Tag Archives: dissonant death metal

Album Review – Carbon Tomb / Passage to a Neutron Star (2026)

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A new band playing Dissonant Death Metal exuding raw, visceral energy and possessing far more expressive range than most bands in this style, this Danish creatures are ready to unleash chaos with their debut studio album.

“Reborn from the bog
Caesarean execution of the womb
In worship returning to the carbon tomb”

A new band playing Dissonant Death Metal exuding raw, visceral energy and possessing far more expressive range than most bands in this style, Denmark’s own Death Metal/Deathcore creature Carbon Tomb is ready to unleash chaos with their debut studio album, titled Passage to a Neutron Star. Showcasing a dystopian, futuristic artwork by world renowned artist Jon Toussas (Graphic No Jutsu), the debut opus by vocalist and guitarist Richardt (of the also amazing band Dysgnostic), vocalist and bassist Jeppe, and drummer Mikael presents songs that are highly structured and coherent, emphasizing the right moments, and are also comparatively more varied than normal. Without contradicting the sound, they even infuse Black Metal elements into some of the songs, rendering it diverse and interesting.

A sinister piano invades our minds before all hell breaks loose in the opening track Chanting Spells I, with their dissonant riffs and gruesome roars sounding utterly haunting, whereas the visceral guitar lines by Richardt permeate the air in the infuriated A Hidden Creature, while the same Richardt  and Jeppe deliver a Mephistophelian dual vocal attack. From the Giant’s Snout sounds even more dissonant and experimental, where their Death Metal and Deathcore sides clash beautifully, offering us all a monstrous sonority; and they continue to crush our damned souls in The Dog Hunter, led by the intricate yet demonic drumming by Mikael. After such an intense song we have Of God’s Neglect, another very experimental and multi-layered tune by the trio, with their harsh vociferations walking hand in hand with the crushing drums by Mikael.

Gogoffmagog is perhaps the most violent and aggressive of all songs, with their Death Metal essence burning brighter than a thousand suns, not to mention the deep roars by Jeppe sound venomous; and Tritons of Ichthyology sounds as detailed as its predecessors, with the scathing guitar work done by Richardt adding a Black Metal touch to their core sound while Mikael keeps hammering his drums nonstop. Reversed Head Renewal is one more good song by the trio, albeit not as exciting as the others (which, if I’m being honest, is a very difficult task). It’s still violent and technical, of course. And lastly, Passage to a Neutron Star is the epitome of their blend of Dissonant, Technical and Progressive Death Metal, demolishing our senses with their ruthless riffs, bass lines and drums, therefore ending the album in a majestic way.

As an interpretation of a style generally considered complex or inscrutable, Passage to a Neutron Star is surprisingly fluid, entertaining, and memorable, therefore appealing to admirers of the insanity blasted by names like Ulcerate, Dysgnostic, Devenial Verdict, Artificial Brain, and Mors Verum, among others torchbearers of Dissonant Death Metal arts. Furthermore, Carbon Tomb might be a new band, but its members are already seasoned musicians of the always exciting Danish scene, and if you want to know more about them you can find the band on Facebook, on Instagram, and on Spotify, and purchase their striking debut from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. Having said all that, are you ready to return to the carbon tomb while enjoying the breathtaking Dissonant Death Metal by such an up-and-coming band hailing from stunning Denmark?

Best moments of the album: A Hidden Creature, Gogoffmagog and Passage to a Neutron Star.

Worst moments of the album: Reversed Head Renewal.

Released in 2026 Transcending Obscurity Records

Track listing
1. Chanting Spells I 2:49
2. A Hidden Creature 4:00
3. From the Giant’s Snout 3:21
4. The Dog Hunter 4:21
5. Of God’s Neglect 5:50
6. Gogoffmagog 1:53
7. Tritons of Ichthyology 4:29
8. Reversed Head Renewal 4:31
9. Passage to a Neutron Star 3:10

Band members
Richardt – harsh vocals, guitars
Jeppe – harsh vocals, bass
Mikael – drums

Album Review – Dysgnostic / End Whispers (2026)

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Continuing to refine their hypnotic blend of Technical and Dissonant Death Metal, this Danish squad returns with their sophomore album, sounding dense and complex while retaining the cover of darkness.

Continuing to refine their hypnotic blend of Technical and Dissonant Death Metal by adding more nuance and structure to it since their inception in 2021 in Roskilde, a city in Denmark, west of Copenhagen, the venomous beast known as Dysgnostic returns from the underworld with their sophomore offering, titled End Whispers, following up on their 2022 debut opus Scar Echoes. Displaying a hellish artwork by the always amazing Belial NecroArts, the newborn spawn by Thomas Fischer (Elitist, Apparatus, Defilementory) on vocals and bass, Simon Kannegard (Denial of God, Defilementory) and Mads Bertram H Gath (Crocell, Heaven’s Damnation) on the guitars, and Richardt Olsen (Carbon Tomb, Defilementory) on drums is dense and complex while retaining the cover of darkness, inducing a state of pleasurable numbness where you witness an otherwise harrowing maze of constantly shifting tunes and it all seems perfectly logical and in place.

The opening tune The Last Refrain feels like like a dissonant version of the mighty Immolation, with Thomas’ deep guttural walking hand in hand with the intricate, top-of-the-line drumming by Richardt, followed by Into Salvation’s Night, as technical and demolishing as the opening track, with the guitars by Simon and Mads cutting our flesh mercilessly in the name of Death Metal; and their strident riffage will also haunt our damned souls in The Black Sun, while Thomas and Richardt make the earth tremble with their obscure and thunderous kitchen. One of the singles released, the title-track End Whispers, offers more of the inhumane growling by Thomas, darkening our minds and thoughts mercilessly, whereas Ignis Fatuus starts in a serene, melancholic manner before evolving into a massive beast of Experimental and Dissonant Death Metal.

They continue to pulverize our senses with their harsh sounds in Feast of Emptiness, alternating between sheer savagery and very detailed, multi-layered passages, showcasing the band’s focus and passion for the genre; followed by The Shattered Timekeeper, again blending the heaviness of Death Metal with progressive, technical and dissonant elements, led by the massive beats by Richardt. The minimalist guitar lines by Simon and Mads will pierce your minds in Orphaned and Abandoned, exploding into absolute chaos and fury where Richardt once again pounds his drums nonstop, and the quartet concludes their dark festivities with the enfolding and grim Glimpses of a Lost Horizon, where their riffs and solos match flawlessly with the demonic vociferations by Thomas in a lecture in violence, dexterity and intricacy.

In the end, it’s clear that End Whispers is only as impenetrable as it is multifaceted, an album that starts making sense after a few listens and one that will make you keep coming back to it to unravel more of its intricacies, being therefore highly recommended for admirers of the music by Ulcerate, Evilyn, Gorguts, Crown of Madness, and Undersave, just to name a few. If you want to know more about such an amazing band from the always incredible Denmark, you can find those guys on Facebook, Instagram, and Spotify, and of course purchase their ass-kicking sophomore opus from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. The music by Dysgnostic is absurdly technical, dissonant and visceral, not recommended for the lighthearted, and once you let the sounds from End Whispers penetrate deep inside your mind, get ready for one hell of a ride.

Best moments of the album: Into Salvation’s Night, The Black Sun and Glimpses of a Lost Horizon.

Worst moments of the album: The Shattered Timekeeper.

Released in 2026 Transcending Obscurity Records

Track listing
1. The Last Refrain 3:18
2. Into Salvation’s Night 5:13
3. The Black Sun 4:16
4. End Whispers 3:27
5. Ignis Fatuus 6:16
6. Feast of Emptiness 4:31
7. The Shattered Timekeeper 4:40
8. Orphaned and Abandoned 4:05
9. Glimpses of a Lost Horizon 5:44

Band members
Thomas Fischer – vocals, bass
Simon Kannegard – lead guitars
Mads Bertram H Gath – guitars
Richardt Olsen – drums

Album Review – Xenosis / Hermetic Transmutation (2026)

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New Haven, Connecticut’s own Progressive Death Metal entity strikes again with their incendiary fifth studio album, retaining their core sound as they elaborate on both the progressive and technical aspects.

Honing their craft with each album since their inception back in 2010, and showcasing a flair for experimentation too, New Haven, Connecticut-based Progressive Death Metal entity Xenosis is ready to attack our senses once again with their fifth studio album, entitled Hermetic Transmutation, following up on their amazing albums Haunted Skies (2012), Sowing the Seeds of Destruction (2015),  Devour and Birth (2018), and Paralleled Existence (2021). Showcasing a striking artwork by Graphic Nightmare, the new offering by Sal Bova on vocals, Kenny Bullard and Keith Benway on the guitars, Travers Kenney on bass, and Gary Marotta on drums retains their core sound as the band elaborates on both the progressive and technical aspects, even borrowing elements of Brutal Death Metal and Dissonant Death Metal to achieve that, becoming a must-listen for admirers of Death, Atheist, Gorguts, Obscura, Evilyn, and Mors Verum, just to name a few.

Those ultra talented American metallers don’t waste a single second and begin their Technical Death Metal feast in Sentient Shapes, spearheaded by the menacing guitars by Kenny and Keith, kicking off the album on a high and insane mode for our absolute delight; and their striking riffs continue to cut our skin deep in Prolapsed Twin Entombment, while Gary sounds like a stone crusher of progressiveness on drums. Needless to say, it will surely sound amazing if they decide to add it to their live performances. Spore Whore sounds as ravenous as its predecessors, with the dissonant sound of their guitars being perfect for the bestial vocals by Sal, keeping the album’s flow moving in great fashion with zero moments of boredom.

Then after the Stygian instrumental interlude Engravings for Dyslexic Clairvoyants we’re treated to Rapid Metamorphosis, one of the most detailed and complex songs of the entire album, again presenting Sal’s demonic roars to give it an edgier vibe, feeling as if Dream Theater decided to go full Death Metal, not to mention its experimental passages will quickly consume your rotten mind. After such a bold and multi-layered tune, Sea of Teeth feels a bit generic. Well, I know it’s not, but it gets a bit repetitive after a while. Travers then gives a lecture in insanity armed with his bass in Altar of the Hound, blending the most idiosyncratic elements of Progressive and Dissonant Death Metal; and get ready for one final progressive attack by Xenosis in the form of No Longer Human, with Kenny and Keith again stealing the show with their sharp riffs and solos.

After years of toiling, Xenosis have created a delightfully engrossing album that is bound to confound, tantalize, and ultimately satiate fans of Progressive Death Metal. Hermetic Transmutation is at the same time absolutely aggressive and intricate, old school and experimental, upbeat and obscure. You can put your hands on such a unique album of extreme music by purchasing it from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store, and don’t forget to also check what those talented musicians are up to on Facebook and on Instagram, and to stream their unique creations on Spotify or any other platform. After all is said and done, you’ll easily realize that Xenosis are out for blood armed with Hermetic Transmutation, waving the banners of Progressive and Technical Death Metal high in the always electrifying American underground.

Best moments of the album: Prolapsed Twin Entombment, Rapid Metamorphosis and Altar of the Hound.

Worst moments of the album: Sea of Teeth.

Released in 2026 Transcending Obscurity Records

Track listing
1. Sentient Shapes 5:21
2. Prolapsed Twin Entombment 4:35
3. Spore Whore 7:15
4. Engravings for Dyslexic Clairvoyants 1:08
5. Rapid Metamorphosis 7:38
6. Sea of Teeth 4:40
7. Altar of the Hound 6:05
8. No Longer Human 6:02

Band members
Sal Bova – vocals
Kenny Bullard – guitar
Keith Benway – guitar
Travers Kenney – bass
Gary Marotta – drums

Album Review – Defect Designer / Depressants (2026)

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Continuing to break the barriers of Progressive Death Metal, this unstoppable trio returns with their fourth studio album, sounding wildly diverse and refreshing while retaining their core sound.

Continuing to break the barriers of Progressive Death Metal since their 2009 debut Wax, Oslo, Norway-based Russian entity Defect Designer is back with their fourth studio album, titled Depressants, following up on their 2024 opus Chitin. Displaying a uniquely colorful artwork by Ian Miller, the demented new opus by Dmitry Sukhinin (Diskord) on vocals and guitars, Martin Storm-Olsen on bass and vocals, and Eugene Ryabchenko (Fleshgod Apocalypse) on drums is wildly diverse and refreshing while retaining their core sound, remaining loyal to their Death Metal foundations while at the same time reverting back to it after unabashedly exploring various sounds and imbibe influences from so many unrelated and unexpected styles, turning it into a must-listen for fans of Diskord, Februus, Demilich, Contrastic, Swelling Repulsion, and Disharmonic Orchestra.

Daily Dose of Gloom is absolutely demolishing and intricate from start to finish, with the ultra-talented Eugene delivering ruthless beats and fills for our absolute delight; followed by the curiously titled Butterfly Juice Straws. What a weird name for a song, but that doesn’t mean it’s bad; quite the contrary, the Dissonant Death Metal vocals by Dmitry sound insanely good. Repeated Aversive Stimuli Inducer is as complex as it is demolishing, with the striking riffs by Dmitry and the reverberating bass by Martin punching us hard in the head; while Carte Blanche is just as insane as its predecessors, offering a Progressive Death Metal attack not recommended for the lighthearted. In Expiration Deferral Request Denied they tried to be more Stoner Rock than Death Metal, and it gets confusing at times; whereas in Scorching The Rival Pogonomyrmex Burrows they get back to a more pulverizing sonority, with Eugene once again destroying everything and everyone that crosses his path, followed by Body Count Of My Cow Tail, another extremely experimental tune, but this time their sonic madness works really well.

Then venturing through Doom Metal lands without forgetting their enraged essence we face I Heard Robespierre Screamed Like A Bitch, and whatever they mean with that song title, it’s really cool. Dmitry sounds utterly furious with his demonic vociferations in Peons Before My Drabbing Wings, absolutely heavy, dark and demented until the end; and the trio continues to hammer their instruments with tons of precision and rage in As The Terracotta Dust Settles, with the drumming by Eugene making the earth crack in half. Awaiting The Return Of The Golden Age is perhaps the most direct Death Metal tune of all, led by Dmitry’s venomous guttural and visceral riffs; and the band then goes full experimental (with emphasis in “mental”) in The Inevitable Mad Composite, where Dmitry is simply on fire armed with his axe. After such a demolishing tune we face Wrong Future Forecast, an ominous outro to the album, with its background heaviness embracing our souls mercilessly.

Depressants is decidedly their most ambitious album to date, and they’ve outdone themselves on this one to offer a singular, exhilarating experience for the true prog-minded fans of the style. With the music on Depressants being as colourful as its artwork, it is anything but what the album title suggests – that’s just the classic tongue-in-cheek Defect Designer for you. Having said that, if you want to know more about such a hardworking and creative ensemble, you can find those guys on Facebook and on Instagram, listen to their idiosyncratic creations on Spotify, and of course purchase Depressants from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. Put differently, more than just a Progressive Death Metal album, this is an anti-depressant for metalheads looking for something fresh and unique in the world of heavy music.

Best moments of the album: Repeated Aversive Stimuli Inducer, Carte Blanche, I Heard Robespierre Screamed Like A Bitch and Awaiting The Return Of The Golden Age.

Worst moments of the album: Expiration Deferral Request Denied.

Released in 2026 Transcending Obscurity Records

Track listing
1. Daily Dose of Gloom 3:26
2. Butterfly Juice Straws 5:03
3. Repeated Aversive Stimuli Inducer 5:07
4. Carte Blanche 4:39
5. Expiration Deferral Request Denied 4:10
6. Scorching The Rival Pogonomyrmex Burrows 3:40
7. Body Count Of My Cow Tail 4:50
8. I Heard Robespierre Screamed Like A Bitch 4:07
9. Peons Before My Drabbing Wings 4:45
10. As The Terracotta Dust Settles 4:57
11. Awaiting The Return Of The Golden Age 3:48
12. The Inevitable Mad Composite 3:40
13. Wrong Future Forecast 4:10

Band members
Dmitry Sukhinin – vocals, guitars
Martin Storm-Olsen – bass, vocals
Eugene Ryabchenko – 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)

Album Review – Mors Verum / Canvas EP (2026)

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This forward-thinking Canadian band continues to give their own interpretation to the Death Metal style in their new EP, alternating between throbbing discordant blasts and soothing passages, traversing worlds hitherto unexplored.

“Mors verum” does not have a direct, standard meaning in Latin, but likely combines two separate words, “mors” (death) and “verum” (truth). The intended meaning is probably “truth or death,” or perhaps a variation of a phrase like “nihil verum nisi mors” (“nothing is true but death”), or the concept of “the only truth is death”. It is often used in the context of “truth or death” to imply one would rather die than not have the truth. In heavy music, Mors Verum are a forward-thinking Canadian band who are giving their own interpretation to the Death Metal style, creating music that is simultaneously dissonant, progressive, and atmospheric. Recorded at by Sean Pearson at Boxcar Studio, mixed by Mrudul Kamble at Erb Street Recording, mastered by Topon Das at Apartment 2, and displaying an ass-kicking artwork by Arifullah Ali of KanvasKarat, the new EP by Lyndon Quadros on vocals, Mrudul Kamble on the guitars, Spencer Mitchell on bass, and Greg Carvalho on drums, entitled Canvas, offers exactly that captivating blend of Dissonant and Progressive Death Metal, alternating between throbbing discordant blasts and soothing passages, traversing worlds hitherto unexplored.

The quartet wastes no time and kick off their idiosyncratic party with the progressive extravaganza Bloodied Teeth, with the pulverizing, demented drumming by Greg adding even more insanity to their already maniacal sounds. Mrudul’s visceral riffage is boosted by the bludgeoning bass by Spencer in Your Apocalypse, resulting in seven minutes of Dissonant Death Metal not recommended for the lighthearted; and Lyndon keeps barking and roaring like a beast in Serenade, with the music alternating between absolute savagery and more melodic, groovier moments. Then we face the grim title-track Canvas, offering a hybrid of the sluggish sounds of Blackened Doom with the band’s core Progressive Death Metal essence. Needless to say, Mrudul, Spencer and Greg are phenomenal with their sonic weapons; and they’ll finish burying you six feet deep with their undisputed extreme music in Mortal, again presenting the visceral guttural by Lyndon while Greg sounds inhumane on drums.

Following up on their 2015 EP Indoctrination, their 2019 full-length Deranged, and their 2021 EP The Living, Canvas brings to our avid ears lengthier song which never feel tedious as the band embarks on their newfound path with relative ease and confidence. On Canvas, they have adopted a fascinating approach to the style, one that is beautifully tempered yet adventurous enough to excite, being highly recommended for fans of Gorguts, Morbid Angel, Norse, Ulcerate, and Saevus Finis, among others. Those talented and creative guys are waiting for you on Facebook and on Instagram, and don’t forget to also stream their unique music on Spotify, and of course to purchase Canvas from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. In the end, the experience of listening to Canvas feels at once liberating and cathartic, leaving us eager for more of their music in the near future, perhaps in the form of their sophomore full-length offering, and I bet you’ll be more than excited for that after their short but incendiary new offering.

Best moments of the album: Bloodied Teeth and Canvas.

Worst moments of the album: None.

Released in 2026 Transcending Obscurity Records

Track listing
1. Bloodied Teeth 4:19
2. Your Apocalypse 7:10
3. Serenade 5:30
4. Canvas 7:00
5. Mortal 6:37

Band members
Lyndon Quadros – vocals
Mrudul Kamble – guitars
Spencer Mitchell – bass
Greg Carvalho – drums

Album Review – Gorrch / Stillamentum (2026)

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This two-headed Black Metal beast arises from its lair in Italy with a new full-length opus, pushing further into darkness with an unwavering commitment to raw emotion and existential dread, crafting a labyrinth of shadows and pain.

Formed in 2010 in Northeastern Italy as a duo composed of brothers Chimsicrin (on vocals, drums and keyboards) and Droich (on the guitars and bass), the uncanny Black Metal beast known as Gorrch has been carving their niche in the Italian underground with a singular, uncompromising vision of Black Metal, from the feral intensity of their 2013 self-titled EP and the 2015 full-length Nera Estasi, to the more experimental, dissonant, and atmospheric textures of their 2020 EP Introvertere. Now in 2026 such a ruthless two-headed creature returns in full force with Stillamentum, a full-length album steeped in claustrophobic intensity, dissonant chord structures, and relentless sonic tension. Recorded, mixed and mastered by Andrea Petucco and Gorrch, the album sees the duo push further into darkness with an unwavering commitment to raw emotion and existential dread, crafting a labyrinth of shadows and pain.

Nimbus brings forward absolute chaos and darkness from the very first second, with Chimsicrin sounding inhumane on drums while his devilish vociferations will send shivers down your spine. Droich continues to exhale sheer adrenaline and violence from his riffs and bass in Vorago, just as demented and detailed as its predecessor, always in the name of Italian Black Metal; and the duo shows no mercy for our impious souls in Larvæ, crushing us all like insects with their fusion of Experimental, Dissonant and Avantgarde Black Metal. There’s no time to breathe as their sulfurous sounds continue to permeate the air in Cryptæ, with the acrid stench flowing from Droich’s riffage living up to the legacy of the genre; whereas Angor is even more dissonant and visceral, spearheaded by the ruthless Black Metal blast beats by Chimsicrin. Needless to say, the duo is on total fire until the very last note of the song. Finally, they end such a demonic album just like how it started with Phlegma, oozing a vile blend of Black Metal that will melt your face to the scorching riffs by Droich until all that insanity fades into nothingness.

Always carrying an aura of mystery, which have helped them build a cult following among the followers of extreme, chaotic Black Metal, Gorrch channels their own obsession with sound as ritual and catharsis in Stillamentum, something that can be easily noticed from its punishing tremolo riffs and blasting drumming to its cavernous production that evokes suffocating atmospheres. Gorrch are another band that decided to stay away from all types of social media, but of course you can still find their music online available on Spotify, and purchase Stillamentum from their own BandCamp, from Avantgarde Music’s BandCamp, or from Sound Cave as a CD or an LP. Stillamentum is not an album for the lighthearted, nor for the average listener. This is the union of Black Metal and absolute chaos, and you’ll soon find yourself immersed in the turbulent and dark waters ruled by Chimsicrin and Droich in their excruciating new opus.

Best moments of the album: Nimbus and Phlegma.

Worst moments of the album: None.

Released in 2026 Avantgarde Music

Track listing
1. Nimbus 6:24
2. Vorago 6:33
3. Larvæ 5:30
4. Cryptæ 6:13
5. Angor 5:03
6. Phlegma 7:35

Band members
Chimsicrin – vocals, drums, keyboards
Droich – guitars, bass

Album Review – Undersave / Merged In Abstract Perdition (2025)

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These unheralded Death Metal heroes from Portugal return with their third opus, displaying a marked progression from their previous efforts without abandoning their core sound.

Unheralded Death Metal heroes from Portugal, Undersave have been carving their own path, and every half a decade or so we get an album that is a huge step ahead from the previous one. Mixed and mastered by Diogo Santana at Noise Portrait Recordings, and displaying a sinister artwork by Belial NecroArts (Hierarchies, Perishing, and many more), the band’s third full-length opus Merged In Abstract Perdition displays a marked progression from their 2018 sophomore Sadistic Iterations… Tales of Mental Rearrangement without completely abandoning their core sound, offering an infernal yet intricate slab of Dissonant Death Metal carefully crafted by Nuno Braz on vocals and guitars, André Carvalho also on the guitars, Renato Laia on bass, and Pedro Pereira on drums, being therefore tailored for fans of Immolation, Ulcerate, Replicant, Maere, Gorguts, Dysgnostic, and Saevus Finis, among others.

The band begins distilling their fusion of Progressive and Death Metal with experimental and uncanny sounds in Unshakable And Unlimited Levels Of Obsession, with the bass by Renato sounding utterly metallic and vibrant; and their feast of idiosyncratic sounds goes on in full force in Unconscious Assimilation…Path To Tangible Reality, with the vile guttural by Nuno being boosted by his own riffage alongside André’s also menacing guitar lines. Effervescent Futile Thoughts Of A Phobic Being is another excellent song with a creative and wicked title, with Pedro hammering his drums nonstop in a Progressive and Avantgarde Death Metal extravaganza, and Nuno and André simply shred their axes in Forced Retraumatization…Unlocking Spiritual Illumination, offering our avid ears an overdose of madness and intricacy. The band shows no mercy for our souls in Fictitious And Impermanent Self-Refinement, with Pedro taking the lead with his fulminating beats and fills, and there’s still time for more of their disruptive Death Metal in the form of Fathomless Contempt Nourished By Unrealistic Predictions, with Nuno roaring nonstop accompanied by the eerie sounds crafted by his bandmates. Last but not least, we’re treated to six minutes of pure insanity titled Narcissistic Supreme Alienation, where their experimental sounds and tones walk hand in hand with Pedro’s crushing drums.

In summary, Undersave may have just come up with a must-listen album for any fan of extreme music, rivalling if not surpassing not only their own albums but also those by the other luminaries in the style. Hence, you can find those talented Portuguese metallers on Facebook and on Instagram, including their pulverizing live shows, stream their unique creations on Spotify, and of course put your damned hands on Merged in Abstract Perdition from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store, or simply click HERE for all things Undersave. Merged in Abstract Perdition is indeed a masterful album that is at once dark, dissonant, and atmospheric, and once you dive deep into its vicious sounds, get ready for a one-way descent into madness.

Best moments of the album: Unconscious Assimilation…Path To Tangible Reality, Forced Retraumatization…Unlocking Spiritual Illumination and Narcissistic Supreme Alienation.

Worst moments of the album: None.

Released in 2025 Transcending Obscurity Records

Track listing
1. Unshakable And Unlimited Levels Of Obsession 5:39
2. Unconscious Assimilation…Path To Tangible Reality 5:20
3. Effervescent Futile Thoughts Of A Phobic Being 5:06
4. Forced Retraumatization…Unlocking Spiritual Illumination 5:43
5. Fictitious And Impermanent Self-Refinement 4:29
6. Fathomless Contempt Nourished By Unrealistic Predictions 5:34
7. Narcissistic Supreme Alienation 6:12

Band members
Nuno Braz – vocals, guitars
André Carvalho – guitars
Renato Laia – bass
Pedro Pereira – drums

Album Review – Kratornas / God of the Tribes (2025)

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This Canada-based Black Metal entity returns from the underworld with its highly anticipated fourth studio album, representing a significant shift in its approach by focusing on build-up and atmosphere.

Originally a three-piece band, but only for a short time in early 1995 when the project was still located in Cadiz, Western Visayas, in the Phillipines, the now Saskatchewan, Canada-based Black Metal creature Kratornas is set to unleash hell on earth with God of the Tribes, the fourth studio album in their career, and the follow-up to their 2016 opus Devoured by Damnation. Mastered by Dan Swanö at Unisound, and displaying a striking artwork that perfectly complements the thematic elements of the record (drawing heavily from apocalyptic imagery and ritualistic concepts), the newborn spawn by the iconic Zachariah on vocals, guitars and bass, supported by GB Guzzarin on drums, is unlike any of the previous Kratornas releases known for their superfast brutality, representing a significant shift in their approach by focusing on build-up and atmosphere, therefore showcasing a significant evolution in their sound.

Zachariah’s devilish, Stygian feast begins in a beyond haunting manner in Cursed Sky Serpent, a 15-minute behemoth from the netherworld in the form of primeval Black Metal, sounding very experimental and dissonant until the very end while always supported by the wicked beats and fills by GB Guzzarin. Then after such a multi-layered aria, Zachariah offers us all the three-minute beast titled Evil and Plunder, where his guitar lines and bass sounding utterly demonic while also exploring new sounds and nuances. Ravaged by Hurakaan blends elements from Dissonant Death Metal to the project’s core sonority, with the beats and fills by GB Guzzarin enhancing the song’s insanity to a whole new level; whereas lastly we face another long and detailed song titled Novena para Guerra, and that’s when Zachariah truly thrives, blasting wicked guitar lines, metallic bass jabs and inhumane roars for our total delight.

“This album marks a turning point for Kratornas. Not because it tries to be ‘different’ but because it couldn’t have come out any other way. Every part of this release came together naturally. The sound, the pacing, the tension… it wrote itself, shaped by instinct and intention. This album is unlike the usual Kratornas so to anyone expecting it to sound like ‘early Kratornas’ will be disappointed,” commented the project’s heart and soul Zachariah, and if you have what it takes to face him and his Kratornas, you can find the project on Facebook, stream all of their sulfurous creations on Spotify, and of course grab a copy of God of the Tribes from BandCamp. But be warned that Kratornas is definitely not an easy listen for the average metalhead, it doesn’t matter if it’s the project’s more visceral old material, or if it’s the darkly atmospheric sounds found in the new album. Kratornas will forever bring forth a primeval form of Black Metal, darkening our thoughts and minds while at the same time preparing us all for our inevitable end.

Best moments of the album: Cursed Sky Serpent and Novena para Guerra.

Worst moments of the album: None.

Released in 2025 Grathila Records

Track listing
1. Cursed Sky Serpent 15:00
2. Evil and Plunder 3:00
3. Ravaged by Hurakaan 7:00
4. Novena para Guerra 11:00

Band members
Zachariah – vocals, guitars, bass
GB Guzzarin – drums

Album Review – Crypts of Despair / We Belong In The Grave (2025)

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Lithuania’s most infernal band is back with their third album, offering more of the their fierce, ruthless and ball-bustingly fusion of Dissonant, Blackened and Brutal Death Metal.

Four years after their demolishing sophomore opus All Light Swallowed, Kaunas, Lithuania’s own Death Metal beast Crypts of Despair returns with their third full-length installment, entitled We Belong In The Grave. Mixed and mastered by Christian Donaldson, and displaying a funereal, grim artwork by Vainius “Anomaly” Česnauska, the new album by a now five-piece band formed of Jonas Kanevičius on vocals, Dovydas Auglys and Tautvydas Kartanas on the guitars, Simonas Jurkevičius on bass, and Henri Mäll on drums offers more of the their fierce, ruthless and ball-bustingly fusion of Dissonant, Blackened and Brutal Death Metal, being highly recommended for fans of Ulcerate, Replicant, Obscureviolence, Dead Congregation, and Saevus Finis, among several others.

The album kicks off with a beyond cryptic intro in We Belong In The Grave before Henri and Jonas decimate our ears ruthlessly armed with their demented drums and visceral roars, respectively, and after such a boisterous start it’s time to get even heavier and darker in Terminal Dais, with the riffage by Dovydas and Tautvydas sounding absolutely demolishing. Their brutality keeps flowing in Obliteration Of The Impure, where the band invites us all to headbang like demonic beasts nonstop; and their furious blend of Death Metal will hit us hard in the head in Expulsion To Purgatory, spearheaded by the vile, deep guttural by Jonas. Then we face Undisillusioned, which carries a poetic name for an unrelenting, no shenanigans Death Metal onrush by the best metal band ever from Lithuania. Needless to say, it will sound majestic during their live performances.

Seizures starts in a more obscure, atmospheric way thanks to the sluggish beats by Henri, while also presenting hints of Deathcore and Doom Metal added to its core essence. It’s absolutely heavy, despite never really taking off; and the band gets back on track in Precipitous, crushing our damned souls with their ruthless sounds, with Jonas barking like a rabid beast accompanied by the metallic riffs by Dovydas and Tautvydas. There’s still time for more heaviness and violence in the form of Gaze Of The Adversary, with Simonas blasting his bass alongside Henri and his pounding beats, all spiced up by Jonas’ deep gnarls and a beyond grim atmosphere, before the album ends with the epic instrumental outro Burial Of The World, dragging us all to absolute darkness together with the band for all eternity.

In a nutshell, We Belong In The Grave is a bold step ahead for Crypts of Despair, maintaining the band’s high standards while updating the sound for maximum impact and utter devastation, and you can put your damned hands on such an amazing album of extreme music made in Lithuania by purchasing it from their own BandCamp page, as well as from the Transcending Obscurity Records’ Bandcamp, main store, US store, or EU store. Don’t forget to also give the band a shout on Facebook and on Instagram, and to click HERE for all things Crypts of Despair, including their tour dates. As we all belong in the grave, Crypts of Despair definitely belong amongst the cream of the European Death Metal elite based on the high quality of the music found in their new album, carving their name in the scene worldwide and, consequently, leaving us eager for more Lithuanian brutality in a not-so-distant future.

Best moments of the album: Terminal Dais, Undisillusioned and Gaze Of The Adversary.

Worst moments of the album: Seizures.

Released in 2025 Transcending Obscurity Records

Track listing
1. We Belong In The Grave 5:05
2. Terminal Dais 4:29
3. Obliteration Of The Impure 4:24
4. Expulsion To Purgatory 4:19
5. Undisillusioned 3:48
6. Seizures 4:07
7. Precipitous 3:11
8. Gaze Of The Adversary 3:11
9. Burial Of The World 2:07

Band members
Jonas Kanevičius – vocals
Dovydas Auglys – guitars
Tautvydas Kartanas – guitars
Simonas Jurkevičius – bass
Henri Mäll – drums