Tag Archives: death metal

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 – Karmian / Horror Vacui (2026)

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These Modena-based melodeath masters explore the psychological and existential void behind real acts of Italian murder and madness in their obscure sophomore opus.

With a career stretching from their early beginnings in 2005 to their present incarnation, Modena-based act Karmian has become one of the most distinctive voices of Italian Melodic Death Metal, known for merging aggression, drama, and conceptual storytelling. Their musical evolution culminates now in 2026 in their most ambitious work to date, their sophomore opus Horror Vacui, following up on their critically acclaimed 2018 debut Surgere et Cadere. Recorded, mixed and mastered by Luca “Cocco” Cocconi and Simone Sighinolfi at Audiocore Studio, and displaying a stunning artwork by Sheila Franco, the newborn spawn by vocalist Andrea Bertolazzi, guitarists Andrea Baraldi and
Michele Perla, bassist Luca Marmi, and drummer Nicholas Badiali explores the psychological and existential void behind real acts of Italian murder and madness, transforming nine true-crime cases into allegorical portraits of emptiness, collapse, and human frailty, being therefore a must-listen for admirers of the music by Kataklysm, Heaven Shall Burn, At The Gates, Dark Tranquillity, and In Flames.

It doesn’t take long for the band to crush our skulls with their violent blend of melodeath in One Thousand Shining Bubbles, featuring guest Nicole Pisani on the talharpa (a traditional, ancient Northern European bowed lyre), with Andrea Baraldi and Michele delivering a striking axe duet for our total delight. Beastmaster of the Void sounds even more infuriated thanks to the ruthless beats and fills by Nicholas while Andrea Bertolazzi growls and roars like a rabid beast; followed by Gott mit Uns nicht, where “Gott mit uns” (“God [is] with us”) is a phrase commonly used in heraldry in Prussia (from 1701) and later by the German military, but their version “God is not with us” exhales pure melodeath led by their caustic riffs and relentless drums. And after a doom-ish intro the band blasts more of their trademark sonority in The Call of the Abyssal Bell, with their guitars walking hand in hand with Andrea Bertolazzi’s guttural.

Black Magical Soap Opera has a very cool name for a metal song, offering more of our beloved Gothenburg sound (but made in Italy, of course), sounding heavy-as-hell and even presenting elements from classic Death Metal; while Temple of the Fleshless Goddess is an excellent option for headbanging like a maniac during their live performances, with Luca and Nicholas generating a metal earthquake armed with their respective bass and drums. Libido et Mors, or “lust and death” from Latin, sees Andrea Baraldi and Michele once again shred their axes in great fashion, resulting in a lesson in modern-day Melodic Death Metal, whereas Beyond the Dream Gate of Fear keeps the album at a high level of aggression without forgetting the band’s trademark harmony. Furthermore, Andrea Bertolazzi sounds inhumane as usual on vocals, bringing an extra dosage of rage to their music. And lastly, Maker of Angels reminds me of Amon Amarth at times, which is obviously great, closing the album with an overdose of evil roars, visceral riffs, and hammering drums.

Whether navigating historical epics or psychological abysses, the work by Karmian is defined by a commitment to exploring the deeper forces that drive human behavior, such as resistance, decline, obsession, and the void within, and Horror Vacui stands as the culmination of this journey, a mature, uncompromising statement of artistic vision, philosophy, and Melodic Death Metal identity. If you want to know more about the band, their music, and obviously their incendiary live concerts, you can find them on Facebook and on Instagram, get caught in a mosh by listening to their high-octane songs on Spotify, and purchase the excellent Horror Vacui from Rockshots Records. Karmian definitely know how to transform the cases of murder, insanity and violence from their homeland into first-class heavy music, and their new opus is there to prove how precise they are in such a unique and devilish art.

Best moments of the album: Beastmaster of the Void, Black Magical Soap Opera and Libido et Mors.

Worst moments of the album: None.

Released in 2026 Rockshots Records

Track listing
1. One Thousand Shining Bubbles 6:38
2. Beastmaster of the Void 3:21
3. Gott mit Uns nicht 4:38
4. The Call of the Abyssal Bell 6:17
5. Black Magical Soap Opera 3:54
6. Temple of the Fleshless Goddess 3:23
7. Libido et mors 3:40
8. Beyond the Dream Gate of Fear 4:16
9. Maker of Angels 4:43

Band members
Andrea Bertolazzi – vocals
Andrea Baraldi – guitars
Michele Perla – guitars
Luca Marmi – bass
Nicholas Badiali – drums

Guest musicians
Nicola Pisani – talharpa on “One Thousand Shining Bubbles”
Luca “Cocco” Cocconi – keyboards on “One Thousand Shining Bubbles” and “The Call of the Abyssal Bell”
Simone Sighinolfi – keyboards on “One Thousand Shining Bubbles” and “The Call of the Abyssal Bell”

Interview – Nelson Acerbus (Semper Acerbus)

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It’s time for a nice and fun chat with the unstoppable frontman for Texas-based Metalcore band Semper Acerbus, talking about their new album, touring and more.

Nelson Acerbus (Semper Acerbus)

The Headbanging Moose: Thanks for your time, guys! Could you please start by introducing yourselves to our readers? Who are Semper Acerbus, when did the band start, and what’s the main goal with your music?

Nelson Acerbus: Hello all, this is Nelson, vocalist for Semper Acerbus, we are a metalcore band from Texas and we started in December of 2016. Our man goal is expressing ourselves in our own creative musical way and if we get followers along this journey, that a big plus!

THM: You new album Following Omens is a wild metal journey across deserts, dunes, mountains, and woodlands. Could you give u more details about the album, the whole idea behind it etc.?

NA: This album represents everything that we have embodied along our music journey, kinda letting it all out plus using things that we have not explored more in the past. More clean singing, more intricate guitar parts, odd time signatures, fun stuff like that.

THM: Some of my favorite songs of the album are Suffering Awaits, The Gallows and District Coward, and coincidentally all three are very Death Metal. Was that the intention? It feels like Semper Acerbus can be considered a Metalcore band with a strong Death Metal vein. Do you agree with that?

NA: You are absolutely right, specially Suffering Awaits, its a straight death metal song, myself and Jaime, one of our guitar players grew up listening to death metal so we love doing stuff like that.

THM: Who are your biggest idols and influences in music and in life in general, and what’s their impact on your creative process and your music?

NA: First names that comes to mind musically, Jesse Leach, Max Cavalera, Chuck Schuldiner, Michael Sweet and many more, helped shape the way I saw music, helped me embrace what I wanted to do in life.

THM: The artwork by Federico Bossinga of Abstract Chaos Design feels absolutely dark and apocalyptic, matching perfectly with your music. How did you get in touch with the artist, and how was the process to get to the final artwork?

NA: We have worked together for a long time, he always brings my ideas to life, he is a great talent. As we always do, I send him an idea, he sends back my idea as an image and then it’s a yay or nay or changes here and there.

Album Review – Semper Acerbus / Following Omens (2026)

THM: How’s the metalcore (or any other type of heavy music) scene nowadays in Del Rio, Texas? Are there any other bands from your area you would recommend to our readers?

NA: There’s no other metalcore band in Del Rio TX, we are a very small town in the middle of nowhere with a big tastes for tex-mex music and culture. We are the sore thumb lol!

THM: Now that Following Omens is out, what does the future hold for Semper Acerbus? Any plans for touring outside of the United States, like in Canada or at any European summer festival? You guys need to bring your music to Toronto for sure!

NA: We want to tour as much as possible, we have offers overseas and nationally that we want to definitely make it happen. We had a run in Canada last year that fell through so, HEY PROMOTERS! Come book us!!

Semper Acerbus

THM: Speaking of touring, which other bands would be part of your “dream tour”? And which bands have you guys had an amazing experience touring with so far?

NA: The most fun we had was touring with ASESINO and Skinlab, great dudes and we had lots of fun. Dream tour would be Killswitch Engage, Trivium, Bleed from Within and Semper Acerbus.

THM: Let’s play an easy and fun game now. Which ten songs would you add to a time capsule for future generations? It can be metal or non-metal, no problem at all.

NA:
1. Fur Elise – Betoven
2. Nessun Dorma – Pavarotti
3. Crystal Mountain – Death
4. Yahweh – By Stryper
5. Lifting Shadow of a Dream – Dream Theater
6. Arise – Sepultura
7. The Element of One – Killswitch Engage
8. Rainbow in the Dark – Dio
9. Cemetery Gates – Pantera
10. Separate Ways – Journey

THM: Thanks again for your time! Feel free to send your final considerations to our readers, and hopefully we’ll see you hitting the stages of Toronto anytime soon!

NA: Thanks for this opportunity, if you haven’t checked our music and our new album, “Following Omens” go check it out! Give us a chance! Keep it metal!

Links
Semper Acerbus Facebook | Instagram | YouTube | Spotify | Linktree

Album Review – Lamb of God / Into Oblivion (2026)

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Beholden to no one, and with nothing left to prove, these Groove Metal titans are unleashing upon us all their tenth studio album, as we all head into oblivion.

Beholden to no one, and with nothing left to prove, Richmond, Virginia’s own Groove Metal titans Lamb of God are back with album number ten in their undisputed career, the hard hitting Into Oblivion, following up on their critically acclaimed VII: Sturm und Drang (2015), Lamb of God (2020), and Omens (2022). Produced and mixed by longtime studio collaborator Josh Wilbur, and recorded across multiple locations tied closely to the band’s identity, the new opus by the iconic frontman D. Randall “Randy” Blythe, guitarists Mark Morton and Willie Adler, bassist John Campbell, and drummer Art Cruz finds the band embracing their position as modern metal veterans. The ten-song collection references the band’s roots, doubles down on their signature groove, and expands their approach, resulting in an album that feels both deliberate and untethered.

In the opening track Into Oblivion we already see Randy deliver his trademark acid lyrics (“I – I am the chaos / I am the voice you can’t unhear / Strife and betrayal / I am the war re-engineered / In a life far worse than death / I am the thief that steals your breath”) while the music is heavy, atmospheric and enfolding thanks to the hammering drums by Art and the always sharp riffs by Mark and Will; and it’s then pedal to the metal in the best Thrash and Death Metal style in Parasocial Christ, with Randy vociferating rabidly as usual accompanied by the metallic riffs and solos by the band’s unstoppable guitar duo. The rumbling bass by John sets the stage for another vicious attack by Lamb of God entitled Sepsis, a neck breaking aria of first-class Groove Metal, followed by The Killing Floor, a demented song perfect for igniting a maniacal circle pit, with Art crushing his drums like there’s no tomorrow. And after such a thunderous tune it’s time for the dark ballad El Vacío, where Randy delivers deep, passionate clean and harsh vocals.

St. Catherine’s Wheel offers more of their trademark (and utterly headbanging) sonority led by the visceral riffs by Mark and Will, supported by John’s menacing bass, whereas Blunt Force Blues brings to our avid ears another round of their acid words growled by Randy (“Here comes another enemy / A goddess standing on the wall / For all the men doomed to die / An alabaster beauty sweats / Paints the currents black, they must ride / Last breath decays / Do you hear?”) while Art’s drums dictate the song’s bludgeoning pace and vibe. The band continues to hammer their sonic weapons of mass destruction in Bully, also presenting elements from Southern Metal added to their core groove madness, followed by A Thousand Years, a mid-tempo aria as grim and obscure as it can be, with Randy declaiming the song’s devilish lyrics rabidly from start to finish. Lastly, they invite us for one final slam into the pit to the sound of Devise / Destroy, a venomous beast of Groove Metal where their scathing riffs and pounding drums match perfectly with Randy’s enraged roars.

“For me, the album is about having the space to breathe creatively and not feeling like we have to keep up with any trend or expectation,” said Mark Morton. “It feels nice to be untethered from any agenda beyond rallying around the notion of, ‘Let’s just make music that we think is cool,’ which is really where it all started.” Randy Blythe also explained why the band decided to name the album Into Oblivion. “Because that’s where we’re heading. In general, the album is about the ongoing and rapid breakdown of the social contract, particularly here in America. Things are acceptable now that would’ve horrified people just 20 years ago.” We’re living dark times indeed, and you can join Lamb of God in their daily fight against all that’s wrong in our rotten society by following them on Facebook and on Instagram, by checking their acid videos on YouTube, by streaming their incendiary discography on Spotify, and of course by purchasing their first-class new album from their own webstore or from the special Into Oblivion website. In the end, as we’re all heading into oblivion like Randy said, at least let’s go down in style, raising our horns to one of the best metal albums of the year.

Best moments of the album: Parasocial Christ, The Killing Floor, Blunt Force Blues and Devise / Destroy.

Worst moments of the album: None.

Released in 2026 Century Media Records/Epic Records

Track listing
1. Into Oblivion 3:34
2. Parasocial Christ 3:20
3. Sepsis 3:38
4. The Killing Floor 4:16
5. El Vacío 4:17
6. St. Catherine’s Wheel 4:05
7. Blunt Force Blues 4:11
8. Bully 4:13
9. A Thousand Years 3:53
10. Devise / Destroy 3:49

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

Album Review – Bras D’Honneur / Hate Speech (2026)

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Behold the debut opus by this veteran duo from Ukraine, a 13-song, 35-minute torrent of primitive Black and Death Metal.

The latest creation of the duo R. (aka Roman Saenko) and V. (aka Vladislav Petrov), who are jointly infamous for bands like Drudkh, Precambrian, Blood of Kingu, and Rattenfänger, among others, Kharkiv, Ukraine-based Blackened Death Metal entity  Bras D’Honneur (an obscene gesture used to express contempt, roughly equivalent in meaning to phrases like “fuck you” or “up yours”) is unleashing upon our rotten society their debut opus, titled Hate Speech. Musically inspired by the likes of Von, Profanatica, Havohej and Belial, the new album by the aforementioned R. on vocals, guitars and bass, and V. on drums and keyboards is a 13-song, 35-minute torrent of primitive Black and Death Metal, adorned by the primeval, ruthless  artwork by Warhead Art to give the whole album an even more menacing and rebellious vibe.

R. and V. seem to be on their most devastating mode in the opening tune Trench Knife, with their devilish vociferations and blast beats sounding inhumane; and it looks like the entire album will be savage, which is the case in Scum of the Earth, where V.’s demented beats and fills match perfectly with R.’s deep guttural. Their violence only grows stronger in Regicide, with R. not only vomiting the song’s evil words, but his riffage is also caustic; followed by Main de Gloire, another ode to classic Black Metal with their primeval Death Metal twist, and they go full Death Metal in the poetically titled Eaten Alive by the Pigs, a lecture in the style led by R.’s venomous riffage. Crown of Nails offers one and a half minute of pure madness, a Black Metal extravaganza where V. shows no mercy for his drums, and in Stench of the Rotten Blood the duo continues to pave their path of absolute chaos and hatred, with V.’s raw beats kicking us hard in the head.

R.’s menacing, razor-edged guitar sets the tone in the bludgeoning tune Poisoning the Hearts with Malice, while his vociferations sound as if they’re coming from a beast that inhabits a sinister cavern, and they continue their metallic storm of Black Metal in Disemboweled, two and a half minutes of absolute obscurity and heaviness led by V.’s unstoppable drums. Goat Rapists continues the same darkened path from its predecessor, with its hybrid of demonic Black and Death Metal sounding as heavy as hell, whereas Judas Cradle also presents their classic visceral sonority, with the duo smashing their instruments like there’s no tomorrow. Bras d’Honneur, the song that carries the name of the band, couldn’t have sounded more hellish and pulverizing, a lecture in vile, unrelenting Blackened Death Metal with R. roaring like an evil creature, before all comes to an end with Sheep in Wolf’s Clothing, one minute of an instrumental devastation that would have been even more powerful with R.’s vocals.

In a nutshell, rough, rude, and unrepentantly so, Hate Speech sonically lives up to its title, stripping the primitivism of bands like Hate Forest down yet further, hammering through approximately two riffs per song, and making “blunt-force trauma” sound fanciful. Hate Speech is the record this modern world deserves, and you can purchase such a harsh and scathing album from the Primitive Reaction’s BandCamp or webstore, keeping the fires of Ukrainian Black and Death Metal burning and, therefore, inspiring R. and V. to continue their craft of darkness under their new project for the delight of everyone who knows how fucked up our world is today.

Best moments of the album: Regicide, Eaten Alive by the Pigs, Disemboweled and Bras d’Honneur.

Worst moments of the album: Sheep in Wolf’s Clothing.

Released in 2026 Primitive Reaction

Track listing
1. Trench Knife 2:55
2. Scum of the Earth 2:15
3. Regicide 3:17
4. Main de Gloire 2:31
5. Eaten Alive by the Pigs 3:04
6. Crown of Nails 1:35
7. Stench of the Rotten Blood 3:17
8. Poisoning the Hearts with Malice 4:28
9. Disemboweled 2:42
10. Goat Rapists 1:36
11. Judas Cradle 2:24
12. Bras d’Honneur 3:06
13. Sheep in Wolf’s Clothing 1:11

Band members
R. – vocals, guitars, bass
V. – drums, keyboards

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 – Unburier / As Time Awaits EP (2026)

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Expanding their sonic scope while honing the intensity that defined their previous releases, this UK-based Technical Death/Thrash Metal brigade returns to action with a pulverizing new EP.

Expanding their sonic scope while honing the intensity that defined their previous releases, UK’s own Technical Death/Thrash Metal brigade Unburier is back in action with As Time Awaits, a short, sweet and extremely venomous three-track EP that sees vocalist and guitarist Ben Champion, guitarist Blake Hibberd, bassist Stan Mitchell, and drummer Kim Hughes blend old and new school Death Metal styles with technicality, hooks, and razor-sharp songwriting. Carrying the torch of the classic Death Metal sound into a new age, As Time Awaits is certain to enthrall longtime fans of the genre, appealing to fans of giants the likes of Death, Necrophagist, and Revocation, among several others.

The metallic, rumbling bass by Stan will punch you right in the head in Continuum while his bandmates offer an overdose of brutality and technical sounds, all boosted by Ben’s desperate harsh vocals, followed by Abyssal Uncertainty, the most lyrically-ambitious track of the EP, with nods to Camus, Lovecraft and other literary influences, where the listener is invited to witness a trapped laborer’s descent into madness, reflecting on and acknowledging the absurdity of his life and death. Ben and Blake continue to slash their axes mercilessly, offering endless adrenaline flowing from their riffs and solos in the best Technical Death and Thrash Metal style. The third and last song of such an incendiary EP, titled Survive the Vermin, leaves us eager for a lot more from this new phase of Unburier, with Ben’s demented roars matching perfectly with the song’s riffage, bass lines and infernal beats and fills.

Newcomers to Unburier’s realm of fury and technicality will find As Time Awaits to be a compelling introduction to the band’s evolving sound, and longtime listeners will be proud to follow the band’s growth across their earlier releases Thrasher’s Gold (2019), Twisted Existence (2022), and Nebulous (2024), and if you want to know more about such an up-and-coming band from the UK scene you can find those guys on Facebook and on Instagram, listen to their ass-kicking music on YouTube and on Spotify, and purchase their pulverizing new EP from BandCamp or by clicking HERE. After EP number three I guess we’re ready for the band’s first full-length album in the near future, and based on the heaviness found in As Time Awaits, we can rest assured it will be total annihilation.

Best moments of the album: Abyssal Uncertainty and Survive the Vermin.

Worst moments of the album: None.

Released in 2026 Independent

Track listing
1. Continuum 4:00
2. Abyssal Uncertainty 5:29
3. Survive the Vermin 4:59

Band members
Ben Champion – vocals, guitar
Blake Hibberd – guitar, vocals
Stan Mitchell – bass
Kim Hughes – drums

Album Review – Novomundo / The Cursed Cult (2026)

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This Italian Groove Metal entity returns with their thrilling first full-length offering, a concept piece centered on Voodoo, its mysteries, rituals, and symbolic icons.

Born near Rome, Italy around 2012 with the idea to blend heavy and groovy music textures alongside various influences, rhythms, and instruments from all over the world, the unique Groove Metal entity known as Novomundo is unleashing upon us their first full-length opus, titled The Cursed Cult, following up on their 2024 EP  Echoes of Ego. A concept piece centered on Voodoo, its mysteries, rituals, and symbolic icons, the new offering by vocalist Valerio Cristiani, guitarists Carlo Ridolfi and Fabio Ciccone, and drummer Fausto Idini is a darker and more crushing take on their renewed sound, showcasing fourteen tracks of ferocity and raw energy blending dark ambient passages with a rotten edge, fusing death-groove and 2000’s metal influences enriched by modern tones and crust-core elements.

Their fusion of heavy music and tribal elements kicks off in full force with Son of Mawu, where Fausto’s primeval drums elevate Valerio’s screams to a whole new level, whereas Carlo and Fabio keep extracting darkly piercing riffs from their axes in Deathless, a heavy hitting tune perfect for slamming into the pit. Then after the short interlude Erzulie we face another ritualistic tune titled Bokor, with the venomous roars by Valerio exhaling Death and Groove Metal amidst a haunting sonority. The quartet continues to hammer their sonic weapons in The Coven, living up to the legacy of the genre, sounding at times like modern-day Machine Head; and we’re treated to another atmospheric interlude named Mojo, flowing into Vodun, a metallic ode to Voodoo where Fausto takes the lead with his pounding, bludgeoning beats and fills.

OSFTG continues where the previous song left off, perfect for some brutal headbanging to the grim roars by Valerio, while Le Marriage de Brigitte carries a weird name for another cinematic interlude before we’re crushed to pieces in Warlord, where Carlo and Fabio bring forward their most austere riffs of the album, this time reminding us of the glorious sound from Roots, by Sepultura. Despite its heaviness, the changes in God’s Violence end up making it a bit confusing to the listener; whereas they get back on track with the multi-layered extravaganza Maitresse La-Sirene, where modern and old school Groove Metal collide. Papa Legba is another tribute to the vile rituals of Voodoo, with Valerio and Fausto making a dynamic duo with their respective screams and beats, ending with the sinister outro Orishas, perfect for wrapping up the whole idea behind the album.

Touching on slavery, prejudice, and death as a way to give value to life, among other themes, The Cursed Cult guides the listener through the pantheon of Voodoo deities, called Loa, exploring their stories and traits as metaphors to convey the album’s core messages, while evoking emotional instability and a sense of unease, symbolizing the fear stemming from ignorance and unfamiliarity. Such a detailed and deep album of heavy music can be purchased from the band’s own BandCamp (or simply by clicking HERE), and you can get in touch with those talented Italians via Facebook and Instagram to know more about the band and their music, and also enjoy their idiosyncratic creations on YouTube and on Spotify. If Voodoo was a metal style, it would definitely be the music played by Novomundo, as their haunting new album is indeed a thrilling sonic ritual that will take the band places. Maybe some really dark ones.

Best moments of the album: Son of Mawu, Bokor, Vodun and Warlord.

Worst moments of the album: God’s Violence.

Released in 2026 Independent

Track listing
1. Son of Mawu 3:29
2. Deathless 3:47
3. Erzulie 0:33
4. Bokor 5:33
5. The Coven 4:10
6. Mojo 1:25
7. Vodun 3:53
8. OSFTG 4:09
9. Le Marriage de Brigitte 1:19
10. Warlord 3:32
11. God’s Violence 3:31
12. Maitresse La-Sirene 5:20
13. Papa Legba 4:39
14. Orishas 2:35

Band members
Valerio Cristiani – vocals
Carlo Ridolfi – guitar
Fabio Ciccone – guitar
Fausto Idini – drums

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)