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Album Review – Unearthly Rites / Tortural Symphony of the Flesh (2026)

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Delivering filthy, mold-ridden Death Metal, this Finnish brigade explicitly calls for action in defense of nature and the rights of ethnic, gender and sexual minorities in their breathtaking new album.

Delivering filthy, mold-ridden Death Metal deeply rooted in the muddy sewers of the Finnish DIY Punk Rock and Hardcore scene, Finland’s own horde Unearthly Rites is unleashing another slab of raw old school Death Metal, Grindcore, and Crust in their sophomore album, titled Tortural Symphony of the Flesh. Presenting a total meltdown of nature, humanity, and machine, and of transgression, lust and power, the follow-up to their 2024 album Ecdysis advances the band’s crushing riffs and characteristically moldy grimness toward a more malicious and brutal soundscape, documenting the atrocities of capitalist society while also explicitly calling for action in defense of nature and the rights of ethnic, gender and sexual minorities, all masterfully crafted by Sisli (they/them) on vocals, Simo (he/him) and Santtu (he/him) on the guitars, Jennika (she/her) on bass, and Tapio (he/him) on drums.

The opening track Tuonen tulijat, manan menijät, or “those who come here, those who go there” from Finnish, already presents the trademark low-tuned, evil sounds blasted by the band, blending their core sonority with sheer Doom Metal, followed by Sokli Fields Forever / A Radiative Picnic, a primeval form of Death Metal where Sisli’s guttural is not recommended for the lighthearted so demonic it sounds. Simo and Santtu, supported by the rumbling bass by the she-demon Jennika, offer an overdose of wrath and darkness in Solstice, as doomed and vile as it can be; whereas A Stygian Winterscape is an atmospheric interlude that could have been slightly shorter to keep the vibe of the album more incendiary, setting the stage for the band to kill in Tortural Symphony of the Flesh, with Simo and Santtu giving a lecture in insanity with their caustic riffs and sick solos while Sisli keeps barking in the name of darkness.

Ignis fatuus, the elusive blue flames also known as a “Will-o’-the-Wisp” or “corpse-candle,” a glowing atmospheric phenomenon which has a reputation for causing mischief and even death, is the perfect title for a song by Unearhtly Rites, with the music transpiring the mystery and obscurity of that light, and with Tapio crushing his drums like a true beast in a Finnish Grindcore avalanche. Metalli, liha, kone, or “metal, meat, machine,” showcases another killer blend of Death Metal, Grindcore and other demented sounds, with Jennika and Tapio showing no mercy for our damned souls, followed by Absurd Transgression, as chaotic and dissonant as its predecessors, where their piercing guitars exhale hatred supported by Sisli’s deep roars. Then the quick and eerie interlude Not for the Weak warms us up for their coup-de-grace in The Notion of Emerging Totalitarianism, led by Jennika’s thunderous bass, leaving us completely disoriented after all is said and done while Sisli sounds inhumane, demented and furious on vocals once again.

“Tortural Symphony of the Flesh deepens our critique of capitalist oppression as a force that devastates nature through ecocide, erodes minority rights, and promotes conservationist ideology that ultimately reinforces colonialist power. Nature and humanity are inseparably fused in imagery of metal, roots, mud, flesh, and ice, forming a visceral rejection of fossil-industrial society. Queer BDSM lust and the words of William Blake are offered as an antidote to the christofascist trajectory,” commented the band, and you can join them in such an important mission by following the band on Facebook and on Instagram, by streaming their acid music on Spotify, and by purchasing their excellent new album from BandCamp or from Svart Records. Because the unstoppable Unearthly Rites are not just a Death Metal band. Their music has a deep and important message for all of us, metalheads or non-metalheads, and their new album definitely deserves our total attention in our rotten and decaying society.

Best moments of the album: Sokli Fields Forever / A Radiative Picnic, Tortural Symphony of the Flesh and The Notion of Emerging Totalitarianism.

Worst moments of the album: A Stygian Winterscape.

Released in 2026 Svart Records

Track listing
1. Tuonen tulijat, manan menijät 3:33
2. Sokli Fields Forever / A Radiative Picnic 3:33
3. Solstice 4:04
4. A Stygian Winterscape 2:53
5. Tortural Symphony of the Flesh 3:31
6. Ignis fatuus 7:21
7. Metalli, liha, kone 3:32
8. Absurd Transgression 3:48
9. Not for the Weak 0:35
10. The Notion of Emerging Totalitarianism 7:12

Band members
Sisli – vocals
Simo – guitar
Santtu – guitar
Jennika – bass
Tapio – drums

Album Review – Soul of Anubis / Ritual (2026)

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This Portuguese duo returns with their fourth full-length opus, capturing the full scope of their signature sound, a visceral blend of aggression and dynamic shifts that refuses to be confined to a single genre.

Formed in 2010 in Northern Portugal, Sludge/Doom Metal creature Soul of Anubis has carved out a distinct place within the European underground thanks to their explosive fusion of Thrash, Sludge, Doom and Post-Metal, channeling the raw urgency of Mantar, the primal energy of early Mastodon, and the relentless drive of High On Fire and Black Cobra. Now in 2026 the duo formed of Hugo Ferrão on vocals and guitars, and Rui Silva on drums returns with their fourth full-length opus, titled Ritual, following up on their 2019 album The Last Journey. Recorded, mixed and mastered at Studio Lote 71 in Portugal, Ritual captures the full scope of the band’s signature sound, a visceral blend of aggression and dynamic shifts that refuses to be confined to a single genre.

The duo wastes no time and kicks off their groovy and visceral attack with the title-track Ritual, where Hugo screams with tons of anguish while Rui crushes his drums in the name of sludge and doom. Then featuring guest vocalist Keijo Niinimaa from Rotten Sound, it’s pedal to the metal in the demented Mind Crusher, bringing elements of Hardcore, Punk Rock and Crust to their trademark insanity, followed by Incarnation, the first single of the album, keeping the fires of Doom Metal burning, with Hugo not only roaring manically but his riffs also exhale aggression. And Vermin is by far the least dynamic and exciting of all songs, although it still presents the band’s core essence (but not as strong as the other songs).

Death Cult carries the perfect name for a song by any band in the heavy music spectrum, and Soul of Anubis crush our spinal cords with their undisputed blend of absolute doom, as heavy as a thousand riffs in their “version” of it. Let’s keep headbanging like true maniacs to the sound of God’s Burial, where the duo builds a rumbling atmosphere with their caustic riffs and beats; and it’s then time to put the pedal to the metal and speed things up in Human Torch, with Hugo once again bursting his lungs screaming. Last but not least, we face the longest and most obscure of all songs, Unholy Tomb, with Hugo’s riffage and Rui’s drums making the earth tremble until the very last second of such a groovy-as-hell aria.

Pushing the sonic boundaries by Soul of Anubis even further, expanding upon their trademark blend of massive riffs, dark groove, and emotional gravity, while highlighting a newfound sense of urgency and compositional versatility, Ritual is undoubtedly their strongest effort to date, and you can put your damned hands on such an incendiary album by purchasing it from BandCamp, from the Time To Kill Records’ webstore, or simply by clicking HERE. Don’t forget to also follow the duo on Facebook and on Instagram, and to stream their austere creations on Spotify. With their new album, Hugo and Rui have crafted a true metallic ritual, pointing to an even brighter future ahead of them and, consequently, keeping us metalheads as happy as we can be with another demolishing underground band.

Best moments of the album: Mind Crusher, Dead Cult and Human Torch.

Worst moments of the album: Vermin.

Released in 2026 Time To Kill Records

Track listing
1. Ritual 6:17
2. Mind Crusher 4:46
3. Incarnation 4:49
4. Vermin 3:29
5. Death Cult 5:20
6. God’s Burial 4:32
7. Human Torch 3:41
8. Unholy Tomb 8:30

Band members
Hugo Ferrão – vocals, guitars
Rui Silva – drums

Guest musician
Keijo Niinimaa – vocals on “Mind Crusher”

Album Review – Paganizer / As Mankind Rots (2026)

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The Scandinavian war machine rolls on, as these Swedish Death Metal beasts still sound adrenalized, bloodstained and glorious in their demolishing album number fourteen.

The Scandinavian war machine rolls on. After twenty seven years, thirteen full-length studio albums and an ever growing brood of EP’s, split releases, live albums and compilations, Swedish Death Metal beasts Paganizer still sound adrenalized, bloodstained and glorious in their album number fourteen, beautifully titled As Mankind Rots. Mixed and mastered by long term collaborator Ronnie Björnström, with the package completed by the haunting artwork of Ivan Bragin (The Gathering, October Tide, Woods Of Ypres), the new opus by the unstoppable Rogga Johansson on vocals and guitars, Dennis Blomberg on lead guitars, Martin Klasén on bass, and Matthias Fiebig on drums is an unmissable Death Metal treat for fans of Entombed, Ribspreader, Grave, and Vomitory.

Rogga and Dennis present their violent business card right from the beginning in As Mankind Rots, offering an overdose of Death and Thrash Metal riffs with a Punk Rock attitude, therefore inviting us all to slam into the pit like true bastards. Then it’s Matthias  who shows no mercy for our putrid bodies in Devoured, hammering his drums and, consequently, our cranial skulls in the name of extreme music; followed by Aftermath Bleeder, leaning towards the more cadenced but absurdly heavy Death Metal blasted by giants like Unleashed, sounding as visceral as it can be. It’s pedal to the metal in the infuriated Only Maggots, offering our avid ears an avalanche of Death Metal riffs and blast beats perfect for some wild headbanging; and I simply love how they add hints of Crust to their core sound like in Put on Your Gasmask, making it even more demented, with Rogga’s roars sounding deep and evil. And there’s just no sign of slowing down or selling off in Hollow, as it’s pure, unfiltered Death Metal where Martin and Matthias’ kitchen sounds like an earthquake of heavy music.

The band then brings forward a mid-tempo, haunting tune titled A Testament to Madness, with Rogga again vomiting the song’s vile words mercilessly; whereas like a rabid creature from the abyss, the quartet comes ripping with Afterworld, where the guitars by Rogga and Dennis exhale hatred and obscurity. The Rotting End is another song where a melodic start morphs into absolute chaos and madness spearheaded by the ruthless beats and fills by Matthias, followed by One Way to the Grave, perhaps the most destructive of all songs (from an already destructive album), with Matthias crushing his drums mercilessly while Rogga barks and roars like a demented beast of Death Metal. Lastly, we’re treated to a new recording of Vanans Makt (a Swedish phrase that translates to “the power of habit”), which appeared on the Compiled Ammunition compilation back in 2020, with guest vocals from Bulten of Swedish Punk Rock band Lastkaj 14, and this new rendition is the perfect example of Death Metal meets Punk Rock.

There’s no intro, no samples, nor anything like that in As Mankind Rots. The album is simply headfirst into riffs and mayhem, offering us all avid metalheads pure Swedish Death Metal magnificence, and you can add such an incendiary album to your private collection by purchasing it from the Xtreem Music’s BandCamp or webstore. You can also start following the band on Facebook and on Instagram, and of course stream their ruthless discography on any platform like Spotify. As mankind rots, Paganizer keep blasting our ears with their undisputed blend of old school Death Metal, with their new album perfectly depicting the current state of our rotten and decaying society.

Best moments of the album: As Mankind Rots, Only Maggots and One Way to the Grave.

Worst moments of the album: A Testament to Madness.

Released in 2026 Xtreem Music

Track listing
1. As Mankind Rots 3:15
2. Devoured 3:51
3. Aftermath Bleeder 3:14
4. Only Maggots 3:48
5. Put on Your Gasmask 2:46
6. Hollow 3:23
7. A Testament to Madness 4:32
8. Afterworld 3:53
9. The Rotting End 3:16
10. One Way to the Grave 3:39
11. Vanans Makt 3:38

Band members
Rogga Johansson – vocals, guitars
Dennis Blomberg – lead guitars
Martin Klasén – bass
Matthias Fiebig – drums

Guest musician
Bulten – vocals on Vanans Makt

Album Review – Büddah / Amyotrophy (2026)

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Behold the first full-length opus by this ruthless Polish entity, offering nine anthemic hymns of destruction for admirers of the darkest side of Death and Thrash Metal.

After the releases of their debut EP The Curse of Ferrius, in 2022, and the live album Resurrection Clarity (Live at 2 Koła ’24), in 2024, Gdańsk, Poland-based Blackened Death/Thrash Metal duo Büddah are ready to crush our frail bodies and souls with their first ever full-length installment, entitled Amyotrophy (a progressive wasting of muscle tissues). Recorded by Damian Bednarski (of Unborn Suffer), produced by the same Damian Bednarski alongside Marcin Skowroński (of Fatigue), who was also responsible for the mixing and mastering of the album, and displaying a killer artwork and layout by vocalist Julian Schutta, the new album by Julian Suchtta on vocals and Marek Gross on vocals, guitars and bass, with the support of session drummer Igor Jażdżewski, takes no prisoners in their quest for extreme, ruthless music, offering nine anthemic hymns of destruction for admirers of the darkest side of Death and Thrash Metal.

The duo wastes no time and kick off their demented festivities with Amyotrophy I, with their devilish gnarls and the ruthless blast beats by Igor sounding absolutely explosive; whereas Bowel Fane presents cryptic, vile words vociferated by the duo (“Awakened in the cryptic maze / Helpless cries shove off the walls / My blind soul tries to find the exit”) amidst a devastating Blackened Thrash Metal sonority. Then they invest in a pure Death Metal sound in Waste of Flesh, with the dirty, slashing riffage by Marek walking hand in hand with their raspy guttural; and a song title like Disfigured Ones reeks of Death Metal, and Julian and Marek make sure the music also lives up to the genre with their demolishing roars and riffs, supported by Igor’s demented drumming. After that, Fiend then presents hints of Thrash Metal, Hardcore and Crust, perfect for slamming into the pit like there’s no tomorrow.

The rumbling bass by Marek ignites another display of undisputed Death Metal in Mouth Full of Bones MMXXV, with the old school beats and fills by Igor adding an even more primeval touch to the song. Then we face the dark, sinister interlude Law of the Snake, setting the stage for Büddah to destroy our senses with Serpent’s Scourge, by far the heaviest of all songs, featuring guest vocalists Damian Bednarski and Łukasz Pieszczyński, and with its cryptic lyrics (“I faced the mask of thousand tongues / with eyes surrounding its mouth / It’s lurking voice crawling under my nails / oviposited on my bearing / On my bearing…”) matching perfectly the sonic savagery blasted by Julian and Igor. Finally, they go full circle with the second “part” of the album title, Amyotrophy II, where Marek does an amazing job with both his riffs and solos, going experimental halfway through it before ending on a melodic, introspective manner.

Julian and Marek need a little less than 40 minutes in Amyotrophy to show the entire world of heavy music that the name Büddah is already a reality, blasting our speakers and melting our faces with their undisputed fusion of extreme music genres and subgenres in the best Polish style imaginable. Furthermore, if you want to show such a hardworking duo your admiration and support, you can start following them on Facebook and on Instagram, stream their caustic compositions on any available platform such as Spotify, and above all that, purchase their incendiary debut offering from their own BandCamp, as well as from the Godz ov War Productions’ BandCamp or webstore. Amyotrophy is the strongest effort to date by such an up-and-coming duo hailing from the fires of Poland, and based on the quality of the music found throughout the album, we can rest assured we’ll hear a lot more from them in the foreseeable future.

Best moments of the album: Amyotrophy I, Disfigured Ones and Serpent’s Scourge.

Worst moments of the album: None.

Released in 2026 Godz ov War Productions

Track listing
1. Amyotrophy I 5:33
2. Bowel Fane 2:41
3. Waste of Flesh 3:27
4. Disfigured Ones 4:41
5. Fiend 5:11
6. Mouth Full of Bones MMXXV 4:33
7. Law of the Snake 1:34
8. Serpent’s Scourge 4:26
9. Amyotrophy II 6:58

Band members
Julian Suchtta – vocals, djembe on “Serpent’s Scourge”
Marek Gross – vocals, guitars, bass, shakers on “Serpent’s Scourge”

Guest musicians
Igor Jażdżewski – drums (session)
Damian Bednarski – vocals on “Serpent’s Scourge”
Łukasz Pieszczyński – vocals on “Serpent’s Scourge”

Album Review – Ectovoid / In Unreality’s Coffin (2026)

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From the abyssal and blistering depths of Alabama, this vile creature returns with its third studio album, an exhumation of Death Metal’s spectral essence and a relentless pulse of putrefaction.

From the abyssal and blistering depths of Alabama and featuring members from Seraphic Entombment and Father Befouled, the destructive Death Metal force known as Ectovoid returns in full force with their third full-length opus, titled In Unreality’s Coffin, the follow-up to their 2015 sophomore Dark Abstraction. Recorded, mixed and engineered by Alex Parra at Second Sight Sound, mastered by Dan Lowndes at Resonance Sound Studio, and showcasing another killer artwork by Italian master Paulo Girardi, the new offering by C.B. on vocals and guitars, C.S. also on the guitars, R.S. on bass, and C.M. on drums is an exhumation of Death Metal’s spectral essence and a relentless pulse of putrefaction, summoning shadows into eternal decay and entombing listeners in cavernous pummeling riffs.

Those American death dealers begin their infuriated feast of venomous sounds in Dissonance Corporeum, with C.B. already vomiting the song’s devilish words accompanied by the unstoppable beats and fills by C.M., whereas Collapsing Spiritual Nebula sounds even more dynamic and vibrant, with the Crust-infused riffs by C.B. and C.S. transpiring a violent blend of Death Metal. R.S. and C.M. continue to shake the foundations of earth in Intrusive Illusions (Echoes from a Distant Plane), perfect for some insane “dancing” inside the circle pit; and investing in a ruthless 90’s Death Metal sonority we face Formless Seeking Form, with C.B.’s gruesome roars being nicely complemented by C.S.’s grim backing vocals. And if that’s not heavy enough for you, Irradiated Self manages to get even more demented, infernal and visceral than its predecessors, with C.M. once again stealing the show with his deadly beats and fills.

The guitars by C.B. and C.S. keep breathing fire in the title-track In Unreality’s Coffin, inviting us all to bang our fucking heads nonstop in the name of primeval Death Metal, supported by the rumbling bass by R.S.; and the quartet shows no mercy for our putrid souls in Erroneous Birth, melting our faces with their undisputed violence and hatred, with C.B. barking and roaring manically for our total delight. Their second to last explosion of old school Death Metal comes in the form of It Is Without Shape, an instrumental interlude that could have had some vocals to give it an extra taste, flowing into In Anguished Levitation, a lecture in absolute brutality and insanity where their caustic riffs, demonic guttural and demolishing bass and drums turn it into a must-listen for fans of the genre.

Across three full-length albums and various other releases, Ectovoid have fiercely honed their craft, carving out a distinct identity in the broader Death Metal landscape while continuing to pursue higher plateaus of dark Death Metal artistry, with In Unreality’s Coffin flawlessly representing the band’s evolution in the extreme arts, being therefore tailored for admirers of the just as heavy sounds by Autopsy, Necrot, Incantation, and Acephalix, among others. The guys from Ectovoid are waiting for you on Facebook and on Instagram with news, tour dates and more of their music, and don’t forget to also stream their vicious creations on Spotify, and to put your bloody hands on In Unreality’s Coffin by clicking HERE (BandCamp) or HERE (mailorder). In other words, it’s time to summon total darkness to the sound of the new opus by Ectovoid, feeding you inner demons with their ruthless and primeval blend of Death Metal insanity.

Best moments of the album: Collapsing Spiritual Nebula, Irradiated Self and In Anguished Levitation.

Worst moments of the album: It Is Without Shape.

Released in 2026 Everlasting Spew Records

Track listing
1. Dissonance Corporeum 4:24
2. Collapsing Spiritual Nebula 5:42
3. Intrusive Illusions (Echoes from a Distant Plane) 3:55
4. Formless Seeking Form 6:02
5. Irradiated Self 3:55
6. In Unreality’s Coffin 4:06
7. Erroneous Birth 5:42
8. It Is Without Shape 3:22
9. In Anguished Levitation 7:26

Band members
C.B. – vocals, guitars
C.S. – guitars, backing vocals
R.S. – bass
C.M. – drums

Album Review – Disfuneral / In Horror, Reborn (2025)

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This Archaic Death Metal entity from France will crush your souls armed with their sophomore album, delving deeper into themes of death, gore, and horror.

Formed in 2015 in Nancy, France, Disfuneral emerged from the remnants of the band Herpes, embracing a raw and unfiltered approach to Death Metal. Crafting a sound that pays homage to the early days of Death Metal while infusing their unique sense of humor and personality, calling their style as “Archaic Death Metal”, the band formed of Renaud Mann on vocals, Florian Brabant on the guitar, Clément Favre on bass and Nicolas Bauer on drums is set to unleash hell with their sophomore opus, entitled In Horror, Reborn. Recorded by the band itself (vocals, guitars, bass) and by Fabien Cruzille (drums), mixed and mastered by Robert Pehrsson at Studio Humbucker, and displaying a monstrous artwork by Jon Whiplash, the follow-up to their 2022 album Blood Red Tentacle delves deeper into themes of death, gore, and horror, encapsulating the band’s signature sound by blending ferocious riffs, guttural vocals and pounding rhythms, reflecting their strict dedication to the genre’s roots.

Simply hit play and a massive wall of sounds will crush you like an insect in Catacomb Dwellers, with Florian and Clément slashing their stringed axes in the name of classic Death Metal, and it’s pedal to the metal in the infuriated Tombs Vomiting the Dead, led by the hammering drums by Nicolas while Renaud barks and roars manically nonstop. The lancinating, visceral riffs by Florian will pierce your soul in Ripped from Within, a Death Metal beast that sounds and feels as dark and heavy as it can be, whereas Crypt of Demented lives up to its “charming” name, offering an overdose of heaviness and guttural vociferations, with the metallic bass by Clément walking hand in hand with Nicolas’ pounding drums.

Then adding a bit of Crust to their core Death Metal we have Extremity in Morbidity, a fast and furious tune spearheaded by Renaud’s demented roars, and investing in a much more somber, cadenced sound presenting hints of Doom Metal the band brings forward Dark Ages Ritual, with Clément’s bass sounding beyond heavy. Blessed by Decay is another slab of brutality and savagery by those French bastards, with Nicolas dictating the song’s frantic pace with his unstoppable beats, followed by the title-track In Horror, Reborn, presenting everything we love in Death Metal and more, sounding ruthless from start to finish and inviting us all for some wild mosh pit action. The band then closes the album on a high and demolishing note with Call from the Void, again showcasing Florian’s caustic riffage and Renaud’s deranged vocals.

In a nutshell, fans of bands the likes of Autopsy, Entombed, Necrot and Death Breath will certainly have an excellent time listening to In Horror, Reborn, and you can join those ruthless death metallers by following them on Facebook and on Instagram, by streaming their music on Spotify, and above all that, by purchasing their demented new album from Bandcamp or from the Redefining Darkness’ webstore (in the United States or in the EU and rest of the world). Disfuneral are definitely among us to spread gore, violence and death armed with their unrelenting music, with In Horror, Reborn representing a solid step further in their career and, consequently, a very good reason for us all to dive into the pit to the sound of our beloved Death Metal.

Best moments of the album: Tombs Vomiting the Dead, Extremity in Morbidity and In Horror, Reborn.

Worst moments of the album: Dark Ages Ritual.

Released in 2025 Redefining Darkness Records

Track listing
1. Catacomb Dwellers 4:19
2. Tombs Vomiting the Dead 3:59
3. Ripped from Within 3:34
4. Crypt of Demented 4:52
5. Extremity in Morbidity 2:37
6. Dark Ages Ritual 3:50
7. Blessed by Decay 4:16
8. In Horror, Reborn 3:22
9. Call from the Void 4:30

Band members
Renaud Mann – vocals
Florian Brabant – guitar
Clément Favre – bass
Nicolas Bauer – drums

Album Review – Völva / Desires Profane (2024)

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Behold the new album by these three ruthless Swedish Black Metal ladies, a howling, hate-filled voice of rage, fueled by the fire and the fists that have subjugated womankind.

“Like the screams from a thousand vengeful souls from the witch’s bonfire.” – Vittra describes the sound of Völva

Forged in 2018 in in the simmering underground cauldrons of Punk and Black Metal of Malmö, Sweden, Black Metal/Crust outfit Völva will crush your damned soul to pieces in their new album, titled Desires Profane, a howling, hate-filled voice of rage, fueled by the fire and the fists that have subjugated womankind since the old ways were undone by the insidious Christian contamination of the world. Recorded by Oliver Dah in Studio Quaalude, mixed and mastered by Ulf Blomberg at Hoborec, and with a cryptic artwork by The Black Bird Sings, the first full-length album by vocalist and bassist Hedonosticia, guitarist Vittra and drummer Skuld seeks to explore Satanic Feminism, breaking away from conformity and exploring a higher purpose through free will, body and lust, all while being recommended for admirers of the caustic creations by Darkthrone, Urgehal, Wolfbastard and Taake, among many others.

Their evil, dirty and cryptic feast of Black Metal kicks off in full force with The Tower (check their performance playing this amazing song at Quaalude Sessions #15), with Hedonosticia already crushing our minds with her she-wolf gnarls, and it’s time to walk through the fires of hell together with those talented Sweds in Walk With Me, with Vittra showing no mercy for our souls, blasting infernal riffs nonstop. They then go full Black Metal in Expulsion of the Flesh, delivering endless animosity and darkness, with Hedonosticia’s harsh vocals sounding utterly piercing; followed by Inverted Cross, displaying a beautiful name for another explosion of Black Metal magic by the trio, again melting our faces with their unrelenting savagery, blast beats and hellish growls, before we face five minutes of sluggish, grim and visceral passages in Never Forgive, showcasing elements of Doom Metal added to their devilish core essence.

And they keep hammering our putrid souls with their blend of Black Metal and Crust in The Serpent, also delivering elements of Death Metal and Blackened Death Metal, led by the infernal roars by Hedonosticia and the massive beats by Skuld, whereas Perpetual Putrefaction sounds a bit generic compared to the rest of the album, albeit still presenting the band’s characteristic blasphemous, demonic sounds. Asmodeus is one of the most infuriated of all songs in Desires Profane where Vittra’s riffs are the epitome of evil, sounding devilishly metallic, while Hedonosticia continues to summon the creatures of the underworld with her she-demon gnarls; followed by Salvation, another evil onrush of Black Metal masterfully brought into being by the band, living up to the legacy of Swedish Black Metal, with Skuld once again kicking ass on drums. And last but not least, they offer us all a ruthless Black Metal extravaganza titled Vagabond, reminding me of some of the most wicked creations by the mighty Skeletonwitch.

In summary, those three Swedish ladies sound absolutely insane and on fire throughout their entire newborn beast, proving once again that women not only have their place in heavy music, but that they can also sound heavier, darker and more caustic than any man. Hence, you can check what they’re up to on Instagram, including their tour dates, stream their creations on any streaming service like Spotify, and grab a copy of their scathing new album from their own BandCamp, from the Grind To Death Records’ BandCamp, or from the Fiadh Productions’ BandCamp, helping them spread their infernal howl in the name of feminism and Black Metal to all four corners of our sexist and decaying world.

Best moments of the album: Expulsion of the Flesh, The Serpent and Asmodeus.

Worst moments of the album: Perpetual Putrefaction.

Released in 2024 Grind To Death Records/Fiadh Productions

Track listing
1. The Tower 4:10
2. Walk With Me 2:59
3. Expulsion of the Flesh 3:45
4. Inverted Cross 3:12
5. Never Forgive 5:19
6. The Serpent 3:42
7. Perpetual Putrefaction 2:30
8. Asmodeus 2:31
9. Salvation 4:38
10. Vagabond 2:28

Band members
Hedonosticia – vocals, bass
Vittra – guitars, backing vocals
Skuld – drums, backing vocals

Album Review – Unborn Generation / …and All We Forget (2024)

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These Finnish veterans strike again with a post-apocalyptic album comprised of ten songs of brutally frost-bound Grindcore and Crust.

Describing a world long after an apocalypse where rebuilding has begun, but where yet the post-apocalypse generations have learnt nothing and remain ignorant as the sins of the fathers are repeated all over again, …and All We Forget is the brand new opus by Jyväskylä, Finland-based act Unborn Generation, offering ten songs of brutally frost-bound Grindcore and Crust for admirers of the genre. Recorded, produced, mixed and mastered by the band’s own vocalist and guitarist Herkko Huttunen, with drums recorded by Tuomas Kokko at Electric Fox Studios, the seventh studio album by the aforementioned Herkko Huttunen alongside bassist Arto Kettunen and drummer Eetu Huttunen brings to our avid ears the band’s trademark intense sound, a fight-or-flight response inducing, yet at the same time tingling the backsides of melancholics with northern melodies.

And the band wastes no time and begin their furious feast of Grindcore and Death Metal with Kivun kuilu, or “abyss of pain” from Finnish, with Herkko sounding absolutely demented on vocals, whereas Eetu continues to smash his drums like a beast in Rattus (or “bike”), another pulverizing creation by the trio that will leave you completely disoriented after its three minutes of insanity are over. Herkko roars and slashes his axe nonstop in Kruunu, which means “crown”, supported by the always rumbling kitchen by Arto and Eetu, followed by Puppets, another blast of pure Grindcore perfect for slamming into the pit, with Herkko screaming manically until the very last second. And Burst sounds even more demented, sharp and visceral than its predecessors, with Eetu dictating the song’s infernal pace supported by the massive bass lines by Arto.

Then blending the speed and rebelliousness of Punk Rock with their core fusion of Death Metal and Grindcore we have Heritage, and the final result is another beast of a song led by the hammering drums by Eetu. Swamp is a more cadenced tune, yet still extremely caustic and grim, with Herkko once again bursting his lungs barking nonstop, and I’m not sure how those three Finnish metallers can generate so much noise and insanity all by themselves like in Consunation, where after a sinister start all explodes into bestial Grindcore for our total delight; whereas Juuret, or “roots”, is a stunning display of sheer violence by the trio, sounding and feeling demented from start to finish with Eetu stealing the show with his unstoppable beats and fills. There’s still time for one last Grindcore attack by the band, titled Cycle, with Arto’s bass bringing tons of heaviness to their sound while Herkko extracts electricity, adrenaline and rage from his guitar.

You can enjoy the album in full on YouTube and on Spotify, but of course in order to show them your support and passion for the extreme you can grab a copy of the album from the band’s own BandCamp page, from the Inverse Records webstore, or from Apple Music. Also, don’t forget to start following the band on Facebook and on Instagram, joining the band on their post-apocalyptic world full of violence and evil, but at the same time to the sound of the band’s demented Grindcore to make things a lot more fun and enjoyable, therefore fueling the band to keep hammering our cranial skulls with several more albums in the upcoming years.

Best moments of the album: Rattus, Burst and Juuret.

Worst moments of the album: Swamp.

Released in 2024 Inverse Records

Track listing
1. Kivun kuilu 1:53
2. Rattus 3:11
3. Kruunu 2:51
4. Puppets 3:44
5. Burst 2:22
6. Heritage 3:21
7. Swamp 3:46
8. Consunation 3:50
9. Juuret 2:29
10. Cycle 4:20

Band members
Herkko Huttunen – vocals, guitars
Arto Kettunen – bass
Eetu Huttunen – drums

Album Review – Odiosa / Selva de Pedra (2024)

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Enjoy 18 minutes of first-class Crossover Thrash made in Brazil, courtesy of an amazing band in their fight against social inequality, physical and psychological violence, fascism and other social struggles.

Formed in 2017 in the Brazilian city of Recife, in the state of Pernambuco, the vicious Crossover Hardcore four-piece outfit Odiosa, the feminine Portuguese word for “hateful”, has been conquering audiences of the most diverse age groups with the proposal of provoking reflections on social issues in their homeland. Formed of the venomous Luísa Cunha on vocals, Rafa Farias on the guitars, Thalys Rossi on bass, and  Vitor Lima on drums, the quartet has just released their new album titled Selva de Pedra, or “concrete jungle”, the follow-up to their 2021 EP Mil Motivos Para Te Odiar. Produced, mixed and mastered by the band’s own guitarist Rafa Farias, the album offers thirteen ass-kicking original tracks portraying all the social inequality, physical and psychological violence, fascism and other social struggles from their homeland Brazil, bringing to our avid ears elements from Groove Metal, Crust, and Grindcore to make things as caustic and heavy as possible.

In the intro Caos, absolute chaos, disorder and the always threatening sound of cop sirens warm us up for the pulverizing Sistema Imundo, or “filthy system”, with the band blasting a Ratos de Porão-style Punk Rock sonority led by the crushing beats by Vitor, kicking off the album on a visceral mode. Then enhancing their animosity to a whole new level we have Povo Desolado (“desolate people”), with Luísa barking like a beast during the song’s intense 22 seconds, followed by Alienados (“alienated”), a song about the current political situation in Brazil, with Luísa once again vociferating the song’s acid lyrics while Rafa pierces our minds with his sick riffs. Slowing things down but sounding beyond caustic and aggressive, Traje do Fascismo (“fascism costume”) offers two minutes of top-notch Hardcore where Luísa’s raspy vocals add an extra touch of obscurity to the song’s already grim vibe, whereas it’s time for a quick break to the calm and melancholic Viver Sem Medo, or “to live without fear”, working as an interlude with Luísa this time declaiming the song’s lyrics in a pensive way, flowing into the breathtaking Repúdio, or “repudiation”, putting the pedal to the metal and offering us a circle pit feast where Thalys blasts his bass in the name of old school Punk Rock.

They only need a minute to kick us hard in the ass in Sucateando Nossa História, or “scrapping our history”, where their riffs, bass and drums match perfectly with Luísa’s rebellious vocals, while Absurdo (“absurd”) brings to our ears more of their fusion of Brazilian Hardcore, Punk Rock and Thrash Metal, and the final result is fantastic, turning it into one of the most exciting moments of the album. The quartet shows no signs of slowing down or softening their music; quite the contrary, their infuriated Hardcore extravaganza goes on in Nossa Voz, or “our voice”, led by the hammering beats by Vitor, and there’s still more fuel to burn in Selva de Pedra, starting with Oprimido, Opressor!, or “oppressed, oppressor!”, where Rafa’s riffage will pierce our minds as usual. In the second to last explosion of Hardcore made in Brazil, titled Fracasso, or “failure”, Luísa sounds absolutely demented on vocals while her bandmates don’t let the energy go down not even a tiny bit. And how about one last minute of pure savagery? That’s exactly what the quartet offers us in the title-track Selva de Pedra, ending the album in great fashion.

If you’re eager to slam into a mosh pit while listening to first-class Hardcore, you can stream the album in full on YouTube and on Spotify, and start following the band on Facebook, Instagram and YouTube to enjoy more of their music and stay updated with their live concerts. And of course, go grab a copy of Selva de Pedra from the band’s own BandCamp page or by clicking HERE, putting a huge smile on the faces of those talented Brazilian musicians. Living in a concrete jungle is never easy, but fortunately we have bands like Odiosa to keep our eyes and ears open to all issues faced by the people who live in those urban areas, a relationship of love and hate that translates perfectly to the band’s acid Hardcore.

Best moments of the album: Sistema Imundo, Traje do Fascismo and Absurdo.

Worst moments of the album: None.

Released in 2024 Independent

Track listing
1. Caos 0:30
2. Sistema Imundo 1:34
3. Povo Desolado 0:22
4. Alienados 0:56
5. Traje do Fascismo 2:06
6. Viver Sem Medo 1:04
7. Repúdio 2:08
8. Sucateando Nossa História 0:57
9. Absurdo 1:34
10. Nossa Voz 1:23
11. Oprimido, Opressor! 2:21
12. Fracasso 2:20
13. Selva de Pedra 1:06

Band members
Luísa Cunha – voclas
Rafa Farias – guitars
Thalys Rossi – bass
Vitor Lima – drums

Album Review – Grand Cadaver / Deities Of Deathlike Sleep (2023)

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This Gothenburg-based horde is back with their breathtaking sophomore album, offering us all ten visceral songs exhaling classic Swedish Death Metal.

When the world abruptly shut down due to the global pandemic in 2020, people started looking for other ways to communicate with each other and engage in various projects during the lockdown. That’s exactly what five longtime friends and seasoned musicians from Gothenburg and Stockholm with a mutual love for the classic Swedish Death Metal sound did, bringing to life what’s known today as Swedish Death Metal beast Grand Cadaver. Now in 2023 the band currently formed of vocalist Mikael Stanne (Dark Tranquillity, The Halo Effect), guitarists Stefan Lagergren (The Grifted, Treblinka, Expulsion) and Alex Stjernfeldt (Novarupta, Let Them Hang, CHILD), bassist Christian Jansson (Pagandom, Dark Tranquillity), and drummer Daniel Liljekvist (Vordor, Disrupted, Katatonia) is unleashing upon us their sophomore album, titled Deities Of Deathlike Sleep. Recorded by Per Stålberg, Kalle Lilja and Daniel ‘Dollars’ Deurell at Welfare Sounds, mixed by Per Stålberg, mastered by Johan Reivén at Audiolord Mastering, and displaying a sick artwork by Illusive Illustration, the album is highly recommended for fans of the most visceral form of Death Metal made in Sweden, proving why those guys are already in their second album within only three years of existence.

Daniel takes the lead in the fast and furious The Forever Doom, offering us all straightforward Death Metal with Mikael growling in great fashion in a nonstop, high-octane tune that will surely sound fantastic when played live. It’s pedal to the metal with Stefan and Alex burning our damned souls with their scorching riffs in A Crawling Feast of Decay, a headbanging extravaganza that lives up to the legacy of Scandinavian Death Metal, followed by The Wishful Dead, even darker and more menacing than its predecessors, spearheaded by Mikael and his demonic roaring while Daniel keeps dictating the albums wicked pace behind his drums. After that we have Serrated Jaws, a great name for a heavy-as-hell, mid-tempo feast of darkness by Grand Cadaver where the sinister guitars by Stefan and Alex are nicely supported by the metallic bass by Christian; whereas the title-track Deities Of Deathlike Sleep will go straight to your jugular, with the band’s guitar duo delivering a lesson in Death Metal riffage while Christian continues to hammer his bass mercilessly.

The band needs just a few seconds to ignite an insane circle pit in Vortex Of Blood, adding elements from Thrash Metal and Crust to their core deadly sounds, all of course spiced up by the demented growls by Mikael; and more of the band’s crushing, visceral music comes in the form of Funeral Reversal, with all background elements darkening their sonority even further, not to mention how bestial Daniel sounds once again on drums. Then switching gears to a Doom and Stoner Metal-infused vibe it’s time for True Necrogeny, a neck-breaking creation by the band where Mikael’s deep roars walk hand in hand with the low-tuned, thunderous bass by Christian; and back to a more direct Death Metal sound, the quintet will pulverize our senses with Stabbed With Frozen Blood, where Mikael keeps barking nonstop accompanied by the crushing beats by Daniel and the always flammable riffs by Stefan and Alex. Last but not least, Grand Cadaver will hit us hard one final time with Necrosanctum, bringing forward almost five minutes of sheer brutality blasted by all band members to perfection, resulting in a superb ending to the album.

“We never even planned to release a full-length album, and here we are with our second! ‘Deities of Deathlike Sleep’ was conceived and recorded with the same mindset and the same team as our previous recordings, keeping it quick, spontaneous and enjoyable. This time it turned out a bit more dynamic, with the pummeling fury interspersed with some doom, gloom and darkness. But still, it’s simply ten tracks of Swedish Fucking Death Metal, the way we love it,” commented Grand Cadaver about their newborn beast, and you can put your dirty hands on such infernal album by purchasing it from their own BandCamp page, from the Majestic Mountain Records’ Big Cartel as a digipak or a gatefold LP, various bundles from Trust No One Recordings, the Bengans Edition limited to 100 copies, different versions from Napalm Records, from Apple Music, and from Amazon, and don’t forget to also follow the band on Facebook and on Instagram, and to stream their wicked creations on Spotify. In the end, all that leads to a simple question. Are you craving some first-class Swedish Death Metal? If your answer is yes with a deep guttural scream, then you’ll certainly have a blast with Deities Of Deathlike Sleep.

Best moments of the album: A Crawling Feast of Decay, Deities Of Deathlike Sleep and Stabbed With Frozen Blood.

Worst moments of the album: True Necrogeny.

Released in 2023 Majestic Mountain Records

Track listing
1. The Forever Doom 3:02
2. A Crawling Feast of Decay 3:16
3. The Wishful Dead 3:35
4. Serrated Jaws 4:23
5. Deities Of Deathlike Sleep 3:26
6. Vortex Of Blood 2:24
7. Funeral Reversal 3:15
8. True Necrogeny 3:29
9. Stabbed With Frozen Blood 3:06
10. Necrosanctum 4:51

Band members
Mikael Stanne – vocals
Stefan Lagergren – guitar
Alex Stjernfeldt – guitar
Christian Jansson – bass
Daniel Liljekvist – drums