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Album Review – Horrific Visions / Remnants Of Atrophy (2026)

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Indiscriminate bloodshed and mass destruction await to the sound of the blistering debut by this demented Brutal Death Metal beast from Texas.

Twelve years on from their initial spawning in the ever-fertile breeding grounds of brutality of their homeland Texas, the demonic Brutal Death Metal beast Horrific Visions is finally unleashing their full-length debut album of shocking violence and colossal carnage, titled Remnants of Atrophy, following up on their 2022 EP Enlightenment Through Excruciating Torture and their 2024 EP Monopoly on Violence. Mixed and mastered by the band’s own guitarist Mason Vickers at Rocker House Studios, and displaying another venomous artwork by Jon Zig (Aborted Fetus, Deeds Of Flesh, Defeated Sanity), the debut opus by Conrad Heinemeyer on vocals, Chris Rossmeier and Mason Vickers on the guitars, Cody Hancock on bass, and Rene Martinez on drums is a gift to the demented and the black of heart – one that has been well worth the wait.

Like a demonic creature arising from the underworld, the band will crush your damned skulls into pieces in Malnutrition, with the cadaverous roars by Conrad matching perfectly with Rene’s bestial drumming, and after such a killer tune we face the ominous Horrific Visions, a vile interlude that sets the tone for Deranged Perversion, a fulminating lesson in brutality where their scorching riffs and blast beats sound like we’re being bombarded by a full-bodied army. Then venturing through the lands of classic Death Metal the likes of Cannibal Corpse and Incantation they bring forward Crippled Under the Weight of a Hollow World, with Conrad once again sounding ruthless on vocals, overflowing aggression and hatred for our total delight.

We then face another cryptic interlude named Synaptic Decay before the band comes ripping in Primal Regression, where Rene’s beats and fills are a thing of beauty, or maybe I should say of morbid beauty, sounding utterly devastating until the very last second. They offer a more cadenced yet still demented tune titled Disgusted Warped Mentality, with the grim guttural by Conrad being supported by the thunderous kitchen by Cody and Rene, followed by Enlightenment Through Excruciating Torture, presenting two minutes of no shenanigans Brutal Death Metal with Chris and Mason hammering their axes nonstop. Lastly, the title-track Remnants of Atrophy will embrace us in total darkness, violence and blood, with Chris and Mason once again firing sheer insanity from their guitars.

In the end, Remnants Of Atrophy possesses a blistering intensity and a raw, serrated edge, sounding like a deadly weapon, wielded with vicious intent and, therefore, being a must-listen for admirers of the extreme violence blasted by renowned acts the likes of Bludgeoned, Stabbing, Brodequin and Disgorge, just to name a few. Horrific Visions are on absolute fire from start to finish in their caustic debut, and you can feel their scorching sounds by following them on Facebook and on Instagram, by streaming their depraved creations on any platform like Spotify, and of course, by purchasing Remnants Of Atrophy from Comatose Music’s BandCamp or webstore. The time has come to stare into the dead eyes of Remnants Of Atrophy. Indiscriminate bloodshed and mass destruction await, and you better get ready because there will be no mercy for your putrid soul.

Best moments of the album: Deranged Perversion, Crippled Under the Weight of a Hollow World and Primal Regression.

Worst moments of the album: Synaptic Decay.

Released in 2026 Comatose Music

Track listing
1. Malnutrition 3:54
2. Horrific Visions 1:30
3. Deranged Perversion 3:41
4. Crippled Under the Weight of a Hollow World 2:14
5. Synaptic Decay 1:43
6. Primal Regression 2:40
7. Disgusted Warped Mentality 3:10
8. Enlightenment Through Excruciating Torture 2:22
9. Remnants of Atrophy 3:59

Band members
Conrad Heinemeyer – vocals
Chris Rossmeier – guitar
Mason Vickers – guitar
Cody Hancock – bass
Rene Martinez – drums

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 – Castrator / Coronation of the Grotesque (2025)

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New York-based Death Metal maidens are back with their relentless sophomore album, firmly cementing the band among the extreme music elite.

Three years after their crushing debut Defiled in Oblivion, New York-based Death Metal maidens Castrator return with Coronation of the Grotesque, an album that not only exceeds all expectations, but leaves them shattered in its wake, firmly cementing the band among the North American Death Metal elite. Recorded across multiple studios with key figures in the United States Death Metal scene, mixed and mastered by Noah Buchanan at Mercinary Studios, produced by Carolina Perez and Taylor Nordberg (Deicide, Inhuman Condition, Ribspreader), and displaying a gruesome, dystopian artwork by Jon Zig, the new album by the badass Clarissa Badini on vocals, Sara Loerlein on the guitars, Robin Mazen on bass, and Carolina Perez on drums explores a range of historical and societal themes that reflect on injustice, victimization, and human suffering. Among the topics confronted are the tragic killing of Mahsa Amini, the ancient Sumerian practice of eunuchization, and seething condemnation of predator Naasón Joaquín García.

The opening tune Fragments of Defiance will already melt your damned faces to the demented beats and fills by Carolina and the she-demon gnarls by Clarissa, resulting in an insane way to kick off the album, and Sara showcases all her dexterity and rage armed with her stringed axe in I Am Eunuch, delivering pure Death Metal riffs for our total delight. Covenant of Deceit is another song that reeks of Death Metal, starting with a cryptic intro before Sara and Robin hammer their sonic weapons mercilessly until the very last second; whereas Clarissa’s vocals get even deeper and more demonic in Mortem Opeterie, which is Latin for “to meet a violent death”, always supported by the visceral, no shenanigans sounds blasted by her bandmates. And Carolina keeps showing no mercy at all for our necks and bodies in Remnants of Chaos, inviting us all for some wild action inside the pit.

Those girls are definitely not fooling around when it comes to playing old school Death Metal, with Deviant Miscreant sounding as infernal as it is technical and vibrant, led by the stone crushing drums by Carolina, followed by Psalm of the Beguiled, less frantic but heavy-as-hell, with Sara delivering some Cannibal Corpse-inspired riffs that will burn you alive accompanied by the low-tuned, menacing bass lines by Robin. After such an imposing tune, Sara continues to strike us all with her riffs and solos in Blood Bind’s Curse, adding an extra touch of insanity to the band’s onrush of brutality while Clarissa barks and roars nonstop, and those girls are on absolute fire in the also demented Discordant Rumination, keeping the album at an insane level of violence. Last but definitely not least, their cover version for the all-time classic Metal Command by Exodus, from their 1985 masterpiece Bonded By Blood (check the original version HERE), is a stunning Death Metal rendition of such a thrashing beast, with Clarissa and Sara stealing the spotlight with their respective roars and riffs.

“We see it as a leap forward,” exclaims drummer Carolina Perez. “It’s by far the strongest work we’ve done to date. Writing Coronation of the Grotesque was an incredibly enjoyable experience, and everything seemed to come together much more naturally this time. While the album still retains elements of who we were as a band, it’s much more refined, cohesive, and brutal.” And if you want to join those absolutely talented and ferocious ladies in their quest for Death Metal you can start following them on Facebook and on Instagram, stream their ass-kicking music on Spotify, and of course grab a copy of the incendiary Coronation of the Grotesque from the Dark Descent Records’ BandCamp or  webstore (as a CD, LP, or tape), or simply click HERE for all things Castrator. Those girls are not fooling around when it comes to crafting brutal, in-your-face Death Metal, and you better be ready as once you have the pleasure of listening to their scathing new opus, you’ll be pulverized by their undisputed heavy music.

Best moments of the album: Fragments of Defiance, Mortem Opeterie, Blood Bind’s Curse and Metal Command.

Worst moments of the album: None.

Released in 2025 Dark Descent Records

Track listing
1. Fragments of Defiance 3:33
2. I Am Eunuch 3:42
3. Covenant of Deceit 4:08
4. Mortem Opeterie 3:18
5. Remnants of Chaos 3:17
6. Deviant Miscreant 3:15
7. Psalm of the Beguiled 3:41
8. Blood Bind’s Curse 3:46
9. Discordant Rumination 4:20
10. Metal Command (Exodus cover) 4:13

Band members
Clarissa Badini – vocals
Sara Loerlein – guitars
Robin Mazen – bass
Carolina Perez – drums

Album Review – Undecayed / In Death’s Image (2025)

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The debut album by this ruthless Swedish Death Metal group takes its thematic obsession with death to another level, showing there’s simply no hope for life.

Formed in August 2008 by vocalist Tony Richter and guitarist Mikael Bergman as a result of lineup issues in their respective bands, 9th Plague and Disromance, Helsingborg, Sweden-based Death Metal beast Undecayed is unleashing upon humanity their long-awaited debut album, titled In Death’s Image. Despite their origins, the band eschews the traditional HM-2-driven Swedish sound in favor of a raw and relentless approach deeply rooted in the ferocity of 90’s American Death Metal in their debut offering, recalling the percussive onslaught of Suffocation and the unholy aggression of Deicide, all carefully brought into being by the aforementioned Tony Richter and Mikael Bergman alongside bassist Christoffer Svensson and drummer Jesper Leidbring, all spiced up by the dark and sinister artwork by renowned artist Jon Zig.

Get ready for an avalanche of raw, old school Swedish Death Metal spearheaded by the brutal drums by Jesper in the opening beast The World Shall Know Only Death, while Mikael slits our throats with his lancinating riffs. As you know, death is only the beginning, and Undecayed make sure we face our inevitable end in Death’s Only Demand, highly recommended for slamming into the pit like a true headbanging bastard; whereas in The Descendants of Death they add hints of Blackened Death Metal to their core malevolence, with Tony barking and roaring deeply like a beast. And in the title-track In Death’s Image the quartet shows no mercy for our putrid bodies, brutalizing us all with their undisputed blend of old school Death Metal.

Death Shall Come (Death Shall Prevail) carries a darkly poetic name for a venomous display of extreme music where once again Jesper simply demolishes his drums mercilessly. There’s absolutely no sign of peace or hope in the entire album, and of course Death’s Pallid Coat offers more of the band’s demented sounds led by the hellish riffs by Mikael, whereas  your neck will break in half headbanging manically to World at Death’s Door, with the gruesome vociferations by Tony being nicely complemented by the rumbling bass by Christoffer. Those Swedish metallers show no sign of slowing down in Entreating Death in Vain, continuing to bring forward sheer devastation armed with their heavy riffs and pounding drums; and lastly, it’s time to die to the unrelenting tune The Greatest Death, where the band once again fires their undisputed Death Metal magic while Tony barks rabidly for our total delight.

Likely the first album ever released with the word “death” in the title of every song, In Death’s Image takes its thematic obsession to another level; for instance, in one track, the word “death” is even sung in 19 different languages. Hence, in order to join those talented Swedish metallers in death, you can start following them on Facebook and on Instagram, and of course show them your utmost support by purchasing their new album from the Lethal Scissor Records’ BandCamp or webstore. Because in the end no one and nothing is spared. Humans, animals, vegetation, water, air, everything dies. There is NO hope for life, and there is nothing better than some first-class Swedish Death Metal like what’s found in the new album by Undecayed to remind us of that scary but unavoidable fate.

Best moments of the album: The World Shall Know Only Death, The Descendants of Death and Entreating Death in Vain.

Worst moments of the album: None.

Released in 2025 Lethal Scissor Records

Track listing
1. The World Shall Know Only Death 3:07
2. Death’s Only Demand 3:45
3. The Descendants of Death 4:06
4. In Death’s Image 3:51
5. Death Shall Come (Death Shall Prevail) 3:08
6. Death’s Pallid Coat 4:23
7. World at Death’s Door 3:20
8. Entreating Death in Vain 4:00
9. The Greatest Death 4:01

Band members
Tony Richter – vocals
Mikael Bergman – guitars
Christoffer Svensson – bass
Jesper Leidbring – drums

Album Review – Whore Of Bethlehem / Ritual Of Homicide (2023)

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This Blackened Brutal Death Metal horde from Texas is ready to kill armed with their third full-length album, an outpouring of black blasphemy and twisted brutality to shake the pillars of faith.

Hailing from Austin, Texas, the self-proclaimed live music capital of the world, the vile Blackened Brutal Death Metal horde Whore Of Bethlehem has been spreading their visceral brand of brutality since their inception in 2009, with their sinister barrage of riffs, blast beats, unnatural screams and heavy songwriting being influenced and inspired by classic Death and Black Metal heavyweights such as Morbid Angel, Immolation, Dissection, Cannibal Corpse, Suffocation and Belphegor, among others. Mastered by Colin Davis at Imperial Mastering, mixed at Test Tube Audio, and displaying a sick artwork by Jon Zig, the band’s third full-length opus, titled Ritual Of Homicide, is an outpouring of black blasphemy and twisted brutality to shake the pillars of faith masterfully brought into being by James VanDenBerg on vocals, Ryan Sylvie and Phil King on the guitars, Alan Berryman on bass, and Sam Axelrad on drums, invoking the sound of violence and wickedness with a heart sworn to the black and a soul pledged to hell.

Stygian guitar lines permeate the air in the opening track Enlightenment Through Pain, exploding into a darkened, sinister feast of brutality and gore led by the pulverizing drums by Sam; and putting the pedal to the metal and delivering old school Death Metal with some melodic and progressive nuances, it’s time for the brutal Nails in Your Coffin, with James barking nonstop in the name of evil. Then enhancing their heaviness and obscurity the band offers us all the title-track Ritual of Homicide, where Ryan and Phil are bestial with their axes, cutting our skin deep in true headbanging fashion, followed by Vermin, an infernal, in-your-face Death Metal onrush with no shenanigans nor any other artificial elements, with Sam kicking ass on drums supported by the rumbling bass by Alan. The sinister interlude Gateway will darken our minds before the band comes ripping in Sermon of the Malignant Spirit, the most demonic and obscure of all tracks showcasing an amazing job done by the entire band, in special their guitar duo with their sulfurous riffs and solos.

More of their unrelenting music comes in the form of Out of Body, with James roaring like a maniac while Sam dictates the song’s evil pace, and James keeps hammering our cranial skulls with his brutal drumming in Disembodied, absolutely heavy from start to finish with their guitars and bass generating an unfriendly ambience perfect for raising our horns high. The flammable guitars by Ryan and Phil will pierce your soul in Monolith of Cremation while James crushes his drums as usual in a great display of classic Death Metal, resulting in an invitation to some brutal slammin’ activity; whereas lastly the quintet will demolish our fragile bodies with an avalanche of Death Metal titled Pseudochrist, a more than exciting bonus track bringing forward frantic beats, acid riffs and gruesome vociferations.

The guys from Whore Of Bethlehem are eagerly waiting for you on Facebook and on Instagram with news, tour dates and more of their depraved music, and of course don’t forget to also stream their sick creations on Spotify. The  dark and heavy-as-hell Ritual Of Homicide, which is on sale from Comatose Music’s BandCamp page or webstore, as well as from Apple Music and Amazon (and you can also click HERE for all things Whore Of Bethlehem), is definitely not recommended for the lighthearted, bringing endless chaos, blasphemy and violence to our avid ears and, therefore, cementing the band’s evil legacy in the underground scene.

Best moments of the album: Enlightenment Through Pain, Sermon of the Malignant Spirit and Pseudochrist.

Worst moments of the album: None.

Released in 2023 Comatose Music

Track listing
1. Enlightenment Through Pain 4:39
2. Nails in Your Coffin 4:09
3. Ritual of Homicide 4:21
4. Vermin 3:37
5. Gateway 1:00
6. Sermon of the Malignant Spirit 4:47
7. Out of Body 4:18
8. Disembodied 3:49
9. Monolith of Cremation 3:50
10. Pseudochrist 3:15

Band members
James VanDenBerg – vocals
Ryan Sylvie – lead guitars, backing vocals
Phil King – rhythm guitars
Alan Berryman – bass
Sam Axelrad – drums

Album Review – Diabolizer / Khalkedonian Death (2021)

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Turkish torchbearers of diabolical abomination return with their first-ever full-length opus, blasting our souls with eight tracks of unrelenting and savage Death Metal raids that will just leave you mouth-watering for more.

4.0rating

diabolizer-khalkedonian-death-2021Turkish torchbearers of diabolical abomination Diabolizer are finally back with their debut album Khalkedonian Death, the follow-up to their critically acclaimed EP’s Shadows Of Impending Decimation (2012) and Apokalypse (2016), offering fans of bands the likes of Sinister, Hate Eternal and Deicide eight tracks of unrelenting and savage Death Metal raids that will just leave you mouth-watering for more. Recorded, mixed, mastered by Ozan Yıldırım (Deadhouse Studio) and displaying a sick, demonic cover painting by Jon Zig, Khalkedonian Death is by far the most pulverizing and complete effort by this Kadıköy, Istanbul-based horde comprised of Abomination on vocals, Mustafa and Can on the guitars, Malik on bass and Aberranton drums, not only positioning the band as one of the driving forces of the extreme music scene in their homeland, but also helping spread the burning fires of Turkish metal to all four corner of the earth.

The opening track Dawn Of Obliteration is absolutely infernal and devastating from the very first second, with Aberrant being merciless behind his drums while Abomination arises from the pits of hell with his trademark roars. Put differently, this is Turkish Death Metal at its finest, which is also the case in Maelstroms Of Abhorrence, where Abomination manically growls the song’s wicked lyrics (“As if trapped in singularity / Countless relics I behold / Seconds are aeons / My mind is drifting”) while Mustafa and Can extract sheer malignancy and hatred from their stringed weapons; and it’s time to bang your fuckin’ heads to the demented Cloaked In An Aura Of Madness, a lesson in Death Metal by the quintet where Malik’s rumbling bass and Aberrant’s classic beats bring the groove to the band’s usual demolition for our total delight. Then more of their demented and Stygian music invades our ears in the steamroller tune Mayhemic Darkness And Possessed Visions, living up to the legacy of old school Death Metal, and with the band’s guitar duo delivering sick Cannibal Corpse-inspired riffs nonstop.

And there’s no sign of slowing down for those ruthless metallers; quite the contrary, Diabolizer continue to crush our senses in Sulphuric Vengeance, another pulverizing lecture in Turkish Death Metal where Abomination’s gruesome growling walks hand in hand with the vicious drumming by Aberrant, whereas the riffage by Mustafa and Can will penetrate deep inside your putrid skin in Bringers Of Khalkedonian Death, a massive, disruptive tune that invites us all to slam into the circle pit like rabid metal maniacs. Spearfuck The Throes Of Treason, their second to last blast of obscurity and rage, will inspire you to break your neck in half headbanging, with Malik hammering his bass nonstop while Mustafa and Can alternate between sheer savagery and somber moments on the guitars. Lastly, ending such intense and hellish album of death it’s time for the quintet to haunt our souls with Perishing In His Oceans Of Blood, showcasing grim riffs, wicked solos, guttural vociferations and pounding drums, or in other words, everything we love in savage Death Metal.

diabolizer-2021If you consider yourself a true metalhead and are ready to carry the torch of Turkish Death Metal together with the guys from Diabolizer, you can start following the band on Facebook and on Instagram for news, tour dates and so on and, of course, above all that, purchase your copy of one of the best Death Metal albums of the year from the band’s own BandCamp page, from the Everlasting Spew Records’ BandCamp page or webstore, from the Me Saco Un Ojo Records’ BandCamp page, from the Desiccated Productions’ BandCamp page, and soon from Apple Music and Amazon. Diabolizer have been solidifying and perfecting their sound with each one of their releases, and their first ever full-length opus perfectly summarizes everything the band stands for. As a matter of fact, the band’s hometown Kadıköy used to be called Khalkedonia (which means “the land of the blind”) by the Byzantines, showing Diabolizer’s masterplan with their newborn spawn has always been to warn the entire world Khalkedonian Death Metal is among us to stay.

Best moments of the album: Dawn Of Obliteration, Cloaked In An Aura Of Madness and Bringers Of Khalkedonian Death.

Worst moments of the album: None, of course.

Released in 2021 Everlasting Spew Records / Me Saco Un Ojo Records / Desiccated Productions

Track listing
1. Dawn Of Obliteration 5:17
2. Maelstroms Of Abhorrence 5:23
3. Cloaked In An Aura Of Madness 5:11
4. Mayhemic Darkness And Possessed Visions 7:22
5. Sulphuric Vengeance 4:46
6. Bringers Of Khalkedonian Death 5:50
7. Spearfuck The Throes Of Treason 5:45
8. Perishing In His Oceans Of Blood 6:45

Band members
Abomination – vocals
Mustafa – guitars
Can – guitars
Malik – bass
Aberrant – drums

Album Review – Architectural Genocide / Cordyceptic Anthropomorph (2020)

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A sickening, slamming and brutal album of Death Metal from the always fertile breeding ground of Texas, courtesy of an up-and-coming band ready to unleash hell upon humanity.

Texas has always been a fertile breeding ground for the most brutal extremes of Death Metal, and Houston’s own Architectural Genocide have been proving themselves a match for all the illustrious, gore-soaked names who have gone before them since their inception in 2017, unleashing hell upon humanity with their debut full-length opus entitled Cordyceptic Anthropomorph, the sound of sheer brute force within a maelstrom of violence and pulverized flesh. Mixed and mastered by renowned Italian drummer Davide “BrutalDave” Billia (Beheaded, Antropofagus, Hour Of Penance), and featuring a brutal and Stygian artwork by American musician and designer Jon Zig (Images of Violence, Deeds of Flesh, Relics of Humanity, Viral Load), Cordyceptic Anthropomorph is highly recommended for fans of the absolute chaos blasted by bands like Disentomb, Gorgasm and Visceral Disgorge, showcasing all the undeniable talented of lead singer Daniel Brockway, guitarist Jonathan Blake, bassist Matt Day and drummer Nat Conner, and of course their deep passion for what people like to call “Brutal Texan Death Metal”.

It’s time to slam into the circle pit like there’s no tomorrow to the sound of the opening track Spires of Mangled Tissue, bringing to our ears brutal devastation from the very first second, with Nat sounding infernal with his blast beats and fills while Daniel barks like a rabid beast, resulting in a freaking heavy extravaganza from start to finish. Then in Hallucinogenic Demise an ominous intro led by Jonathan’s wicked guitar lines and Matt’s low-tuned bass evolves into modern and furious Death Metal with Daniel’s inhuman screeches adding a touch of dementia to the overall result, with Nat once again crushing his drums manically; and they continue their onrush of dark and hellish sounds in Dominate and Proliferate, where Jonathan extracts sheer violence from his stringed axe in great Brutal Slamming Death Metal fashion. And the title-track Cordydeptic Anthropomorph lives up to the legacy of both old school and modern-day Death Metal, sounding and feeling as brutal and technical as it can be thanks to the amazing job done by the band’s stringed duo, not to mention Nat’s demented and intricate beats.

And the boys from Architectural Genocide keep smashing our skulls and spinal cords with the visceral and infuriated Gorge on Deceased, the perfect depiction of how vile but at the same time melodic and technical the quartet can be, offering a few interesting breaks and variations while Daniel’s deep guttural roars continue to reverberate in the air. Then Nat takes the lead once again in the berserk Pleasure Induced by Agony, sounding like a stone crusher on drums in what’s perhaps the heavier and most vicious of all songs from the album, with Jonathan and Matt showing no mercy for their strings (nor for our necks, of course). The second to last blast of malevolent Death Metal by this skillful four-piece horde comes in the form of Abolishment of Human Existence, where Matt and Nat are in absolute sync with their respective bass punches and demonic beats and fills, providing Daniel all he needs to shine with his deep vociferations, whereas Burgeoning Necrosis is a fantastic and pulverizing closing tune, or in other words, the epitome of everything the band stands for, showcasing the classic, hammering drums by Nat and the always brutal shredding by Jonathan.

If you have what it takes to face the Brutal Texan Death Metal assault fired by Architectural Genocide in their debut installment, all you have to do is go to Comatose Music’s BandCamp or webstore, as well as to Discogs, to put your hands on such ruthless album of extreme music. Hence, don’t forget to show your true support to the guys from Architectural Genocide by following them on Facebook and on Instagram, and by listening to their music on Spotify. The architect of genocide is among us to bring us all a whole new level of sickening, slamming and brutality with Cordyceptic Anthropomorph, proving once again why the underground is and will always be the dark lair (and consequently our endless source) for ass-kicking Death Metal, and if you’re in Texas then the awesomeness coming from that is even higher, no doubt about that.

Best moments of the album: Hallucinogenic Demise, Cordydeptic Anthropomorph and Pleasure Induced by Agony.

Worst moments of the album: None.

Released in 2020 Comatose Music

Track listing
1. Spires of Mangled Tissue 4:51
2. Hallucinogenic Demise 5:48
3. Dominate and Proliferate 4:21
4. Cordydeptic Anthropomorph 5:06
5. Gorge on Deceased 3:56
6. Pleasure Induced by Agony 5:42
7. Abolishment of Human Existence 5:19
8. Burgeoning Necrosis 5:03

Band members
Daniel Brockway – vocals
Jonathan Blake – guitar
Matt Day – bass
Nat Conner – drums

Album Review – Infuriate / Infuriate (2018)

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Here comes a group of Texas all-stars armed with their debut album of fast and furious Death Metal, focusing on the brutal side of nature and unconscientious human behavior.

A group of Texas all-stars, Austin-based Death Metal/Grindcore unit Infuriate was founded in late 2015 by drummer Sterling Junkin (Widower, Laughing and Lying, Venereal Baptism) and guitarist Steven Watkins (Serpentian, Sect of Execration, Sarcolytic, Images of Violence), with vocalist and guitarist Jason Garza (Blast Perversion, Slow Grind) and bassist Alan Berryman (Whore of Bethlehem, Cathexis) completing the band’s pulverizing lineup. After about a year and a half of songwriting, nine demolishing tracks of unrelenting Death Metal and Grindcore had been arranged for the band’s debut self-titled album, released earlier this year, being highly recommended for fans of bands like Deeds Of Flesh, Severed Savior, Severe Torture and Disavowed.

Featuring an obscure artwork by the legendary artist Jon Zig, as well as special images for each song for a more vivid lyric booklet, the album contains a wide range of sinister topics that focus mainly on the brutal side of nature and unconscientious human behavior, with the music being deeply rooted in late 90’s Death Metal with a modern speed. Furthermore, although the album might not surpass the 30-minute barrier, it doesn’t feel incomplete or simplistic at all. Quite the contrary, just like several renowned acts like Slayer and Cannibal Corpse have mastered doing, Infuriate were capable of condensing a gargantuan amount of violence, hatred, heaviness and speed throughout the album’s relatively short time span, positioning the quartet as one of the most promising new names of the underground extreme music scene.

The opening track Juggernaut Of Pestilence is total savagery from the very first note, led by the razor-edged riffs by Jason and Steven while drummer Sterling pounds his drums mercilessly, and their devastation goes on in the sonic havoc titled Slaughter For Salvation, with Jason growling in a demonic and rabid way, being perfect for slamming into the circle pit with the sound of the guitars getting extremely acute and flammable for our total delight. Then Collective Suffering showcases a modern-day Cannibal Corpse vibe, mainly due to the amazing job done by the band’s stringed trio, with the bass punches by Alan sounding as heavy as hell; whereas in Engastration we’re treated to a violent and metallic sonority that gets quite progressive at times, therefore enhancing its taste considerably, also presenting lyrics that reek of old school Death Metal (“Creatures of ingenuity / With voracious appetites / Lacking conscience / They gather…”).

Only Pain Remains is another hurricane of Death Metal and Grindcore for your avid (and evil) ears, with both guitars exhaling rage and madness while Sterling continues to smash his drum set, not to mention Jason’s berserk growls and roars. And the band keeps smashing our heads with their visceral music in Matando, an unstoppable Grindcore tune infused with Death Metal elements spearheaded by an inspired guitar duo, with Jason once again vociferating contemporary and aggressive words (“False sense of security / Betrayed for all to see / Bleeding profusely / From the wounds of treachery / An altercation bred from deception / You must bleed with me”), followed by Mori Terrae, where their guitar shredding is effectively complemented by the fierce beats by Sterling while Jason barks like a beast nonstop in this full-bodied hymn of destruction, and Surrogate, a frantic and pulverizing display of crushing Grindcore with the bestial growls by Jason being supported by another excellent job done on the guitars, with the song’s fulminating pace being furiously led by Sterling’s beats. And lastly we have Cannibalistic Gluttony, portraying a beautiful name for another disturbing tune by Infuriate with the music remaining vile, demented and intricate from start to finish, with highlights to the groovy and complex beats by Sterling, closing the album on an absolutely brutal mode.

In a nutshell, what are you waiting for to slam your damn skull into the circle pit to the pulverizing Death Metal crafted by Infuriate? You can purchase their debut album (available for a full listen on YouTube) from the Everlasting Spew Records’ BandCamp or webstore (in regular CD format or as a CD + T-shirt bundle), as well as from your usual online retailers iTunes, Amazon, CD Baby and Discogs, and keep up to date to all things Infuriate by following them on Facebook, but that, of course, only if you think you’re brave enough to face an overdose of sheer aggression and rage in the form of extreme music made in Texas.

Best moments of the album: Slaughter For Salvation, Only Pain Remains and Matando.

Worst moments of the album: None.

Released in 2018 Everlasting Spew Records

Track listing
1. Juggernaut Of Pestilence 2:28
2. Slaughter For Salvation 2:56
3. Collective Suffering 2:41
4. Engastration 3:20
5. Only Pain Remains 4:10
6. Matando 3:35
7. Mori Terrae 3:46
8. Surrogate 3:18
9. Cannibalistic Gluttony 3:17

Band members
Jason Garza – vocals, guitar
Steven Watkins – guitar
Alan Berryman – bass
Sterling Junkin – drums