the lines to get into the casino were insane. I’m not complaining, as I love the fact a metal concert can make a casino so busy and vibrant, and I can’t wait to enjoy one of the best venues in the GTA again in a few weeks. Anyway, back to the concert, it’s more than obvious that it won’t take long for Lamb of God to return to the city as they’re undoubtedly one of Toronto’s favorite metal acts. I dare to say they’re THE favorite metal band of a huge chunk of the new-ish generation of metalheads, and as Randy himself said in a recent interview, just like he wants to keep playing with Lamb of God until his last breath, we also want to headbang with Lamb of God until ours.

Setlist
Ruin
Laid to Rest
Blood Junkie
Into Oblivion
Resurrection Man
Grace
Desolation
512
Walk With Me in Hell
Parasocial Christ
Omerta
11th Hour

Encore:
Memento Mori
Sepsis
Redneck

Band members
D. Randall “Randy” Blythe – vocals
Mark Morton – guitar
Willie Adler – guitar
John Campbell – bass
Art Cruz – drums

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Album Review – Engorgement / They Rot Beneath Our Floor (2026)

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More than thirteen years on from the release of their horrifying debut, UK’s own Brutal Death Metal machine is finally back with a new assault on morality, enlightenment and good taste.

More than thirteen years on from the release of their horrifying debut album Excruciating Intestinal Lacerations, UK’s own Brutal Death Metal machine Engorgement is finally back with a new assault on morality, enlightenment and good taste, beautifully titled They Rot Beneath Our Floor. Mixed and mastered by Brutal Death Metal master Floor Van Kuijk (of Korpse, Sijjeel, Carnifloor and many more) at GLDCHN Studios, and completed with with a suitably sickening artwork by Christian Castro, the new beast by Stu Hine on vocals, Ricky Hill on the guitar, Richard Lynn on bass, and Mitch Rider on drums is a must-listen for fans of bands the likes of Slob, Traumatomy, Gorevent, and Colpocleisis, their new testament to mankind’s inhumanity that is gloriously repugnant, raw, bloody and pustulent beyond belief.

The nightmarish intro Prelude To Your Dismemberment feels like it was taken from a gory slasher movie, dragging us to the Stygian realm of blood and violence ruled by Engorgement before they demolish our senses with Keep Festering. It’s quite impossible for any band to sound any heavier than this, with the pig-like screeches by Stu sounding inhumane to say the least. Then in Rot Beneath Our Floor the band continues their path of destruction, with the crushing beats by Mitch matching perfectly with the rumbling bass by Richard, followed by Sanctum Of Gore, another lecture in Brutal Death Metal, inviting us all to slam like putrid metalmaniacs inside the pit while Ricky hammers his axe mercilessly. And Watching Your Body Twitch is undoubtedly one of the most demented of all songs, with the old school Death Metal riffage by Ricky taking the song’s demented vibe to new (and vile) heights.

With a name like Complete Bowel Extraction we couldn’t expect any less than sheer gore and aggression by those UK slammers, and Mitch makes sure the earth trembles with his infernal beats and fills; whereas in Unmerciful Redemption the indomitable Stu doesn’t get tired of barking, gnarling and screeching like a wild beast, supported by the heavy artillery crafted by Richard and Mitch. There’s no time to breathe as their Brutal Death Metal extravaganza goes on in full force in Resurrection, showcasing another depraved vocal performance by Stu, and they conclude the album with a sound that’s as demonic and heavy as all previous songs in the form of Blunt Force Osteotomy, led by the cryptic riffage by Ricky while Mitch pounds his drums nonstop in the name of pure violence, flowing into the short and weird album’s Outro.

In a nutshell, UK’s heaviest and sickest exponents of shocking brutality invite you to a journey into the heart of darkness with They Rot Beneath Our Floor, a lesson in Brutal Death Metal that transpires violence, gore and hatred. Those four ruthless UK metallers are waiting for you on Facebook and on Instagram with news, more of their music, and their tour dates (if you can survive their bludgeoning live performances, of course), and don’t forget to also stream their slab of savagery on Spotify, and to put your putrid hands on their new album from Comatose Music’s BandCamp or webstore (or click HERE for all things Engorgement). It might have taken over a decade for Engorgement to assault us once again with their undisputed brutality, but based on the high quality and the extreme violence found in They Rot Beneath Our Floor, I’m sure those guys won’t take long to hammer our cranial skulls again with another killer album of Brutal Death Metal madness.

Best moments of the album: Keep Festering, Watching Your Body Twitch and Blunt Force Osteotomy.

Worst moments of the album: The outro could have been a bit longer, more detailed and dynamic.

Released in 2026 Comatose Music

Track listing
1. Prelude To Your Dismemberment 1:37
2. Keep Festering 3:32
3. Rot Beneath Our Floor 3:55
4. Sanctum Of Gore 3:11
5. Watching Your Body Twitch 5:05
6. Complete Bowel Extraction 4:14
7. Unmerciful Redemption 5:38
8. Resurrection 4:56
9. Blunt Force Osteotomy 4:13
10. Outro 0:24

Band members
Stu Hine – vocals
Ricky Hill – guitar
Richard Lynn – bass, backing vocals
Mitch Rider – drums

Album Review – Sermon To The Lambs / Sermon To The Lambs (2026)

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A new entity from the depths of the Chilean Brutal Death Metal underground has emerged, armed with the soul-shaking savagery of their self-titled debut album.

A new entity from the depths of the Death Metal underground has emerged. Formed in 2023 in Concepción, Chile by guitarist and bassist Mauro M. (The Macabre, Esophagus) and drummer Victor Araneda (Disownment, In Asymmetry, Esophagus), with longtime friend Richard Aguayo (In Asymmetry, Esophagus) joining the duo in 2025 as their official vocalist, Sermon To The Lambs focus on the roots and spirit of the golden era of Brutal Death Metal, unleashing now in 2026 the soul-shaking savagery of their self-titled debut album. Adorned in the stunning artwork of Pär Olofsson (Winds Of Plague, Unleashed, Thy Art Is Murder), the album is set to leave its indelible mark, a suppurating wound, on the global Death Metal scene, being highly recommended for fans of Deeds of Flesh, Liturgy, Brodequin, Cinerary, and Enmity.

The trio comes crushing our skulls like a rabid beast in Crowned King Of The Worms, with the primeval beats by Victor bringing that raw flavor we love in Brutal Death Metal, followed by Sermon To The Lambs, the song that carries the name of the band, an absolutely demented tune with Richard basically vomiting the song’s gory, evil words nonstop. Mauro then shows no mercy for his stringed axe in Spitting In The Church Of The Nazarene, accompanied by the inhumane beats and fills by Victor in another killer display of brutality; whereas Maximum Apostasy, the very first single released by the band, starts in an ominous manner before exploding into their trademark savagery. Needless to say, Richard keeps screaming and delivering those putrid screeches that make Brutal Death Metal so great, and to keep the momentum going we face Saints Are The Centurions Of The Aristotelian Christ, presenting two and a half minutes of absolute chaos and violence by the trio.

In Flagrum Taxillatum the band delivers a more cadenced but heavy-as-hell sonority, in special through Richard’s deep, cadaverous guttural, keeping the album at an insane level of gore and aggression, while Scourging At The Pillar is another short and sweet Brutal Death Metal atomic bomb where Victor demolishes his drums in the name of extreme music. The blasphemous God Spat And The Man Was Done is perfect for an overdose of slamming into the mosh pit while Mauro extracts his most caustic, scorching riffs of the entire album, and of course, Richard’s vocals couldn’t have sounded more infernal, before we face Clergy’s Malevolence, one final slab of absurdity and violence by the trio, with Victor stealing the show with his demented drumming. Last but not least, like twin-headed devils, those two songs are reprised as bonus tracks featuring vocalist Jeff Page of Manifestations, and as his vocals are deeper than Richard’s, those alternate versions end up adding even more meat to the album.

Magnificently unforgiving, the debut by Sermon To The Lambs is an eruption of crawling horrors from a tortured, broken earth, and you can put your damned hands on such a gory, violent album by purchasing it from Comatose Music’s BandCamp or webstore. Don’t forget to also follow such a demented entity form the Chilean metallic scene on Facebook and on Instagram, staying up to date with all things Sermon To The Lambs, and stream their wicked creations on Spotify. Sermon To The Lambs are just starting their reign of absolute chaos and destruction with their debut album, and you better get ready because if you ever you cross their path, there will be blood.

Best moments of the album: Sermon To The Lambs, Maximum Apostasy and God Spat And The Man Was Done.

Worst moments of the album: None.

Released in 2026 Comatose Music

Track listing
1. Crowned King Of The Worms 4:06
2. Sermon To The Lambs 3:22
3. Spitting In The Church Of The Nazarene 2:36
4. Maximum Apostasy 3:37
5. Saints Are The Centurions Of The Aristotelian Christ 2:26
6. Flagrum Taxillatum 3:09
7. Scourging At The Pillar 2:34
8. God Spat And The Man Was Done 3:22
9. Clergy’s Malevolence 4:56

Bonus tracks
10. God Spat And The Man Was Done (alternate version) 3:22
11. Clergy’s Malevolence (alternate version) 4:56

Band members
Richard Aguayo – vocals
Mauro M. – guitars, bass
Victor Araneda – drums

Guest musician
Jeff Page – vocals on “God Spat And The Man Was Done (alternate version)” and “Clergy’s Malevolence (alternate version)”

Album Review – Insect Inside / Reborn in Blight (2026)

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This Brutal Death Metal brigade from Russia will crush you with their sophomore album, continuing their apocalyptic storytelling, chronicling humanity’s downfall and the rise of the insectoid race.

Emerging from Chelyabinsk, Russia’s underground scene back in 2017, the ruthless Brutal Death Metal/Deathcore creature known as Insect Inside has carved a reputation for its tight and aggressive sound, blending groove-heavy slam with suffocating atmospherics. Now in 2026 the band formed of Ivan Tyulkin (Nauseating) on vocals, Pavel Pleshkov (Ocean In My Bath) on the guitar, Bogdan Pisavnin (Cold Blooded Murder, Traumatomy) on bass, and Daniel Sementsov (Nauseating, Morphogenetic Malformation) on drums returns with their sophomore effort, titled Reborn in Blight, following up on their 2021 debut The First Shining of New Genus and their 2022 EP Into Impending Apotheosis. Produced by the band itself, mixed and mastered by Sasha Borovykh at TsunTsun Productions, and displaying a vile artwork by Jon Zig, the album showcases the band’s evolution toward a rawer, more visceral tone. Lyrically, the album continues their apocalyptic storytelling, chronicling humanity’s downfall and the rise of the insectoid race.

Human consciousness is definitely a mistake in evolution, and the band presents that disturbing thought through their dark and visceral Death Metal in Echoes Of The Swallowed Sinners, with Ivan’s deep guttural sending shivers down our spines. Then featuring guest vocals by Angel Ochoa of Cephalotripsy, we have the brutal yet melodic and multi-layered Abhorrent Landscape, with the guitars by Pavel cutting our skin deep in the name of gore and violence; and their celebration of bestiality continues in full force in Fragments, with Daniel taking the lead with his demonic beats supported by Bogdan’s ruthless bass. Putrid Lament brings forward another display of modern-day Brutal Death Metal, with their riffs and bass lines boosting Ivan’s gruesome vocals in great fashion, followed by Hiveborn Abomination, featuring guest vocalist Josh Welshman of Defeated Sanity, and the band shows absolutely no mercy for our frail bodies in this first-class, nonstop display of aggression and gore.

There’s still a lot more to come, starting with the groove-infused Brutal Death Metal feast titled Flesh Cathedral, again presenting Daniel’s demented yet intricate beats and fills, and Obscuration Worship, an instrumental piece that, despite its interesting bass lines and rhythmic drums, doesn’t add much to the album, followed by Carnal Ruins, where Ivan reaches the deepest, most inhumane level of his gnarling, sounding like a creature form the abyss while Pavel inspires us all to slam like metalmaniacs to the sound of his vile riffs. Then featuring guest vocals by Lennon O’Donnell of Pestilectomy, Parasite Messiah offers our putrid ears classic Brutal Death Metal spearheaded by another killer performance by Daniel on drums. Their feast of gory, infernal sounds finally ends with the title-track Reborn In Blight, just as demonic, heavy and grim, with Pavel and Bogdan’s axes exhaling savagery.

Drawing inspiration from Brutal Death Metal with hints of Black Metal, citing Disentomb, Relics Of Humanity, Cryptopsy, Defeated Sanity, and Vulvectomy among their top influences, Insect Inside continue to spread their grotesque vision characterized by gloom, disgust, and apocalyptic themes to the four corners of the earth with their new album, and if you want to join them in such a demented quest you can find those Russians on Facebook, on Instagram, and on VKontakte, stream their music on Spotify, and of course purchase Reborn in Blight from the Gore House Productions’ BandCamp and webstore, or by clicking HERE or HERE. The era of the insectoids has begun, and there’s nothing better to celebrate such an important milestone in humanity’s decay than the brutal music blasted by Insect Inside in their new album.

Best moments of the album: Abhorrent Landscape, Hiveborn Abomination and Carnal Ruins.

Worst moments of the album: Obscuration Worship.

Released in 2026 Gore House Productions

Track listing
1. Echoes Of The Swallowed Sinners 3:31
2. Abhorrent Landscape 2:54
3. Fragments 2:18
4. Putrid Lament 3:35
5. Hiveborn Abomination 2:51
6. Flesh Cathedral 3:00
7. Obscuration Worship 1:20
8. Carnal Ruins 2:45
9. Parasite Messiah 3:29
10. Reborn In Blight 5:22

Band members
Ivan Tyulkin – vocals
Pavel Pleshkov – guitar
Bogdan Pisavnin – bass
Daniel Sementsov – drums

Guest musician
Angel Ochoa – vocals on “Abhorrent Landscape”
Josh Welshman – vocals on “Hiveborn Abomination”
Lennon O’Donnell – vocals on “Parasite Messiah”

Album Review – Phasma / Purgatory (2026)

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This Greek and American beast is ready to unleash hell with their third full-length offering, unfurling dimensions within the sound that they have concocted.

Attempting to meld influences ranging from Black Metal to Brutal Death Metal and everything in between, including Technical Death Metal, Blackened Death Metal and even Deathcore, the demonic Greek/American beast known as Phasma is unleashing hell with their third full-length offering, simply titled Purgatory. Displaying a Stygian artwork by George Angelis, the follow-up to their 2022 sophomore effort Epiales effortlessly oscillates from sharp Black Metal riffs to pummeling Death Metal blasts with matching vocal styles, and even toss in a breakdown or two in the middle, with every song feeling like an extension if not an improvisation over the previous one, as vocalist Luis Ferre and guitarist Jason Athanasiadis, with the support of session musicians George Markantonis on bass and Bill Nanos on drums, unfurl dimensions within the sound that they have concocted.

The dirty, devilish guitar by Jason sets the stage in I, quickly exploding into a beyond demented and technical feast of Black and Death Metal with Luis growling like a rabid beast for our total delight, followed by II, where another ethereal start evolves into more of the band’s trademark violence, with Bill’s infernal drums walking hand in hand with George’s thunderous bass lines. III sounds as visceral and ruthless as its predecessors, with Luis stealing the show with his deep guttural and bestial gnarling while Jason extract those Cannibal Corpse-inspired riffs that make Death Metal even deadlier; whereas IV presents hints of Dissonant and Avantgarde Death Metal added to their core brutality, keeping the album as sulfurous as it can be. Their insanity, heaviness and rage are boosted by the rumbling bass by George in V, getting utterly experimental at times while also showcasing a strong Deathcore vibe in its breakdowns; and lastly, they’ll pulverize us all with VI, where their Death Metal side gets even stronger, while Bill once again pounds his drums nonstop.

Bands playing a mix of styles isn’t uncommon but to intermingle influences of such disparate, almost contrasting styles is fascinating and remarkable especially when they have high replay value and lasting appeal. That’s exactly what Phasma have to offer in Purgatory, being highly recommended for admirers of the sonic madness blasted by bands such as Mgla, Dying Fetus, Crypts of Despair, Kriegsmaschine, and Psycroptic, just to name a few. You can get to know more about such a bestial duo from Greece and the United States by following the project on Facebook and on Instagram, staying up to date with their live performances, stream their unique creations on Spotify or any other streaming platform, and above all that, grab a copy of Purgatory from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store, where you can also find their incredible merch designed by CVSPE. Like it or not, Phasma are here to stay, and they’ll mercilessly drag us to their own purgatory armed with their visceral new album.

Best moments of the album: I and III.

Worst moments of the album: None.

Released in 2026 Transcending Obscurity Records

Track listing
1. I 5:00
2. II 4:13
3. III 4:24
4. IV 3:51
5. V 4:16
6. VI 4:47

Band members
Luis Ferre – vocals
Jason Athanasiadis – guitars

Guest musicians
George Markantonis – bass (session)
Bill Nanos – drums (session)

Album Review – Eximperitus / Meritoriousness of Equanimity (2026)

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This uncanny Belarusian Death Metal creature will unleash hell in its third studio opus, offering nine independent compositions united by the idea of searching for inner support in an era of turbulence.

Eximperituserqethhzebibšiptugakkathšulweliarzaxułum, the Minsk, Belarus-based Technical/Brutal Death Metal entity whose name is usually shortened to simply Eximperitus,  has acquired quite some attention not only for their 51-letter long name, but also for their austere, no shenanigans blend of extreme music. Famously secretive, with their members using pseudonyms like Dave 1 (guitars), Dave 2 (bass), Dave 3 (drums), and potentially Dave 4 (vocals), as they intentionally keep their identities hidden, making it nearly impossible to find personal details and, therefore, essentially making them “the Daves” of Belarusian metal, Eximperitus are unleashing upon humanity their third studio album, titled Meritoriousness of Equanimity, following up on their 2021 sophomore Šahrartu. Containing nine independent compositions united by the idea of searching for inner support in an era of turbulence, the album offers an acid exposure and scourging of social dogmas and morbid tendencies on the ruins of the old world, continuing to pave the band’s dark path which started in the already distant year of 2009.

The album couldn’t have started in a more demented mode than with One Step Long Infinity, an avalanche of vile riffs and blast beats not recommended for the lighthearted; followed by Contemplation of the Plastic Fibers of Perfection at the Second Level of Reality, carrying a beautiful name for a feast of Brutal Death Metal magic while also offering our avid ears razor-edged riffs and those evil guttural vocals we all love so much. Then after the whimsical interlude Twelve Centuries of Triumph of the Third Kingdom… we face Finding Consistency in the Fourth Quadrant of Eternity, where their Blood Incantation side blends with their core brutality and their guitar riffs and solos penetrate deep inside our souls; followed by the absolutely mental The Untimely Fruit of the Unsaid, bringing forward more of the band’s austere, visceral fusion of extreme music sounds, not to mention how heavy and groovy their bass and drums feel.

Golden Chains for the Construction of Individual Greatness is another ruthless explosion of their Technical and Brutal Death Metal madness, offering those demented blast beats perfect for some good slamming inside the pit; and after another ethereal, cosmic interlude entitled Molecular Disintegration of an Unattainable Solitary Will in a Vessel of Wisdom…, we’re treated to the venomous Chalkionic Wandering Among the Wreckage of the Future, where their crying guitars clash with their deep guttural in a striking metallic paradox. And before all is said and done, those uncanny Belarusian metallers bring forth Standing at the Skirt of the Ruins of Human Nature (…on the Other Side of Man and Time), an extensive outro that could have been a bit shorter, and maybe even less experimental, but that still puts an otherworldly ending to the album.

“In times when despair overflows human hearts… when the chasm of strife between civilizations widens… when loyalty to ideologies tears blood ties apart… when the world stands still, poised for the final leap of prolonged self-destruction… We can draw strength solely from internal sources, which are filled only by the multifaceted power of Death Metal…,” commented the band, as cryptic as their own members, and you can be part of their unique metal cosmos by following them on Facebook and on Instagram, by subscribing to their YouTube channel, by streaming their sick creations on Spotify, and of course by ordering their demented new album from BandCamp or from Willowtip Records. Because it doesn’t matter if you have no idea how to pronounce Eximperituserqethhzebibšiptugakkathšulweliarzaxułum – those Belarusian death dealers are among us to crush our damned souls with their music, and their newborn spawn Meritoriousness of Equanimity will surely keep their insanity burning for many years to come, darkly reverberating through the fours corners of the earth.

Best moments of the album: Contemplation of the Plastic Fibers of Perfection at the Second Level of Reality, The Untimely Fruit of the Unsaid and Chalkionic Wandering Among the Wreckage of the Future.

Worst moments of the album: Standing at the Skirt of the Ruins of Human Nature (…on the Other Side of Man and Time).

Released in 2026 Willowtip Records

Track listing
1. One Step Long Infinity 2:26
2. Contemplation of the Plastic Fibers of Perfection at the Second Level of Reality 5:05
3. Twelve Centuries of Triumph of the Third Kingdom… 1:24
4. Finding Consistency in the Fourth Quadrant of Eternity 5:13
5. The Untimely Fruit of the Unsaid 5:41
6. Golden Chains for the Construction of Individual Greatness 4:07
7. Molecular Disintegration of an Unattainable Solitary Will in a Vessel of Wisdom… 1:39
8. Chalkionic Wandering Among the Wreckage of the Future 3:29
9. Standing at the Skirt of the Ruins of Human Nature (…on the Other Side of Man and Time) 4:52

Band members
Dave 4 – vocals
Dave 1 – guitars
Dave 2 – bass
Dave 3 – drums

Album Review – Stabbing / Eon of Obscenity (2026)

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Houston, Texas-based masters of absolute brutality are back with their sophomore beast, out-slamming, out-blasting and utterly eviscerating anyone who crosses their path of gore and destruction.

When Houston, Texas-based Brutal Death Metal brigade Stabbing came together in 2021, the goals were simple. “We were really just having fun and wanted to emulate the style of the bands we really liked,” said frontwoman Bridget Lynch. “Old school 90’s and early 2000’s Brutal Death Metal bands like Disgorge, Deeds of Flesh, stuff like that.” Fast forward to 2026 and the indomitable Bridget alongside Marvin Ruiz on the guitars, Matt Day on  bass, and Aron Hetsko on drums are ready to pulverize everything and everyone who dares to cross their path with their sophomore beast, entitled Eon of Obscenity, the follow-up to their 2022 crushing debut Extirpated Mortal Process. Recorded by Ben Gott and mixed and mastered by Chris Kritikos at Southwing Audio, and displaying a brutally classic artwork by Rudi Yanto of Gorging Suicide, the visceral Eon of Obscenity out-slams, out-blasts and utterly eviscerates their debut album and basically their competition, with Bridget taking her spot as one of the genre’s most powerful and distinct voices.

Get ready to be absolutely pulverized by Stabbing right from the very first second in Rotting Eternal, with Bridget proving why she has become a reference in deep guttural. In other words, it’s Brutal Death Metal at its finest (and goriest), which also applies to Inhuman Torture Chamber, where she keeps barking the song’s Stygian lyrics rabidly (“Mercilessly beaten to a wet pulp / Violently reduced into a lesser form / Vehemently smashing and degrading / Deeper fall into a state of catatonia”) while her bandmates crush our spinal cords with their undisputed heaviness. Aron sounds like a machine gun out of control in Masticate the Subdued, adding an extra dosage of total carnage and chaos to the band’s already putrid sounds, whereas the title-track Eon of Obscenity perfectly depicts what Stabbing are all about, a ruthless, demented overdose of sheer brutality where the riffage by Marvin sounds heavy, caustic and demonic. And in Reborn to Kill Once More, as expected, Bridget vomits the song’s infernal words on our damned faces mercilessly in another blast of Brutal Death Metal.

There’s still a lot more fuel to be burned by Stabbing in the name of extreme music, starting with the short and sweet instrumental interlude Ruminations, setting the stage for the band to kill us all with Nauseating Composition, featuring Ricky Myers of Suffocation. Moreover, Aron sounds even more demented on drums, offering Bridget and Ricky exactly what they need to bark like two monstrous entities. If you think Bridget can’t sound even more inhumane, think again, as she reaches a whole new level of dementia with her guttural in Their Melted Remains, accompanied by the venomous axes by Marvin and Matt. Then we have Sonoluminescent Hemoglobinopathy, and if you don’t know, “sonoluminescent” is the emission of light from imploding bubbles in a liquid when excited by sound, while “hemoglobinopathy” is an inherited blood disorder where the body makes abnormal hemoglobin or doesn’t make enough of it. Put these two words together, and there you have the epitome of Brutal Death Metal. When you reach the last part of the album with Symphony of Absurdity, you know you’re in front of something special (aka the revamping of Brutal Death Metal), with Bridget once again stealing the show with her cadaverous guttural madness, flowing into Sinking Into Catatonic Reality, where inspired by all giants of the genre the quartet concludes the album on the most violent note imaginable.

Exceeding the term “Brutal Death Metal” with their undisputed violence and gore, Stabbing have plundered the crypts of claustrophobia and darkness, only to surface with Eon of
Obscenity, a benchmark for modern Death Metal. “It’s just more extreme,” commented Bridget. “It’s everything that’s extreme about death metal, just taken a little bit further. The vocals. The drums. The riffs. It’s just faster and more boundary-pushing.” Having said that, I bet you’re dying to put your hands on Eon of Obscenity, and in order to do that simply go to the band’s own BandCamp, or grab a copy of the album from the Century Media Records webstore as  a CD or as a stunning neon-violet LP, and don’t forget to also follow those masters of absolute violence and gore on Facebook and on Instagram, keeping an eye on their breathtaking live concerts, and to stream their putrid creations on Spotify. Bridget and the boys are ready to join the new army of brutality formed of bands like Frozen Soul and PeelingFlesh with their newborn spawn, aiming at global domination and, of course, being more than eager to destroy your frail bodies with their undisputed, first-class Brutal Death Metal magic.

Best moments of the album: Inhuman Torture Chamber, Eon of Obscenity, Their Melted Remains and Symphony of Absurdity.

Worst moments of the album: None.

Released in 2026 Century Media Records

Track listing
1. Rotting Eternal 1:24
2. Inhuman Torture Chamber 2:58
3. Masticate the Subdued 2:41
4. Eon of Obscenity 2:10
5. Reborn to Kill Once More 3:16
6. Ruminations 1:34
7. Nauseating Composition 3:09
8. Their Melted Remains 4:04
9. Sonoluminescent Hemoglobinopathy 1:52
10. Symphony of Absurdity 4:12
11. Sinking Into Catatonic Reality 3:33

Band members
Bridget Lynch – vocals
Marvin Ruiz – guitars
Matt Day – bass
Aron Hetsko – drums

Guest musicians
Ricky Myers – vocals on “Nauseating Composition”

Album Review – Architectural Genocide / Malignant Cognition (2026)

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These unrelenting Texas-based Brutal Death Metal bruisers are out for blood armed with their sophomore beast, serving up a banquet of the band’s inimitable brutality.

Almost six years after the release of their debut offering Cordyceptic Anthropomorph, Houston, Texas-based Brutal Death Metal bruisers Architectural Genocide are finally back in action with their sophomore opus, titled Malignant Cognition. Mixed and mastered at Southwing Audio, and encased in the superb artwork by Rudi Yanto (Devastrosity, E-Force, Perveration) and Den Yudi (Decrepitation, Realm Of Chaos, Rotting Demise), the perfect visual depiction of the soul-eating madness within, the new album by Daniel Brockway on vocals, Tom Savage on the guitar, Matt Day on bass, and Nat Conner on drums serves up a banquet of the band’s inimitable brutality, being therefore perfect for fans of Cannibal Corpse, Skinless, Devourment, and Disentomb, just to name a few.

The band doesn’t waste a single second and begins their putrid fest with the evil intro Precursor To Bloodshed, flowing into the insanely gory Coercion Into Carnality, where Daniel vomits the song’s devilish words with tons of hatred and aggressiveness while Nat delivers those pounding beats we all love in Brutal Death Metal. It’s then pedal to the metal in the slamming tune Leave It To Cleaver, with Tom extracting pure violence from his axe supported by the always ass-kicking drumming by Nat, and there’s no sign of happiness or joy in Trophies For My Murders, an ode to all serial killers led by Daniel’s demented “breeeeeeeeeees” in an overdose of sheer violence.

Malicious Wager is absolutely mental from start to finish, a lesson in brutality by Architectural Genocide where Tom and Matt are savage armed with their stringed axes; and there’s no sign of the band slowing down at all in Decent Deranged, a slab of Brutal Death Metal tailored for admirers of the genre. Zed Requiem features the iconic Damonteal Harris of PeelingFlesh on vocals, who brings the groove to the band’s trademark sound, and the final result is simply demolishing, evil and absurdly fun; whereas a dark, wicked narration sets the tone in Stuffed Under Floorboards, another song inspired by the darkest corners of the human mind, with Nat stealing the spotlight with his pounding beats.

In a nutshell, Architectural Genocide’s long awaited second album is an even more dangerous, vicious creation that adds an unnerving, skin crawling terror to their trademark elixir of darkness and depravity. You can get more details about those ruthless death dealers on Facebook and on Instagram, stream their demented creations on any platform such as Spotify, and of course grab a copy of the venomous Malignant Cognition from Comatose Music’s BandCamp or webstore. In other words, prepare yourself for the fearsome assault of Malignant Cognition, as the year of 2026 is kicking off on a vile and gory mode with the brand new Brutal Death Metal holocaust by those unrelenting Texans.

Best moments of the album: Coercion Into Carnality, Malicious Wager and Zed Requiem.

Worst moments of the album: None.

Released in 2026 Comatose Music

Track listing
1. Precursor To Bloodshed 1:25
2. Coercion Into Carnality 2:56
3. Leave It To Cleaver 2:27
4. Trophies For My Murders 2:39
5. Malicious Wager 2:53
6. Decent Deranged 3:26
7. Zed Requiem 4:01
8. Stuffed Under Floorboards 3:51

Band members
Daniel Brockway – vocals
Tom Savage – guitar
Matt Day – bass
Nat Conner – drums

Guest musician
Damonteal Harris – vocals on “Zed Requiem”

Album Review – Bound To Prevail / Enthroned in Torment (2026)

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A relentless Maltese Death Metal force will attack armed with their debut album, a powerful rediscovery and reinterpretation of the early 2000’s Death Metal vein, blending old school brutality with a modern edge.

Founded in the fall of 2014, and influenced by a wide variety of extreme music subgenres, with each band member bringing their own distinct influences to the songwriting process, Birkirkara, Malta’s relentless Death Metal force Bound To Prevail is unleashing  upon humanity their debut full-length album, aptly titled Enthroned in Torment, following up on their 2017 EP Omen of Iniquity. Recorded, mixed and mastered at SpineSplitter Studio, the new offering by Alan Briffa on vocals, Jean Vella (who’s no longer a member of the band) and Keith Fenech on the guitars, Kevin Mifsud on bass, and Mark Farrugia Sant’Angelo on drums is a powerful rediscovery and reinterpretation of the early 2000’s Death Metal vein, blending old school brutality with a modern edge. Drawing on the technical ferocity of old masters like Suffocation and Monstrosity, as well as the more extreme, yet precise, pummeling approaches of Beheaded, Hour of Penance and Inveracity, the album delivers tracks that are simultaneously tense, technical and fluid, giving every riff room to breathe and strike with maximum impact.

Their sonic massacre begins with the devastating The Nevergod, where Mark sounds demented behind his drums, offering Alan exactly what he needs to bark manically, not to mention the caustic riffage by Jean and Keith. Into the Depths is an absolute chaotic, heavy-as-hell Brutal Death Metal tune led by the inhumane growling by Alan, while Kevin and Mark continue to make the earth tremble in the name of extreme music; and another slab of Kevin’s metallic bass is offered to us all in the Death Metal massacre entitled Defier of Empires, perfect for slamming into the pit. Moreover, it’s impressive how they manage to blend Technical and Brutal Death Metal with great balance and energy, exactly like what we get in Consecrated Perdition, keeping the album at an absurdly high level of violence.

Then the band offers the longest, most detailed of all songs from the album, Atone in Blasphemy, a six-minute overdose of brutality and gore where Mark hammers his drums like a stone crusher, opening up the pit for the visceral riffage by Jean and Keith. It’s pedal to the metal in the frantic, no shenanigans Death Metal attack titled Dawn of Emptiness, again presenting that rudimentary, raw drum sound we all love in this type of music; whereas an ominous start gradually evolves into a bestial sonority in Tomb of the Graveless, with Alan once again vomiting the song’s devilish words like a rabid creature. Lastly, we’re treated to the ruthless title-track Enthroned in Torment, ending the album with the same level of violence as it started for our total delight.

Showcasing their core fusion of aggressive, frantic, pounding rhythmic passages with instantly recognizable melodic overtones, Enthroned in Torment beautifully blends the relentless aggression of classic Death Metal with contemporary clarity and production, creating a sound that honors the past while feeling undeniably current, while also exploring the morbid tension between malevolence and benevolence, set in a chaotic realm shaped by false beliefs and deceitful ambitions. Hence, you can get in touch with those talented and hardworking Maltese metallers via Facebook and Instagram, stream their bludgeoning music on Spotify, and of course purchase Enthroned in Torment from the Lethal Scissor Records’ BandCamp or webstore. With their debut, Bound To Prevail stake their claim in European Death Metal, captivating fans of both old school and modern eras and, therefore, leaving us eager for more of their sonic violence in a not-so-distant future.

Best moments of the album: Into the Depths, Consecrated Perdition and Dawn of Emptiness.

Worst moments of the album: None.

Released in 2026 Lethal Scissor Records

Track listing
1. The Nevergod 5:04
2. Into the Depths 5:06
3. Defier of Empires 5:14
4. Consecrated Perdition 3:47
5. Atone in Blasphemy 6:08
6. Dawn of Emptiness 4:59
7. Tomb of the Graveless 5:28
8. Enthroned in Torment 3:41

Band members
Alan Briffa – vocals
Jean Vella – guitars
Keith Fenech – guitars
Kevin Mifsud – bass
Mark Farrugia Sant’Angelo – drums