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Album Review – Testament / Para Bellum (2025)

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Let’s prepare for war to the sound of the breathtaking fourteenth studio album by Oakland, California’s own masters of old school, crushing Thrash Metal.

“Parabellum” is the second half of the Latin phrase “si vis pacem, para bellum”, which translates to “if you want peace, prepare for war”. That’s exactly what Oakland, California’s own Thrash Metal masters Testament are offering us all now in 2025 with their infernal fourteenth studio album, titled Para Bellum, a worthy follow-up to their 2020 beast Titans of Creation. Produced by Chuck Billy and Eric Peterson alongside Juan Urteaga at Trident Studios, who also recorded vocals, bass, drums, and acoustic guitars, with guitars recorded at Dragon Lair Studio and Skol Productions Studio, mixed by Jens Bogren and mastered by Tony Lindgren at Fascination Street Studios, and showcasing an apocalyptic artwork by the majestic Eliran Kantor, the new opus by the iconic  frontman Chuck Billy, the unparalleled guitarists Eric Peterson and Alex Skolnick, the ruthless bassist Steve Di Giorgio, and the beyond talented newcomer Chris Dovas (Evulsion, Unflesh, Aversed) on drums is a lecture in both old school and modern-day Thrash Metal, sounding as heavy, infuriated, intricate and explosive as a real war, leaving us absolutely disoriented after all is said and done.

Chris already showcases his welcome card in the opening beast titled For the Love of Pain while Eric and Alex hypnotized us all as expected with their undisputed riff attack, with Chuck’s ruthless roars being the icing on their thrashing cake. Their sonic devastation goes on in full force in Infanticide A.I., where Chuck’s deep, enraged gnarls walk hand in hand with the striking riffs and solos by the band’s guitar duo in a lesson in Thrash Metal, followed by Shadow People, utterly tribal, dark and heavy, a more melodic display of the band’s core sonority led once again by Eric’s and Alex’s flawless guitar work. Meant to Be follows a similar pattern as their own song “Dark Roots of Earth”, a somber, pensive ballad including some acoustic moments; whereas back to a much more ferocious, progressive and ruthless sonority we have High Noon, perfect for breaking our necks headbanging to Chris’ intricate beats and fills.

It’s time to go hunt some witches in the name of old school Thrash Metal with Witch Hunt, another avalanche of metallic riffs and blast beats for our total delight where Chuck sounds inhumane as usual on vocals; and I also love when he sounds less demented like in Nature of the Beast, delivering those raspy, deep and almost “clean” vocal lines that give the whole song an even edgier vibe, as melodic as it is groovy. Room 117 offers the band’s more contemporary sonority from their latest decade, with Steve hammering his bass mercilessly accompanied by the pounding drums by Chris; whereas Eric and Alex will crush your damned minds and souls with their electrifying axes in Havana Syndrome, an explosion of first-class Testament for the masses. Finally, ending the album we face the Stygian, imposing title-track Para Bellum, one of their most detailed, multi-layered songs of the past few years, with Chuck’s demonic growls sounding phenomenal from start to finish in an ode to war before all fades into the void.

Readiness to fight is necessary to maintain peace and defend oneself or one’s country, and the undisputed Thrash Metal blasted by Testament in Para Bellum is also necessary in the life of any decent human being. You can follow the band on Facebook and on Instagram for news, tour dates and other nice-to-know details about one of the torchbearers of classic thrash, stream their demonic creations on Spotify, and above all that, grab a copy of their incendiary newborn spawn from Nuclear Blast or by clicking HERE. In other words, it’s time to prepare for war, and there’s nothing better than Testament’s new album to inspire us all to head into the battlefield alongside one of the most important bands in the history of heavy music.

Best moments of the album: For the Love of Pain, Infanticide A.I., Witch Hunt, Nature of the Beast and Para Bellum.

Worst moments of the album: Meant to Be.

Released in 2020 Nuclear Blast

Track listing
1. For the Love of Pain 5:35
2. Infanticide A.I. 3:27
3. Shadow People 5:45
4. Meant to Be 7:33
5. High Noon 3:52
6. Witch Hunt 4:16
7. Nature of the Beast 4:28
8. Room 117 4:18
9. Havana Syndrome 4:40
10. Para Bellum 6:30

Band members
Chuck Billy – vocals
Eric Peterson – guitar
Alex Skolnick – guitar
Steve Di Giorgio – bass
Chris Dovas – drums

Guest musicians
Dave Eggar – cello, violin, viola, orchestrations, strings arrangements
Chuck Palmer – orchestrations, strings arrangements
Xavi Morató – violin

Album Review – Autopsy / Ashes, Organs, Blood And Crypts (2023)

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Oakland, California’s own Death Metal institution is back with their pulverizing ninth studio album, featuring brutal bouts of riffery feral attacks, soul crushing doom and all out skull splitting heaviness.

Likely needing no introduction, Oakland, California’s own metal institution Autopsy has been a pioneering Death Metal band for 36 years now. They’ve influenced a generation of bands with their brutal, unhinged brand of violent, grotesque Death Metal with classic releases like Mental Funeral and Severed Survival, and now in 2023 the band formed of Chris Reifert on vocals and drums, Eric Cutler on vocals and guitars, Danny Coralles on the guitars, and Greg Wilkinson on bass returns to the battlefield with their ninth studio album, titled Ashes, Organs, Blood And Crypts. Recorded by Scott Evans and Greg Wilkinson at Sharkbite Studios, mixed by Greg Wilkinson at Earhammer Studio, mastered by Ken Lee at Ken Lee Mastering, and displaying a visceral artwork by Wes Benscoter, the album follows last year’s acclaimed Morbidity Triumphant, while also featuring brutal bouts of riffery feral attacks, soul crushing doom and all out skull splitting heaviness recommended for fans of Obituary, Suffocation, Immolation and Deicide, just to name a few.

Eric and Danny begin their rabid riff attack in Rapid Funeral, a no shenanigans, ass-kicking Death Metal composition that exhales heaviness, rage and violence, and the band needs a little less than three minutes to crush our cranial skulls in Throatsaw, with the hammering drums by Chris walking hand in hand with all deep, guttural vocals blasted throughout the song. Then slowing things down a bit but keeping the atmosphere dark and evil we have No Mortal Left Alive, with Greg adding an extra touch of obscurity to the overall result with his low-tuned bass; whereas their devilish riffs and bass accompanied by the ruthless drums by Greg will haunt your souls in Well of Entrails, offering more of the band’s trademark Death Metal, followed by the title-track Ashes, Organs, Blood and Crypts, where not only they continue to demolish our senses with their undisputed extreme sounds, but there are also hints of Progressive Death Metal and even Doom Metal added to it to make things even more infernal.

And the band’s guitar duo shows no mercy for our spinal cords in Bones to the Wolves, inspiring us to slam into the pit while they deliver sheer awesomeness through their riffs and solos; whereas their guitar madness goes on in Marrow Fiend, also presenting their traditional harsh growls spiced up by the doomed beats by Chris, followed by Toxic Death Fuck, and a beautiful name obviously needed an uncompromised, demonic sonority, which is exactly what Autopsy offer us all with the guitars by Eric and Danny exhaling heaviness. Get ready to break your neck in the name of Death and Doom Metal in Lobotomizing Gods, once again proving why Autopsy are one of the most beloved bands of the underworld, and it’s then time for a destructive onrush titled Death Is the Answer, perfect for diving into the circle pit in the name of gore and violence, with Chris dictating the song’s pace with his demolishing beats. Lastly, the quartet invests in their most Doom Metal vein in Coagulation, bringing to our avid ears gargantuan, vile roars, disturbing riffs and sluggish beats until the very end.

You can see what such important name of the Death Metal scene is up to on Facebook and on Instagram, stream all of their incendiary albums on Spotify, and of course grab your copy of Ashes, Organs, Blood And Crypts by clicking HERE. Based on the quality of the music found in their 2022 album Morbidity Triumphant, and specially on their newborn beast Ashes, Organs, Blood And Crypts, the guys from Autopsy are far from calling it quits, keeping the fires of old school Death Metal burning and, consequently, inviting us all to get into the pit together with them like there’s no tomorrow, and may we keep getting more and more albums of pure, unfiltered Death Metal like their latest installment in the coming years.

Best moments of the album: Throatsaw, Ashes, Organs, Blood and Crypts and Death Is the Answer.

Worst moments of the album: No Mortal Left Alive.

Released in 2023 Peaceville Records

Track listing
1. Rapid Funeral 5:02
2. Throatsaw 2:31
3. No Mortal Left Alive 4:35
4. Well of Entrails 5:06
5. Ashes, Organs, Blood and Crypts 3:45
6. Bones to the Wolves 4:16
7. Marrow Fiend 3:32
8. Toxic Death Fuck 2:41
9. Lobotomizing Gods 2:34
10. Death Is the Answer 3:41
11. Coagulation 3:38

Band members
Chris Reifert – vocals, drums
Eric Cutler – vocals, guitars
Danny Coralles – guitars
Greg Wilkinson – bass

Concert Review – The Bay Strikes Back Tour (London Music Hall, London, ON, 10/01/2022)

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And the Bay struck back in the city of London, Ontario for the delight of all Thrash Metal lovers slamming into the pit on a completely sold-out night.

INTRO: The Bay Strikes Back Tour 2022

Featuring Bay Area Thrash Metal icons DEATH ANGEL, EXODUS and TESTAMENT, the fantastic party labeled The Bay Strikes Back Tour 2022 actually started back in Europe in February 2020, but only lasted for two months due to all COVID-19 restrictions at that time. However, in 2022 the three bands got back in action with the first leg of a North American tour in April and May, another European leg in the summer, and now a second North American leg this fall, including the sold out, majestic thrashing night on October 1 at the London Music Hall in London, Ontario, here in Canada. The place was jam packed from the very first second the doors opened at 6pm, and that was the landscape until Testament closed the night already past 11pm, requiring a lot of stamina, headbanging and moshing from the fans lucky enough to get a ticket for such unique night of pure Thrash Metal.

DEATH ANGEL

Precisely at 6:50pm, and with the merch lines still being huge (which caused several fans to miss part of the concert), San Francisco, California’s own Thrash Metal squad DEATH ANGEL kicked off the night on a high note, blending old school tunes the likes of Mistress of Pain and Voracious Souls with newest hits such as The Moth and Humanicide, from their latest effort Humanicide, released in 2019. Mark Osegueda was on fire throughout the entire concert, showcasing an amazing vocal performance while his bandmates made sure there was plenty of heaviness and speed for the fans at the London Music Hall to get into the circle pits. It was really cool to see bassist Damien Sisson sporting a Toronto Raptors jersey, and of course seeing how much Canadians love Death Angel. Right after they finished playing the closing tune, the excellent Thrown to the Wolves, it became obvious that their setlist was way too short, but I’m sure the band will be back for a full-bodied, ass-kicking performance sooner than we can say “Thrash Metal”.

Setlist
The Ultra-Violence / Mistress of Pain
Voracious Souls
Seemingly Endless Time
The Dream Calls for Blood
Caster of Shame
The Moth
Humanicide
Thrown to the Wolves

Band members
Mark Osegueda – vocals
Rob Cavestany – guitar
Ted Aguilar – guitar
Damien Sisson – bass
Will Carroll – drums

EXODUS

After a quick bathroom/beer/merch break, all fans at the venue got in their desired positions for the fulminating Thrash Metal attack by the one and only EXODUS, and it was indeed a killer lesson in violence. Steve “Zetro” Souza, Gary Holt, Lee Altus, Jack Gibson and Tom Hunting felt at home in London, crushing everything and everyone that crossed their path during their high-octane, heavy-as-hell performance, and consequently putting a huge smile on the faces of everyone at the venue. Promoting their sensational 2021 opus Persona Non Grata, the band delivered endless adrenaline in a setlist that beautifully mixed new songs like The Beatings Will Continue (Until Morale Improves) and The Years of Death and Dying with old school thrashing classics including A Lesson in Violence, Blacklist and Bonded by Blood. Zetro and Gary were insane on stage the whole time, while their fans were simply slamming into the pit like there’s no tomorrow. Close to the end of the show, before they played the electrifying The Toxic Waltz, Zetro thanked everyone at the venue for an amazing sold-out night and thanked security for the excellent job done in keeping everyone safe during the concerts, while a Canadian flag with the Exodus logo was shining bright behind the drums, and Gary made a tear of pure joy fall from everyone’s faces when he played a snippet from Slayer’s undisputed classic “Raining Blood”. We need Slayer back. Anyway, as usual they ended the concert with Strike of the Beast, or maybe I should say STRIKE OF THE FUCKIN’ BEAST, with a promise Exodus will soon return to Canadian lands for another lesson in violence.

Setlist
The Beatings Will Continue (Until Morale Improves)
A Lesson in Violence
Blood In, Blood Out
The Years of Death and Dying
Deathamphetamine
Blacklist
Piranha
Prescribing Horror
Bonded by Blood
The Toxic Waltz
Strike of the Beast

Band members
Steve “Zetro” Souza – vocals
Gary Holt – lead and rhythm guitars
Lee Altus – lead and rhythm guitars
Jack Gibson – bass
Tom Hunting – drums, percussion

TESTAMENT

It took a little longer for Oakland, California-based Thrash Metal titans TESTAMENT to hit the stage at the London Music Hall, more specifically at 9:30pm, but I must say the wait was totally worth it as Chuck Billy and his crew masterfully blasted our hearts and souls with their very technical, infernal and thrilling Thrash Metal. It didn’t matter if they played newer songs like Rise Up, The Pale King and WWIII, or thrashing classics the likes of Practice What You Preach and First Strike Is Deadly, the crowd went mental into the circle pit, inspiring the whole band to play even faster and heavier than usual. The new songs from their 2020 album Titans Of Creation sounded fantastic live, but it was the old school stuff that set endless fire to the pit. I have to say that D.N.R. (Do Not Resuscitate), Electric Crown and The Formation of Damnation might be three of the finest Thrash Metal anthems of all time, and if you add to that the sensational way Eric Peterson and Alex Skolnick slashed their axes, the rumbling bass by Steve Di Giorgio, and of course the unparalleled drums by Mr. Dave Lombardo, who received perhaps the most heartwarming ovation from the crowd from all bands, there you have the cream of thrash served on a plate of pure gold to their Canadian fans. Chuck Billy was having an amazing time, being extremely happy with the reaction of the crowd before Native Blood when he mentioned the importance of the day before the show, September 30, to all indigenous people due to the National Truth and Reconciliation Day in Canada, and pretending he was “brewing” pure Thrash Metal in the giant “casserole” known as the floor section while fans were in a devastating mode during Into the Pit, among a few nice stories he told in between songs. Everyone left the London Music Hall extremely satisfied with the whole night, in special with the ass-kicking performance by Testament, and it won’t take long for them to return to Canada to blast our ears once again as long as we always practice what we preach.

Setlist
Rise Up
The New Order
The Pale King
Children of the Next Level
Practice What You Preach
WWIII
D.N.R. (Do Not Resuscitate)
Native Blood
Night of the Witch
Electric Crown
The Formation of Damnation
First Strike Is Deadly
Into the Pit
Alone in the Dark

Band members
Chuck Billy – vocals
Eric Peterson – guitar
Alex Skolnick – guitar
Steve Di Giorgio – bass
Dave Lombardo – drums

Album Review – Inanimate Existence / Clockwork (2019)

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A pulverizing album of Technical and Progressive Death Metal by a ruthless Bay Area triumvirate, dealing with the human tendency to struggle with the acceptance of mortality and our limited time on earth.

Formed in 2011 in the renowned Bay Area, in the state of California, United States, Progressive/Technical Death Metal trio Inanimate Existence returns in 2019 with a brand new opus entitled Clockwork, the follow-up to the group’s highly praised fourth album, Underneath a Melting Sky, released in 2017. Featuring a futuristic and whimsical cover art by by Justin Abraham (who has already worked with bands like Equipoise, Aepoch and Oubliette), with additional artwork by Mark Erskine (from Erskine Designs), recorded by Inanimate Existence and Zack Ohren, and mixed and mastered by Zack Ohren at Shark Bite Studios in Oakland, California, Clockwork delves deeper into cerebral Progressive Death Metal depths, while buoyed by the group’s established penchant for merciless full-throttle brutality and frenetic tech-death driven terrain.

And the band comprised of Cameron Porras on vocals and guitar, Scott Bradley on bass and backing vocals, and Ron Casey (Continuum, Brain Drill) on drums had a few nice words to say about their newborn spawn. “We’re thrilled to finally be able to share our 5th studio album with all of you! This is definitely the most work we have ever put into an album by a long shot. Sound wise I’d say that it’s a continuation of our last album but much more polished and mature,” commented the band, describing Clockwork’s thematic focus as “dealing with the human tendency to struggle with the acceptance of mortality and our limited time on earth. It explores the questions we torment ourselves with during life along with the irony of how small and insignificant we are in the grand scheme of the universe. The title refers to the mechanisms of a clock and how every tick brings you closer to your doom.”

The trio begins firing their fusion of insanity and progression mercilessly in the title-track Clockwork, with Ron dictating the rhythm with his furious beats while Cameron brings a touch of delicacy to the music with his guitar riffs and solos, sounding at the same time devastating and very melodic; whereas in Voyager we’re treated to lyrics that exhale insanity (“Isolated, trapped inside the capsule / I fear that I may now be on my own / My crew have perished, and I am alone / Orbiting beyond the atmosphere / My communications are down and the power is cut / I gaze back to the Earth / Wondering, will I be remembered?”), with the music bringing elements from smoother styles like Jazz while Scott extracts sheer thunder from his intricate bass lines. This talented American triumvirate keeps smashing our senses with their vicious Progressive Death Metal attack in Apophenia, as complex and pulverizing as possible, sounding as if the almighty Krisiun went full progressive at times, offering to the listener several neck-breaking moments led by Ron’s insane drumming; and their metal extravaganza goes on in Desert, with all three member firing wicked and intricate sounds and tones from their respective instruments. Put differently, it’s straightforward Progressive Death Metal with a vibrant atmosphere, not to mention Cameron’s sick solos adding some welcome lunacy to the overall result.

In Solitude the band offers us pensive and modern lyrics (“I return to solitude / Where once again I contemplate / What my purpose is inside this burdensome reality / I return to solitude / Where once again I contemplate / What is my purpose?”), while its instrumental parts are absolutely mental, with both Cameron and Ron crushing their weapons nonstop, followed by Diagnosis, where the band continues to slash our ears with the modernized and very complex version of Death Metal. Moreover, the bass lines by Scott sound insanely heavy and metallic, with the music also bringing interesting eerie passages and breaks (despite going on for a bit too long). Then back to a more demonic and infuriated mode we have Ocean, blending the most violent and thrilling elements from Progressive and Death Metal with Ron sounding infernal on drums, therefore providing Cameron the perfect ambience for gnarling deeply and rabidly, once again presenting spot-on melodic and ethereal passages. Lastly, Liberation closes the album with more of the dynamic, electrifying sounds from the depths of the human psyche by the trio, with Scott and Ron bringing thunder to the musicality while Cameron keeps delivering harmonious riffs and solos while growling like a beast until the song’s visceral ending.

You can have your brain shredded into pieces by listening to Clockwork in its entirety on YouTube and on Spotify, and after being stunned by Inanimate Existence simply go check what they’re up to on their official Facebook page, including their tour dates, and purchase your copy of their brand new opus from their BandCamp page, from The Artisan Era webstore (in several exclusive formats and bundles), from Apple Music or from Amazon. As aforementioned, the band itself said that we all struggle with the concept of mortality and our limited time on this planet, which means we should not waste too much time thinking but enjoying some good, destructive and complex Death Metal while we’re alive, with Clockwork being an excellent choice for that.

Best moments of the album: Voyager, Desert and Ocean.

Worst moments of the album: Diagnosis.

Released in 2019 The Artisan Era Records

Track listing
1. Clockwork 4:34
2. Voyager 5:40
3. Apophenia 4:37
4. Desert 4:06
5. Solitude 4:42
6. Diagnosis 5:34
7. Ocean 4:55
8. Liberation 6:43

Band members
Cameron Porras – vocals, guitar
Scott Bradley – bass, vocals
Ron Casey – drums

Album Review – Atrament / Eternal Downfall (2016)

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If the downfall of humanity demanded a soundtrack, it would be undoubtedly the brutal and macabre blackened music by this amazing American horde.

Rating4

12inch_3mm_v92012.inddWhile listening to the hellish Eternal Downfall, the debut full-length album by American Blackened D-Beat Crust/Death Metal horde Atrament, one big question came to my mind in regards to their music style. Would Atrament be a heavier-than-usual Punk Rock band with huge European influences, especially from the unparalleled sounding of Norwegian Black Metal, or a Death Metal band highly inspired by the Gothenburg sound with a strong hardcore/punk attitude? Either way, the music by this amazing band from Oakland, California will crush your mind and leave you completely disoriented, similarly to what iconic bands such as Bolt Thrower, Napalm Death and Darkthrone do. Needless to say, if you’re a fan of fast and furious metal music, you’re going to love the experience.

Brought into being in the fall of 2014 in the United States by current and former members of the groups Moral Void, Black September, Necrot and Abstracter, this talented American band offers a thrashy and gripping fusion of different genres of extreme music that together have the impact of a nuclear bomb on the listener, always remaining loyal to the roots of British Anarcho-Punk and Scandinavian Black and Death Metal from the 90’s. The amazingly obscure artwork by American illustrator Stephen Wilson (Unknown Relic) is already a good indication of how vile and cataclysmic the music found in Eternal Downfall is, but I suggest you hit play and, if you have the guts, enjoy each one of the album’s 11 ruthless compositions.

Atrament do not fool around and start blasting their brutal and macabre blackened music already from the very first second of the opening track, No Beyond, a powerful blend of Black, Thrash and Death Metal where guitarist James Meyer fires blazing riffs while lead singer Mattia Alagna doesn’t sound he’s living a happy moment at all. And before you can catch the slightest breath, here comes the barbaric tune Sunken Reign effectively boosted by its Punk Rock/Hardcore elements, with highlights to the sick beats by drummer Chad Gailey; followed by Aberration, a faster and more demonic song with a cutthroat ambience that will make you feel uncomfortable for sure. This amazing composition brings forward two and a half minutes of the perfect amalgamation between Black Metal and Hardcore, with noticeable influences from Napalm Death and other aggressive bands.

Atrament[1]James kicks off the massacre entitled Consumed with his solid riffs, being quickly complemented by the deep growling by Matia, the blast beats by Chad and the rumbling bass lines by Sam Carr-Prindle, before the bestial tune Hericide comes with its berserk rhythm and feeling, making the album even more thrilling. It’s nonstop action that should be fantastic when played live, sounding as if The Exploited decided to put on some corpse paint and re-directed the content of their music to all that’s evil. And in the longest of all tracks, Wretched Apparition, which displays hints of old school Slayer and a vibrant Death Metal approach, they really want us all to get completely destroyed inside the circle pit until its suffocating ending.

An imposing intro marks the start of Rotting Twilight, which then showcases metallic bass lines and pure devastation for three and a half minutes, while Aeon of Suffering “informs” us there’s absolutely no time to rest due to its high-speed carnage that brutally goes on from start to finish. And in World of Ash we are beautifully smashed by the most wicked form of Blackened Death Metal, led by the great riffs by James and the visceral vociferations by Mattia. As ferocious as a wolf in the wild, Atrament keep kicking ass with an incredible amount of stamina in Circle of Wolves, becoming impossible not to go for some good slamming while listening to this tune; whereas Dusk Abuse provides us all one final blast of dark and extreme music where it’s obvious the band’s main goal is the total extermination of mankind. They make sure no one is left alive after listening to it, with James and Chad speeding up their pieces and therefore adding an extra dosage of insanity to the music.

Atrament can be found on Facebook if you want to get in touch with the band and send them a message, and in case you want to purchase their fiendish opus, Eternal Downfall is available at their BandCamp page, at the Broken Limbs Recordings’ webstore, at the Argento Records’ Big Cartel page or at the Sentient Ruin Laboratories’ BandCamp page. If the downfall of humanity (we’re already experiencing nowadays) had a soundtrack, I’m pretty sure it would be very similar to the extreme music with a punk attitude Atrament can flawlessly generate.

Best moments of the album: Aberration, Hericide and World of Ash.

Worst moments of the album: None.

Released in 2016 Broken Limbs Recordings/Argento Records/Sentient Ruin Laboratories

Track listing
1. No Beyond 2:14
2. Sunken Reign 2:31
3. Aberration 2:22
4. Consumed 3:08
5. Hericide 2:33
6. Wretched Apparation 3:44
7. Rotting Twilight 3:28
8. Aeon of Suffering 2:26
9. World of Ash 2:47
10. Circle of Wolves 2:34
11. Dusk Abuse 3:34

Band members
Mattia Alagna – vocals
James Meyer – guitar
Sam Carr-Prindle – bass
Chad Gailey – drums

https://youtu.be/IKDV-Ayb8UI