Tag Archives: death metal

Album Review – Fractal Universe / The Great Filters (2025)

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This Progressive Death Metal outfit strikes again with their thrilling fourth studio album, a sonic journey like no other blending progressive tendencies with Jazz elements.

Having self-released their debut EP Boundaries of Reality in 2015, followed by the full-length albums Engram of Decline (2017), Rhizomes of Insanity (2019), and The Impassable Horizon (2021), Nancy, Grand Est, France-based Progressive/Technical Death Metal outfit Fractal Universe returns to action now in 2025 with their fourth studio effort, entitled The Great Filters. Once again blending progressive tendencies with Jazz elements, philosophical topics such as existentialism and the fragmented nature of human consciousness, innovative songwriting and high production quality, the new album by Vince Wilquin on vocals, guitars and saxophone, Yohan Dully on the guitars, Valentin Pelletier on bass, and Clément Denys on drums invites the listener to embark on a sonic journey like no other, helping those French metallers in reaching the peak of the Progressive Metal mountain worldwide.

Their progressive and metallic vein arises from the very first second in The Void Above, with the enraged roars by Vince walking hand in hand with the beyond intricate bass and drums by Valentin and Clément, respectively. Then continuing to experiment with different sounds and nuances we have The Great Filter, while staying true to their core Death Metal essence; whereas the Djent-infused bass by Valentin will hammer our heads in Causality’s Grip, accompanied by the whimsical guitar lines by Vince and Yohan, sounding like a Progressive Death Metal version of Dream Theater. And The Seed of Singularity is another song that goes heavy on bass, with a futuristic background providing Vince with all he needs to shine on vocals.

After that we’re treated to The Equation of Abundance, a smooth and charming ballad by the band, with the harsh vociferations by Vince bringing an extra touch of anguish and melancholy to the overall result; then investing in a heavier, more thunderous sound the band blasts our faces with Specific Obsolescence, with all of its breaks and variations, boosted by Clément’s spot-on drumming and Vince’s melancholic saxophone, turning it into a must-listen for fans of the genre. Dissecting the Real is another complex, vibrant and multi-layered creation by the band, offering more of the stylish riffs by Vince and Yohan, plus the endless heaviness flowing from Clément’s drums, followed by Concealed, a six-minute explosion of Progressive Death Metal led by the striking riffage by Vince and Yohan. Finally, the album ends on a strong note with A New Cycle, where the classy sound of the saxophone by Vince beautifully clashes with their visceral Death Metal sounds.

If their previous albums like their latest opus The Impassable Horizon already exhaled progressiveness and rage, it’s with The Great Filters that the quartet takes a huge step forward in their career, solidifying their core sound without repeating themselves or getting stale, always working towards innovation, and always with a lot of energy, passion and focus on their music. You can get more information about the band by following them on Facebook and on Instagram, stream more of their music on their YouTube channel or on Spotify, and above all that, show them your utmost support by purchasing a copy of The Great Filters by clicking HERE. In other words, if you love the complexity of Progressive Metal, but at the same time you’re an admirer of the visceral sound of Death Metal, then Fractal Universe might be exactly what you’re looking for in the underground, with their newborn opus sounding and feeling absolutely sharp and exciting for our total delight.

Best moments of the album: The Void Above, Specific Obsolescence and Dissecting the Real.

Worst moments of the album: The Great Filter.

Released in 2025 M-Theory Audio

Track listing
1. The Void Above 4:26
2. The Great Filter 3:41
3. Causality’s Grip 3:35
4. The Seed of Singularity 4:08
5. The Equation of Abundance 6:25
6. Specific Obsolescence 6:49
7. Dissecting the Real 5:23
8. Concealed 6:05
9. A New Cycle 5:04

Band members
Vince Wilquin – vocals, guitars, saxophone
Yohan Dully – guitars
Valentin Pelletier – bass
Clément Denys – drums

Concert Review – Meshuggah (Great Canadian Casino Resort Toronto, Mississauga, ON, 03/29/2025)

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A night to remember of sheer heaviness and brutality with three of the most must-see bands in the history of heavy music, at the best and most entertaining venue you can think of.

OPENING ACTS: Carcass and Cannibal Corpse

An amazing theater, several good friends, free parking, free pop and coffee inside the casino, no work the next day as it was a weekend, a vast selection of food options, and three of the most must-see bands in the history of extreme music. Apart from the shitty weather, with freezing rain and ice storms in parts of Ontario, Saturday night was perfect for countless metalheads at the fantastic Great Canadian Casino Resort Toronto, when the ruthless CARCASS, CANNIBAL CORPSE and MESHUGGAH took the venue by storm with their undisputed North American Tour 2025, and of course Keith Ibbitson of Metal Paparazzi and I wouldn’t miss it not even if the biggest snow storm ever had devastated the city that same day. My only complaint is that I couldn’t find the food truck (or tent) by Slayer Burger before the doors opened, and it was pouring after the show so I didn’t even dare to go outside to purchase one. Well, I wasn’t able to try their new Meshuggah’s Burger, but that’s fine. Next time I attend a concert near one of their locations I’ll definitely grab it, or another one of their exclusive burgers, because they kick some serious ass.

There was a huge line already forming way before the doors opened at 6pm, which made me a little worried if I would be able to buy a Cannibal Corpse shirt before the show started at 7pm, but the merch team was awesome and I had over 30 minutes to simply chill before the first attraction of the night hit the stage, the mighty CARCASS. They only played for a little bit over 30 minutes, but what a devastating concert by those Melodic Death Metal and Grindcore masters, or as some people like to label their music these days, “Death N’ Roll” masters. Despite their short setlist, they played some of the best songs from their most recent album Torn Arteries and Surgical Steel, plus of course my all-time favorite Carcass songs No Love lost and Heartwork, both from their 1993 masterpiece Heartwork. Let’s say it was a beyond phenomenal warmup for the upcoming attractions, courtesy of Jeff Walker, Bill Steer, Nippy Blackford and Daniel Wilding, and if Carcass ever visit your city armed with their venomous music, you know what to do.

Setlist
The Living Dead at the Manchester Morgue (Intro)
Unfit for Human Consumption
Buried Dreams
Incarnated Solvent Abuse
No Love Lost
Corporal Jigsore Quandary
Heartwork
Tools of the Trade
Carneous Cacoffiny (Outro)

Band members
Jeff Walker – vocals, bass
Bill Steer – guitars, backing vocals
Nippy Blackford – guitars
Daniel Wilding – drums

After a quick break, it was time for my favorite Death Metal band of all time to do what they do best, which is get onstage and “crush their enemies, see them driven before them, and to hear the lamentations of their women.” I’m talking about the one and only American institution CANNIBAL CORPSE, who precisely at 7.55pm kicked off their pulverizing show with the neck breaking Scourge of Iron, followed by Blood Blind (from their 2023 album Chaos Horrific), Inhumane Harvest and Evisceration Plague. And what do those songs have in common, you might ask? They’re not played at the speed of light, but that doesn’t make them less infuriated; quite the contrary, it’s their heaviness that counts, in special Evisceration Plague, which is always a pleasure to enjoy live. All that plus the gruesome roars and insane headbanging by Mr. George “Corpsegrinder” Fisher, and the flawless, jaw dropping bass playing by Mr. Alex Webster, turn their shows into memorable experiences even for nonbelievers.

As the venue is quite wide, it was not too hard to stay away from the mosh pits in case you didn’t want to experience some brutal action, or if you couldn’t because of an injury, for example, but that doesn’t mean you couldn’t headbang like a beast to masterpieces like Unleashing the Bloodthirsty (and I’m so happy they’re playing this song even in this shorter than usual setlist), Stripped, Raped and Strangled and Hammer Smashed Face. And of course, participating in another “headbanging contest” against Corpsegrinder (and therefore failing miserably) during I Cum Blood is one of the coolest things one can ever do at a metal concert. The mighty corpse killed it once again, leaving all concert goers absolutely stunned, and next time they come to the city it better be as headliners because we need more of their first-class Death Metal.

Setlist
Scourge of Iron
Blood Blind
Inhumane Harvest
Evisceration Plague
Death Walking Terror
Unleashing the Bloodthirsty
Summoned for Sacrifice
I Cum Blood
Stripped, Raped and Strangled
Hammer Smashed Face

Band members
George “Corpsegrinder” Fisher – vocals
Rob Barrett – lead and rhythm guitar
Erik Rutan – lead guitar
Alex Webster – bass guitar
Paul Mazurkiewicz – drums

MESHUGGAH

Last but definitely not least, the main attraction of the night, Sweden’s own Technical Groove/Thrash Metal/Djent entity MESHUGGAH, kicked off their festivities at around 9:15pm for the delight of their diehard fans that have taken the entire venue. I forgot to mention it was a sold out event, just to give you an idea of how much Toronto loves Meshuggah, and they put on a striking, hypnotizing concert that definitely lived up to their legacy. Playing songs from all of their albums, including their most recent ones Immutable and The Violent Sleep of Reason, and their classic ObZen, the band spearheaded by Jens Kidman offered a well-balances blend of harsh vocals, rumbling bass lines, pounding drums, and a massive feast of lighting that made the whole concert even more impactful.

All fans were going wild, with some headbanging, jumping up and down, or raising their fists like there was no tomorrow, and the band seeing that made sure they kept kicking ass onstage. When it was time for the encore, with their hits Bleed and Demiurge, the synchronicity between the band and their fans was absolutely fantastic, proving why they’re one of the most beloved bands in Toronto in present-day metal. After the show was over, a huge amount of fans stayed at the casino to try their luck, who knows, maybe some would even recover the money spent on tickets, merch or drinks, and I love the fact that there’s that option at the casino, so you don’t need to rush home nor anything like that. I mean, you can savor the post-concert adrenaline still at the venue, spend some extra time with your friends and family, grab a bite, and start thinking of your next metal show. And if it is at the Great Canadian Resort Toronto, that’s a no-brainer. Simply buy your tickets, and go enjoy some high quality music at the best venue in the entire GTA, or maybe I should say in the entire province of Ontario.

Setlist
Careless Whisper (George Michael song)
Intro (Atmospheric soundscape)
Broken Cog
Violent Sleep of Reason
Rational Gaze
Combustion
Kaleidoscope
God He Sees in Mirrors
Lethargica
Born in Dissonance
Dancers to a Discordant System
Swarm
Future Breed Machine

Encore:
Bleed
Demiurge
Boombastic (Shaggy song)

Band members
Jens Kidman – vocals
Fredrik Thordendal – guitars
Mårten Hagström – guitars
Dick Lövgren – bass
Tomas Haake – drums

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Album Review – U Kronakh / Archaic Dance of the Winds (2025)

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Playing a harmonious blend of Atmospheric Black and Death Metal since their inception, this Ukrainian creature returns with their incendiary third opus.

Playing a harmonious blend of Atmospheric Black and Death Metal since their inception in 2020, with lyrics predominantly dedicated to the raw mysticism of the Carpathian Mountains and events of ancient times, Chernivtsi and Lviv, Ukraine-based creature U Kronakh has just unleashed their third full-length offering, titled The Archaic Dance of Winds (or “Архаїчний Танець Вітрів” in their mother tongue), following up on their 2024 opus Night Devours Being (or “Ніч Поглинає Буття”). Mixed and mastered by Roman “Morvudd” Sapozhnikov, and once again featuring a grim artwork by Ksenia Vasylevska (aka Wintersomnia), the new album by Wormwood on vocals, Voidger on the guitars and bass, and Lycane on drums showcases more of the project’s experimentations with an array of styles, resulting in a unique blend that doesn’t follow any rules nor fit into any specific music genre, as the band believes creativity exists precisely for such freedom.

The melancholic guitar lines by Voidger kick off the nine-minute atmospheric tune titled Black Mountain, offering an overdose of Post-Black Metal sounds as part of their core Atmospheric Black and Death Metal. Then investing in a more direct Black Metal sound with Death Metal nuances we have The River Named Opir, with Wormwood’s harsh vociferations exhaling hatred and obscurity while Lycane hammers his drums with tons of energy and fury. Into Lightless, Uncharted Depths keeps the atmosphere dense and pensive while adding an extra touch of melody to their core Atmospheric Black Metal thanks to the striking riffs and solos by Voidger; and the trio sounds in total and absolute sync in Night Visions Fade, breathing fire and darkness through their sonic weapons, with the lancinating roars by Wormwood reeking of insanity. Lastly, it’s time to break our necks headbanging to the closing tune About Those Who Are Silent Now, with Voidger and Lycane building a Stygian ambience perfect for Wormwood’s devilish gnarls.

Fans of bands the likes of Ezkaton, Silvern, Harakiri For The Sky, Ellende, and Moonsorrow, among several others, will have an absolute blast listening to Archaic Dance of the Winds, another solid step forward in the dark and exciting path taken by U Kronakh in their short but extremely prolific career so far. The uncanny musicians behind U Kronakh are waiting for you armed with their atmospheric sounds on Facebook and on Instagram, and don’t forget to also stream their entire discography on Spotify (or any other streaming service), and above all that, to purchase Archaic Dance of the Winds from BandCamp, or click HERE for all things U Kronakh. Their music is just as mysterious and distinctive as their name, and I’m sure it won’t take long for the band to stun us all once again with the successor of Archaic Dance of the Winds, because if there’s one thing that the guys from U Kronakh know how to do, that’s to keep working hard and crafting high quality grim music nonstop.

Best moments of the album: The River Named Opir and Night Visions Fade.

Worst moments of the album: None.

Released in 2025 Archivist Records

Track listing
1. Black Mountain 9:15
2. The River Named Opir 6:17
3. Into Lightless, Uncharted Depths 9:08
4. Night Visions Fade 7:31
5. About Those Who Are Silent Now 7:44

Band members
Wormwood – vocals
Voidger – guitars, bass
Lycane – drums

Album Review – Throne / That Who Sat Upon Him, Was Death (2025)

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One of the strongest bands of the current American extreme music scene is back with a demolishing new album, solidifying themselves as a force to be reckoned with.

Having captivated and crushed those they have encountered with a ferocious, relentless and intricate formula of Melodic and Blackened Death Metal all their own since their inception back in 2014, Jackson, Michigan’s own four horsemen Throne are back with their most focused effort to date, poetically titled That Who Sat Upon Him, Was Death, the follow-up to their 2021 opus Pestilent Dawn, solidifying themselves as a force to be reckoned with, emerging as true contenders in the ever growing American Death Metal scene. Recorded at Bricktop Studios, engineered and mixed by Andy Nelson, mastered by Bradley Boatright at Audiosiege, and displaying a sinister artwork by Brian Sheehan, the new album by Nathan Barnes on vocals and guitars, Tim Kenefic on the guitars, Leslie Drake on bass, and Kollin Perpignani on drums is a lesson in brutality whilst continuing their descent with a heavy blackened lean, sure to satisfy the arm-crossed Suffo-crowd, while at the same time tickling those that worship at the altar of Behemoth.

Nathan and Tim’s wicked riffs kick off the band’s infuriated metal feast in Disentombed, supported by the bestial drums by Kollin in a lesson in vicious extreme music, flowing into the just as demonic To Breathe the Unknown, with Nathan’s devilish Brutal Death Metal-like growls matching perfectly with the demented bass and drums by Leslie and Kollin. They need less than three minutes to crush us mercilessly like putrid insects in Blasphemous Perversion, followed by the also infernal tune Realm of Immolation, where all band members sound like creatures from the netherworld, in special Kollin armed with his demonic blast beats.

Once again venturing through the realms of Brutal Death Metal, it’s time for a no shenanigans, ruthless display of aggression and fury by the quartet entitled Human Frailty, led by the inhumane screeches and roars by Nathan; and the same level of insanity is blasted in the utterly demented, bludgeoning composition titled Upon Deathless Winds, with the caustic riffs by Nathan and Tim walking hand in hand with Kollin’s stone crushing drums. The band still has a lot of fuel to burn, as we can clearly notice in Behold Impurity, offering a boisterous fusion of Black and Death Metal overflowing rage and despair, whereas lastly let’s get pounded into dust by Throne to the sound of Where Angels Cower in Fear, with Nathan’s scorching roars and the thunderous beats by Kollin putting a beyond violent ending to the entire album.

After all is said and done, you’ll find yourself suffocated by the blackened sounds crafted by Throne in their newborn spawn, pointing to a bight future ahead of those American metallers without a shadow of a doubt. Hence, if you want to know more about the band, their music, tour dates and so on, don’t forget to follow them on Facebook and on Instagram, to stream their sick creations on Spotify or any other streaming service, and to purchase a copy of their sulfurous new album from BandCamp or from the Redefining Darkness Records’ webstore in the US or in the EU and UK. Because in the end, that who sat upon him was Death, to the sound of the new opus by one of the most promising bands of the current extreme music scene worldwide.

Best moments of the album: Realm of Immolation, Upon Deathless Winds and Where Angels Cower in Fear.

Worst moments of the album: None.

Released in 2025 Redefining Darkness Records

Track listing
1. Disentombed 4:02
2. To Breathe the Unknown 3:37
3. Blasphemous Perversion 2:54
4. Realm of Immolation 3:43
5. Human Frailty 3:19
6. Upon Deathless Winds 4:22
7. Behold Impurity 4:34
8. Where Angels Cower in Fear 3:38

Band members
Nathan Barnes – vocals, rhythm guitars
Tim Kenefic – lead guitars
Leslie Drake – bass
Kollin Perpignani – drums

Album Review – Unbounded Terror / Something Is Rotten In Humanity (2025)

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One of the very first Spanish Death Metal bands returns with a new and absolutely pulverizing album, proving there’s definitely something rotten in humanity.

One of the very first Spanish Death Metal bands, formed in the early 90’s from the ashes of Toxic Waste, Mallorca’s own entity Unbounded Terror is ready to unleash upon us all their fourth full-length offering, entitled Something Is Rotten In Humanity. Produced and recorded by the band’s own Vicente J Payá (Golgotha, Sons Of Cult) and mixed and mastered by Davide Billia (Avulsed, Holycide, Posthuman Abomination) at Mk2 Recording Studio, the new album by Andrew Espinosa on vocals and bass, and Ancor Ramírez and Vicente J Payá on the guitars, plus guests Davide Billia on drums and Alejandro Lobo on keyboards, sounds absolutely devastating, exactly how grim, rotten Death Metal should sound, and its ghastly demeanor is completed by the artwork of Juanjo Castellano (Furnace, Vomitory, Ribspreader), which captures that putrid spirit perfectly, being therefore highly recommended for fans of Paganizer, Carnation, Obituary, and Death, among several others.

The opener Fear of Dying sounds utterly brutal, heavy and evil from the very first second, with Andrew providing his welcome card by roaring deeply in the name of Death Metal accompanied by the massive beats by Davide, whereas Destiny of Evil is a short and sweet display of the band’s Death Metal savagery, with Ancor and Vicente hammering their stringed axes nonstop. They continue to deliver pure, unfiltered Death Metal in the also heavy and bludgeoning Demons in Your Mind, with Andrew barking nonstop while also firing low-tuned, rumbling bass jabs; and the band shows no mercy for our cranial skulls in Reviving, offering more of their rabid, deep growls, sick guitar lines and unrelenting drums.

The second half of the album begins in full force with Inside Death, where Davide smashes his drums with tons of fury and dexterity, resulting in pure, no shenanigans Death Metal for admirers of the genre. The band then enhances their animosity and heaviness considerably in The Disappointment, punching us hard in the face with their brutal and visceral sounds, followed by Divine Virtue, which sounds and feels a bit generic if compared to the rest of the album, although still showcasing the band’s characteristic Death Metal sonority. Ancor and Vicente extract sharp, piercing riffs from their axes in Believing Again, a ruthless display of classic Death Metal made in Spain spiced up by an ass-kicking guitar solo; and The Evil Cause offers us all one final onrush of deadly sounds by Unbounded Terror, with Davide dictating the song’s headbanging pace with his pulverizing drums.

In Something Is Rotten In Humanity, Unbounded Terror welcome us putrid humans to the world we have created, hewn from the raw substance of our greed and perversion, our endless fascination with cruelty and consumption, and you can experience all that in the form of their old school Death Metal music by purchasing a copy of the album from Xtreem Music’s BandCamp or webstore. Furthermore, don’t forget to give the band a shout (or maybe I should say an evil growl) on Facebook and on Instagram, and to stream their devilish creations on Spotify, because there’s definitely something rotten in humanity, and the classic Death Metal by Unbounded Terror is more than perfect to depict that evil that’s consuming our decaying world.

Best moments of the album: Fear of Dying, Inside Death and Believing Again.

Worst moments of the album: Divine Virtue.

Released in 2025 Xtreem Music

Track listing
1. Fear of Dying 3:41
2. Destiny of Evil 2:26
3. Demons in Your Mind 3:42
4. Reviving 3:27
5. Inside Death 3:42
6. The Disappointment 3:54
7. Divine Virtue 4:03
8. Believing Again 4:14
9. The Evil Cause 3:14

Bonus track
10. I’m a Freak (Wicked Lady cover) 5:01

Band members
Andrew Espinosa – vocals, bass
Ancor Ramírez – lead guitars
Vicente J Payá – guitars

Guest musicians
Davide Billia – drums (session)
Alejandro Lobo – keyboards (session)

Album Review – Fleshspoil / The Beginning of the End (2025)

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A new force in Blackened Death Metal emerges from New York, blasting our faces with the 37 minutes of music found in their pulverizing debut offering.

A new force in Blackened Death Metal has emerged to lay waste to 2025. Featuring veterans Jeff Andrews (The Final Sleep, Armor Column, Hush, Ironweed) on vocals and guitars, Dan Saltzman (Illucinus, The Hunt) on bass, and Mike Van Dyne (Arsis, The Final Sleep) on drums, Troy, New York-based Fleshspoil are set to release their debut album, poetically titled The Beginning of the End. Produced, mixed and mastered by Brett Portzer at White Lake Music & Post, and displaying a darkly beautiful cover art titled “L’Umana Fragilità”, by Salvator Rosa (1656), The Beginning of the End consists of six pulverizing tracks clocking in at 37 minutes, offering us all the creative vision of Jeff Andrews and Mike Van Dyne in the most violent and grim form.

Featuring a guest guitar solo by Kyle Chapman (Aethereus, Blighted Eye) and John Judkins of Rwake on lap steel guitar, the band offers us all seven minutes of intricate sounds in Bleed Through This Life while also sounding haunting and devilish, flirting with Dissonant Death Metal at times. John Judkins also features in Skies Turn To Graves, which starts in a more melodic manner while offering even hints of Post-Metal before all explodes into another slab of brutality, with Mike kicking some serious ass on drums. Then a visceral roar by Jeff ignites the demented Fleshspoil, where their progressive vein clashes with an overdose of heaviness in the best way imaginable, not to mention how infernal the drums by Mike sound. After that, guest guitarist Petr Oplatka of Illucinus fires a sick guitar solo in Walking Dead, a more straightforward, in-your-face tune where Mike once again sounds ruthless on drums. Then a dark and sinister intro evolves into a grim fusion of Death and Doom Metal in A Frail Demise, with Jeff sounding inhumane on vocals while also firing some hellish riffs; whereas lastly, the trio offers our avid ears Born Into Despair, beginning in a gentle, melodic way and evolving into a more introspective tune that could have been a bit heavier in the end.

Highly recommended for fans of classic Death, Black, and Doom Metal, Fleshspoil deliver a haunting and aggressive soundscape during the entire The Beginning of the End, resulting in a very exciting start to the band and, therefore, pointing to a bright future ahead of them. I’m sure we’ll soon hear more from the band, which means you can start following them and stay up to date with their news and tour dates on Instagram, and show them your absolute support by grabbing a copy of the caustic The Beginning of the End from their own BandCamp, letting such an amazing trio from New York crush your spinal cord with their undisputed fusion of savagery and melody.

Best moments of the album: Bleed Through This Life, Fleshspoil and Walking Dead.

Worst moments of the album: Born Into Despair.

Released in 2025 Independent

Track listing
1. Bleed Through This Life 7:17
2. Skies Turn To Graves 6:36
3. Fleshspoil 7:12
4. Walking Dead 3:19
5. A Frail Demise 7:40
6. Born Into Despair 4:18

Band members
Jeff Andrews – vocals, guitars
Dan Saltzman – bass
Mike Van Dyne – drums

Guest musicians
Kyle Chapman – guitar solo and additional chaos on “Bleed Through This Life”
Petr Oplatka – guitar solo on “Walking Dead”
John Judkins – lap steel guitar on “Bleed Through This Life” and “Skies Turn To Graves”

Album Review – Necrambulant / Upheaval of Malignant Necrambulance (2025)

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Enjoy this relentless record presented as an anthology of horror, gore, and slamming Brutal Death Metal by an amazing American band that describes their sound as “Inhuman Slam Grind”.

A relentless record presented as an anthology of all that the band represents, horror, gore, and slamming Brutal Death Metal, incorporating a full arsenal of Death Metal and Deathslam to further define their self-described sound of “Inhuman Slam Grind”, Upheaval of Malignant Necrambulance, the sophomore opus by Phoenix, Arizona-based horde Necrambulant, has something to offer on many levels of thematic brutality, including zombies, serial killers, cannibals, sci-fi, and Warhammer. Recorded, mixed, and mastered by Xander Bridge, produced by the band itself, and displaying a venomous cover art by Nev of Gruesome Graphx, the new album by vocalist Andy “Bonemeat” York, guitarist Ron Clark, bassist Trent Pittard and drummer Matt Riena is perfect for fans of Devourment, Kraanium, Cephalotripsy, Cannibal Corpse, and Abominable Putridity, bringing an overdose of heaviness and gore to admirers of the heaviest side of extreme music.

A horrid, desperate scream ignites the band’s overdose of brutality in Amalgamation of Gresome Curdling Ambonination, led by the inhumane gnarling by Andy in the best “BREEEEEE!” style possible, whereas the slashing guitar lines by Ron walk hand in hand with the primeval beats by Matt in Inhumane Creophagus Repulsion, a vile blast of Brutal Death Metal violence. The beautifully titled Catastrophic Inversion of Stellar Harmony Collapsing the Web of all Universal Matter into the Colossal Gaping Maw of the Widening Void that Heralds the Dawn of Absolute Unreality (Epoch.0) is highly recommended for some demented slamming into the pit, with Andy sounding even more putrid and demonic on vocals, flowing into the also demented Barbarian Brute Force Annihilation (BFTBG), where Matt hammers his drums nonstop. Their Brutal Death Metal attack goes on in the heavy-as-hell Sentenced to a Guttonous Pit, spearheaded by the trademark BREEEEEE! vociferations by Andy; and they show no mercy for our putrid, decaying bodies in Pestilential Ascendancy, offering more of their first-class, infernal riffs and blast beats.

Ineffable Tormenting Possession brings forward two and a half minutes of undisputed malignancy in the form of heavy-as-hell extreme music led by the crushing drums by Matt, followed by the also deranged Chunked Pus Chowder, carrying a sick name for an overdose of deep guttural roars, venomous riffs and classic, deadly drums, with Andy once again barking and vomiting the song’s lyrics in great fashion. The title-track Upheaval of Malignant Necrambulance will burst our ears with more of the band’s undisputed Brutal Death Metal sounds, whereas Coffin Meat offers the same level of savagery, albeit not as inspired (Andy’s depraved guttural is still there, of course). And last but not least, the dirty riffs by Ron and the metallic bass by Trent will pierce your damned soul in Self-Biologic Carnivorous Cannibalism, ending the album on a beyond visceral note.

“This new album is just a relentless barrage of slamming brutal death metal. We strived for a no-bullshit / no-filler tracklist that will just pummel the listener with heaviness. We spent the past two years working on fine-tuning these songs to be a proper representation of our original moniker of ‘Inhuman Slam Grind’. We hope this new album is something that fans of our earlier material will appreciate and something fresh for the newer fans as well. Expect a full audial assault of horror, gore, and guttural slamming sickness the Necrambulant way,” says the band, and you can join them inside their demented mosh pit by following them on Facebook and on Instagram, by streaming their music on any streaming platforms like Spotify, and above all that, by purchasing the bludgeoning Upheaval of Malignant Necrambulance from the Gore House Productions’ BandCamp or by clicking HERE, or you can also click HERE for all things Necrambulant. This is “Inhuman Slam Grind” at its finest, bringing horror, violence, blood and gore to your miserable life, and may this amazing slamming band from Phoenix continue to blast our ears with the brutality found in their unrelenting new album for many decades to come.

Best moments of the album: Inhumane Creophagus Repulsion, Pestilential Ascendancy and Chunked Pus Chowder.

Worst moments of the album: Coffin Meat.

Released in 2025 Gore House Productions

Track listing
1. Amalgamation of Gresome Curdling Ambonination 3:09
2. Inhumane Creophagus Repulsion 3:14
3. Catastrophic Inversion of Stellar Harmony Collapsing the Web of all Universal Matter into the Colossal Gaping Maw of the Widening Void that Heralds the Dawn of Absolute Unreality (Epoch.0) 3:14
4. Barbarian Brute Force Annihilation (BFTBG) 3:47
5. Sentenced to a Guttonous Pit 2:59
6. Pestilential Ascendancy 2:53
7. Ineffable Tormenting Possession 2:24
8. Chunked Pus Chowder 3:04
9. Upheaval of Malignant Necrambulance 2:01
10. Coffin Meat 2:50
11. Self-Biologic Carnivorous Cannibalism 3:00

Band members
Andy “Bonemeat” York – vocals
Ron Clark – guitars
Trent Pittard – bass
Matt Riena – drums

Album Review – Vokodlok / The Egregious Being (2025)

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Inspired by the darkest side of humanity, these Romanian werewolves will darken your damned souls to the sound of their devilish sophomore opus.

Carrying an imposing name derived from the Slavic word “vukodlak” which means “werewolf”, the renowned mystical creature from several Transylvanian legends, Timișoara, Romania’s own Black Metal entity Vokodlok is darkening the skies of their homeland (and of the entire world) once again to the sound of their sophomore opus The Egregious Being, following up on their 2020 EP Oracle’s Fury and their 2003 debut Mass Murder Genesis. Inspired by the darkest side of humanity, the new album by Pestarzt on vocals, Urmuz and Ghiaur on the guitars, Blestemat on bass and Nemgrá on drums offers nine songs of unrelenting Black Metal not recommended for the lighthearted, a frightening, howling display of extreme music made in “The Land of Dracula.”

Get ready for an overdose of dark and haunting sounds, starting with the obscure The Human, where the blast beats by Nemgrá walk hand in hand with the demonic riffage by Urmuz and Ghiaur, followed by Death Terror, an avalanche of old school Black Metal made in Romania with Pestarzt roaring like a demonic entity supported by his bandmates’ infernal sounds. In Warzone the name of the song says it all, as it’s total annihilation to the demented drums by Nemgrá in this beast of a Black Metal song; whereas Disdain leans towards the Blackened Death Metal played by bands like Behemoth, a beyond ruthless creation that lives up to the legacy of the genre. And Bestiarium is another song with a beautiful name that will smash you like an insect, with Blestemat’s bass sounding and feeling like a stone crusher from start to finish.

jagh ‘Iw vIpoQ (whatever the name of the song means) is a pulverizing slab of Back Metal by Vokodlok where the band’s guitar duo is on fire and in absolute sync until the very last second; and a little more than two minutes is all they need to pulverize us all in Denizen, with the deep guttural by Pestarzt adding a share of pure Death Metal to the band’s core Black Metal essence. The band continues to darken the skies with their fusion of Black and Death Metal in The Faces Within, with the riffs by Urmuz  and Ghiaur being boosted by another demented performance by Blestemat on bass, albeit a bit too long in the end. Finally, closing such a sulfurous album we have The Monster, with the enraged roars by Pestarzt and the blast beats by Nemgrá inviting us all to join them in pitch black darkness for all eternity.

The fires of Romanian Black Metal are burning brighter than ever with the release of Vokodlok’s impious new album The Egregious Being, available for purchase on BandCamp, and if you’re eager to join the band on their Transylvanian nightmares you can find them on Facebook and on Instagram, as well as on YouTube and on Spotify. However, don’t say you haven’t been warned, as their heaviness and obscurity will certainly penetrate deep inside your soul, darkening your minds and thoughts for all eternity, therefore taking you on a one-way descent into the underworld ruled by Romanian werewolves and other devilish Black Metal creatures.

Best moments of the album: Warzone, Disdain and The Monster.

Worst moments of the album: The Faces Within.

Released in 2025 Independent

Track listing
1. The Human 7:16
2. Death Terror 4:02
3. Warzone 4:32
4. Disdain 4:02
5. Bestiarium 5:06
6. jagh ‘Iw vIpoQ 5:45
7. Denizen 2:14
8. The Faces Within 7:16
9. The Monster 5:45

Band members
Pestarzt – vocals
Urmuz – guitars, backing vocals
Ghiaur – guitars
Blestemat – bass
Nemgrá – drums

Album Review – Aversed / Erasure of Color (2025)

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Boston, Massachusetts’ own Progressive/Melodic Death Metal beast returns with their sophomore album, presenting a glimpse of hope and beauty on a backdrop of raging, mournful extreme music.

Four years after the release of their critically acclaimed first full-length album Impermanent, Boston, Massachusetts’ own Progressive/Melodic Death Metal beast Aversed returns in full force with their sophomore opus, entitled Erasure of Color, bringing forward more of what the band itself likes to label as “Gothic Extreme Metal”. Currently formed of Sarah Hartman on vocals, Sungwoo Jeong and Alden Marchand on the guitars, Martin Epstein on bass, and Jeff Saltzman on drums, Aversed showcase endless rage and yearning in their new album, presenting a glimpse of hope and beauty on a backdrop of raging, mournful extreme music.

It’s pedal to the metal from the very first second in To Cover Up the Sky, with Sarah already proving why she was chosen to be the band’s new frontwoman in an interesting fusion of Death Metal with the sounds by bands like Jinjer and The Agonist. Then in Cross to Bear we face cryptic lyrics barked by Sarah (“Allow no joy / Because I am only me when I bereave / All my warmth pushed below the surface / Allow no joy, no exhilaration / I do not feel like me, anymore”) while Sungwoo and Alden extract sheer electricity from their axes. “In 1905, a French physician, Dr. Jacques Beaurieux, performed an experiment on prisoners condemned to die by guillotine. Immediately after his subjects were decapitated, he called out their names seeking to determine to what extent and for how long consciousness remained in their detached skulls”, commented the band, and that was the inspiration for Lucid Decapitation, again investing in a Jinjer-infused Progressive Metal sonority, with the bass by Martin sounding truly metallic; whereas in Inexorable they get back to a more vicious, enraged vibe, while also sounding melodic and embracing, albeit not as dynamic and inspired as the other songs.

The album continues on a high note with Burn, again venturing through the realms of classic Melodic Death Metal, with Jeff dictating the song’s pace with his unstoppable, hammering drums; while Solitary starts in a more introspective manner to the clean vocals by Sarah, showcasing the band’s more progressive and experimental side, and gradually evolving into a Melodic Death Metal aria before ending in a climatic and visceral vibe. Then the title-track Erasure of Color brings forward an avalanche of heaviness to the vicious roars by Sarah and the stylish, piercing guitars by Sungwoo and Alden, again sounding absolutely progressive from start to finish. And before all is said and done the band offers the whimsical interlude Yearning, prepping our souls for one final onrush of melodeath titled Departures, where the band delivers a more cadenced sonority perfect for Sarah’s clean and harsh vocals, even sounding radio-friendly at times, with all changes inside the music keeping it vibrant and fresh.

Fans of bands like Arch Enemy, At The Gates, The Agonist, Cradle of Filth, and Katatonia, among several others, will have an absolute blast listening to Erasure of Color, available for purchase from the band’s own BandCamp, or simply by clicking HERE. Aversed definitely know how to blend the harshness of Death Metal with melodic and gothic styles, and if you want to know more about the band, their plans for the future, and obviously their tour dates, you can find them on Facebook and on Instagram, subscribe to their YouTube channel, and stream their music on Spotify or any other service. Although the title of the album points to the lack of any color, let’s say the music found in the album is quite the opposite, a colorful, diverse and thrilling amalgamation of styles that will inspire the band to keep moving forward no matter what, always reinventing themselves and keeping us eager for more of their thrilling creations.

Best moments of the album: To Cover Up the Sky, Lucid Decapitation and Erasure of Color.

Worst moments of the album: Inexorable.

Released in 2025 M-Theory Audio

Track listing
1. To Cover Up the Sky 4:26
2. Cross to Bear 4:05
3. Lucid Decapitation 5:17
4. Inexorable 5:13
5. Burn 3:46
6. Solitary 5:42
7. Erasure of Color 4:19
8. Yearning 1:30
9. Departures 5:29

Band members
Sarah Hartman – vocals
Sungwoo Jeong – guitars
Alden Marchand – guitars
Martin Epstein – bass
Jeff Saltzman – drums

Album Review – Ritual Ascension / Profanation of the Adamic Covenant (2025)

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This cryptic American Abstract Death/Doom Metal outfit will drag you further down the abyss to the sound of their anti-religious and blasphemous concept debut full-length monstrosity.

Coalesced around 2023, after Minneapolis, Minnesota’s own Death/Doom Metal beast Aberration completed their debut album, when three of its members, D.H. (Silurian, Suffering Hour) on vocals, J.H. (Annihilation Cult, Feral Light, Void Rot) on the guitars and bass, and E.C. (Annihilation Cult, Feral Light, Umbral Twilight) on drums and percussion, reconvened to continue creating together and to keep pushing their deviant ideas forward, American Abstract Death/Doom Metal outfit Ritual Ascension is unleashing upon us all their horrendous debut full-length monstrosity, Profanation of the Adamic Covenant. Recorded by Adam Tucker at Signaturetone Recording, mixed by D.H. at Black Dust Studios, mastered by Will Killingsworth at Dead Air Studios, and displaying a cryptic, grim artwork by Belial NecroArts, the album takes the masterful death-doom horror of early Temple Nightside and Grave Upheaval, and transfigures it further into the darkest abysses of surrealism.

The bells are tolling in the name of obscure music, opening the gates of the underworld to the gargantuan, venomous gnarls by D.H. in Womb Exegesis, a Blackened Doom aria where E.C. hammers his drums like a demonic entity. The same devilish aura from the opening track permeates the air in Pillars of Antecedence, even more sluggish and grim thanks to the slow and steady beats by E.C. while J.H. extracts minimalist yet visceral riffs from his axe, followed by Cursed Adamic Tongues, the shortest song of the album, and also the most punishing, violent one, with D.H. gnarling like a true demon while J.H. and E.C. build a beyond ruthless atmosphere. Then like the soundtrack to a black, sulfurous cult, the trio delivers the disturbing Consummation Rites, offering us all over ten minutes of apocalyptic passages, somber riffs, vile roars and endless despair; and last but definitely not least, Ritual Ascension will take us on a one-way trip to the netherworld in Kolob (At the Throne of Elohim), a massive wall of Doom and Death Metal masterfully crafted by the trio, spearheaded by the always caustic, austere riffs by J.H. armed with his venomous axe.

Not only the music by Ritual Ascension is harsh and disturbing, but Profanation of the Adamic Covenant is also an anti-religious, blasphemous, behemoth concept album dealing with some of the darkest and most sinister aspects in the history and theology of the so called Church of Jesus Christ of Latter-day Saints (also known as the Mormon Church), and shaped by direct experiences by some of the band members themselves within said religious movement as well, inviting the listeners to a wild, sinister musical journey while casting them further down the abyss, into a bottomless sepulcher of confusion and of complete chthonic torment. Having said all that, you can find more information about such a distinct trio of death and doom on Instagram, and purchase a copy of their caustic debut from the Sentient Ruin Laboratories’ BandCamp or webstore, feeding your inner demons with their chaotic music while you enjoy your eternal descent into the abyss.

Best moments of the album: Pillars of Antecedence and Kolob (At the Throne of Elohim).

Worst moments of the album: None.

Released in 2025 Sentient Ruin Laboratories

Track listing
1. Womb Exegesis 9:02
2. Pillars of Antecedence 8:58
3. Cursed Adamic Tongues 5:24
4. Consummation Rites 10:52
5. Kolob (At the Throne of Elohim) 13:22

Band members
D.H. – vocals
J.H. – guitars, bass
E.C. – drums, percussion