Tag Archives: progressive death metal

Album Review – Februus / Construction of Conflict (2026)

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The ancient Roman and Etruscan god of purification, cleansing, and the underworld is back with its sophomore album, sounding just as fascinating and eccentric as one would expect it to be.

After releasing an astounding debut in Surveillance Orgy in 2023, Höör, Sweden-based Progressive Death Metal entity Februus (the ancient Roman and Etruscan god of purification, cleansing, and the underworld) returns with a sophomore album that is more mature and consistent, yet just as fascinating and eccentric as one would expect it to be, entitled Construction of Conflict. Mixed by the band’s sole member, vocalist and multi-instrumentalist Andreas Karlsson, mastered by Mattias Persson, and showcasing a wicked, striking artwork by Daniel Karlsson, the album is more compact and effective without losing its expressive power. There are no 15-minute songs on this one. Most of them in fact happen to last for just around five minutes, and Andreas and his Februus make sure that they’re nonetheless packed with plenty of deviations and surprises that are of more varied textures and moods than before.

Andreas kicks off his demented extravaganza with sheer force and insanity in Genocide by Default, offering wicked riffs and blast beats with tons of progressiveness and heaviness, followed by Measures of Escalation, keeping the momentum going with the striking Progressive Death Metal riffs and vociferations by Andreas sounding piercing, demented and vibrant from start to finish. Then an ethereal, enfolding start morphs into sheer madness and experimentations in Suicide by Proxy, with Andreas delivering his trademark scorching riffs nonstop for our total delight; while The First Limb Is Cut carries a poetically harsh title for another blast of Progressive Death Metal by Andreas, with his killer riffs and blast beats punching us hard in the head.

The Misery That Awaits the World is another song with a caustic, powerful title that offers a more introspective side of Andreas, warming us up for Fueled by Narcissism, exploding into absolute chaos, insanity and violence to his demonic guttural and crushing drums, presenting an amalgamation of sounds, tones, breaks and passages not recommended for the lighthearted. Andreas then showcases his own blend of Dissonant and Progressive Death Metal in Scavengers of the Forgotten Poor, firing nonstop scathing riffs while his roars sound absolutely evil; and ending the album we face the multi-layered Suppressing the Future, which kicks off in total violence before morphing into a whimsical sonority, and finally morphing again, this time into sheer doom.

With the release of the dynamic and multi-layered Construction of Conflict, Februus remains as one of the most interesting Swedish Death Metal bands today, always having a trick or three up its sleeves, while maintaining a deceptively rough, clamorous demeanour. In other words, if you’re a fan of the fusion of heavy music and sheer insanity blasted by bands the likes of Edge of Sanity, Pan.Thy.Monium, Demilich, Disharmonic Orchestra, and Defect Designer, just to name a few, you should definitely give Februus a try by streaming its idiosyncratic music on any platform like Spotify, and by purchasing Construction of Conflict from the project’s own BandCamp, as well as from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. Don’t forget to also follow Februus on Facebook and on Instagram, and who knows, maybe after such an amazing album the project will morph from a studio project into a live beast, taking your city by storm sooner than you can say “Februus.” Construction of Conflict is certainly not an album for the average listener, but a venomous creature ready to penetrate deep inside your skin, consuming your mind and soul, and leaving you in a cathartic state just the way we like it in Progressive Death Metal.

Best moments of the album: Genocide by Default, The First Limb Is Cut and Fueled by Narcissism.

Worst moments of the album: The Misery That Awaits the World.

Released in 2026 Transcending Obscurity Records

Track listing
1. Genocide by Default 5:25
2. Measures of Escalation 5:11
3. Suicide by Proxy 5:45
4. The First Limb Is Cut 5:02
5. The Misery That Awaits the World 2:07
6. Fueled by Narcissism 5:50
7. Scavengers of the Forgotten Poor 5:47
8. Suppressing the Future 5:27

Band members
Andreas Karlsson – vocals, guitars, bass, drum programming, synthesizers

Album Review – Lifeswallower / Lifeswallower EP (2026)

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These four UK Progressive Death Metal veterans are unleashing upon us their self-titled debut EP, combining technical precision with a strong focus on songwriting and dynamics.

Featuring four experienced musicians brought together by a shared desire to create new music, UK’s own Progressive Death Metal outfit Lifeswallower is unleashing upon us their self-titled debut EP, drawing from Progressive, Death, Thrash Metal and other corners of heavy music, combining technical precision with a strong focus on songwriting and dynamics. Recorded by each band member at their home studios (vocals, guitars, bass) and by Joe Clayton at No Studio (drums), mixed by Ben Ottridge and Benedict Harris-Hayes, and mastered by Benedict Harris-Hayes at Ethereal Tantrum Studios, the EP sees vocalist James Moffatt, guitarist Tom Humphrey, bassist Ben Ottridge and drummer Benedict Harris-Hayes move between blast-driven intensity, complex arrangements and heavier groove-based sections, allowing each song to develop its own identity while remaining part of a coherent whole.

James’ inhumane guttural is the main ingredient in the ruthless opening track Defy My World, with the Sludge and Doom Metal-infused riffs by Tom bringing even more insanity to their music. The Trees Hide Their Bodies is another hard hitting tune by those UK metallers, with the song’s haunting background sounds sending shivers down our spines while Benedict hammers his drums nonstop, followed by Abandon The Body Of Rot, presenting elements of Thrash and Groove Metal in their core Death Metal sounds, in special through Tom’s killer riffage, being therefore perfect for some action inside the pit (not to mention their clean vocals are also electrifying). And lastly, we face Compound Fears, with the band again blasting our faces with an overdose of progressiveness without forgetting to sound heavy and devilish. Furthermore, Tom and Ben make an amazing stringed duo with their cutting riffs and rumbling bass, respectively, adding even more adrenaline to their music.

Reflecting the chemistry of four musicians pushing each other creatively and exploring new musical territory together, the EP is highly recommended for admirers of the music blasted by renowned acts the likes of Burnt By The Sun, Gojira, Morbid Angel, The Black Dahlia Murder, Sikth, Tool, and Katatonia, among several others, and you can get to know more about those veterans via Facebook and Instagram, and of course, purchase a copy of their striking debut from their own BandCamp. Lifeswallower are setting the bar high with their debut EP, leaving us eager for their first ever full-length opus in a not-so-distant future, and I bet it will be even heavier and more dynamic for our absolute delight.

Best moments of the album: Abandon The Body Of Rot and Compound Fears.

Worst moments of the album: None.

Released in 2026 Prog On! Recordings

Track listing
1. Defy My World 6:30
2. The Trees Hide Their Bodies 5:59
3. Abandon The Body Of Rot 4:47
4. Compound Fears 6:09

Band members
James Moffatt – lead vocals
Tom Humphrey – guitar, vocals
Ben Ottridge – bass, vocals
Benedict Harris-Hayes – drums, vocals

Album Review – Abyssal Rift / Relics of Great Ash (2026)

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Creating gut-wrenching, pulverizing Death and Doom Metal that embodies the best aspects of those two styles, this American beast is back armed with their scorching sophomore album.

Creating gut-wrenching, pulverizing Death and Doom Metal that embodies the best aspects of those two styles, Columbus, Ohio’s own creature Abyssal Rift is back with the follow-up to their critically acclaimed 2023 debut Extirpation Dirge, their sophomore beast titled Relics of Great Ash. Formed of Matt Auxier on lead vocals, guitars, synths and programming, Mike Sliclen on bass and backing vocals, and Brandon Smith on drums, percussion and backing vocals, not to mention Brandon Smith and Mike Sliclen were also responsible for the drawings and cover photo, respectively, Abyssal Rift managed to mix Death and Doom Metal all up without losing coherency or their asphyxiating grip on the listener, resulting in an engrossing, diligent album rife with downright wicked riffs, an ominous atmosphere, and some insane structuring, more so than most others in the vein, being therefore highly recommended for fans of Incantation, Disembowelment, Saevus Finis, and Cruciamentum.

There’s no hope in sight as the trio kicks off the album in full force with Consummate Design, where the evil vociferations by Matt walk hand in hand with the stunning drums by Brandon, while the title-track Relics of Great Ash brings forward an amalgamation of dark sounds from Death and Doom Metal intertwined with cryptic, atmospheric passages, resulting in a wild beast of sheer obscurity. Then venturing through the realms of Progressive and Dissonant Death Metal we have The Enlightenment (There Was Never Will), with Mike’s bass and Brandon’s drums offering Matt all he needs to roar like a demonic entity. The Death of God showcases a more direct fusion of Death and Doom Metal, with all vocals and instruments breathing fire into our putrid souls, whereas Surrealistic Visions sounds and feels utterly chaotic and visceral from the very first second until the end, with Brandon stealing the show with his demented beats and fills. Finally, Sphere of Perpetuity is a pure Doom Metal onrush by the trio, dragging us all to pitch black darkness to the sound of their sluggish, devilish guitars, bass and drums.

For a band like Abyssal Rift, the music is far more intricate and involved than it seems, with moments of it being fleshed out or slowed down if only to emphasize the unfathomable heaviness. At other times, the music builds in intensity until it reaches a crescendo, to be followed by a filthy, chugging part, a ripping solo, or a transcendental or industrial-tinged atmospheric passage. This is exactly what you’ll get in Relics of Great Ash, which you can purchase 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 the band is up to on Facebook and on Instagram, and to stream their dark creations on Spotify. The second Death and Doom Metal attack by Abyssal Rift will certainly help them spread their obscurity and violence to even further lands, and if that’s an indication of where those guys are headed to with their future releases, the world will certainly be a much darker place.

Best moments of the album: Consummate Design and Surrealistic Visions.

Worst moments of the album: None.

Released in 2026 Transcending Obscurity Records

Track listing
1. Consummate Design 5:28
2. Relics of Great Ash 8:03
3. The Enlightenment (There Was Never Will) 4:31
4. The Death of God 6:22
5. Surrealistic Visions 4:50
6. Sphere of Perpetuity 6:58

Band members
Matt Auxier – lead vocals, guitars, synths, programming
Mike Sliclen – bass, backing vocals
Brandon Smith – drums, percussion, backing vocals

Album Review – Complexant / Apex (2026)

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This vicious Australian entity is unleashing hell with their debut offering, boasting ten tracks of brilliantly violent riffing fueled by percussive intensity and unearthly vocals.

Bringing together members from across Australia to deliver a vicious blend of Death and Black Metal with Deathcore since 2022, drawing influence from bands such as Behemoth, Suffocation, Emperor and Nile, the unrelenting Blackened Deathcore creature Complexant is poised to unleash their first-ever full-length album, simply titled Apex. Mixed and mastered by the unstoppable Christian Donaldson (Cryptopsy, Suffocation, Shadow of Intent, Ingested), with vocals tracked by Joey Marsh at Beyond the Marsh Studios, and guitars and bass tracked by Shannon Zivkovic, and showcasing a grim artwork by Matt Priso, the debut by vocalist Dan Greigsy, guitarists Shannon Zivkovic and Gavin Bradley, bassist Chris Tuckley, and drummer Seb Su boasts ten tracks of brilliantly violent riffing fueled by percussive intensity and unearthly vocals.

The album kicks off with the pulverizing Apex, a nice and sweet welcome card by the band stating the album is definitely not for the faint at heart, flowing into No Angels Weep, with Seb taking the lead with his infuriated, ruthless beats and fills in the name of chaos and savagery while Dan roars and screams like a rabid beats nonstop. Their demented metal attack goes on in full force in Afterlife, where the intricate yet violent riffs by Shannon and Gavin live up to the legacy of modern-day Death Metal, followed by Swing Myself To Sleep, continuing to pulverize everything and everyone that crosses their path, simply perfect for some vigorous headbanging; whereas Critical Mass is as infuriated as its predecessors, albeit lacking the same level of dynamism and heaviness.

Back to their trademark level of insanity and violence we face Heretical Supremacy, with Dan’s demented screams walking hand in hand with the top-notch guitar work by the band’s axe duo, while Cyclops presents a more progressive and technical side of the band, with the thunderous kitchen crafted by Chris and Seb sounding phenomenal. Then again venturing through the realms of Progressive and Technical Death Metal without forgetting their Deathcore essence we have Eye For An Eye, and the final result is beyond infernal for our total delight. Lastly, after the ethereal and grim interlude No Hope For Humanity, we’re treated to their coup-de-grace titled No Hope For Sanctuary, with Dan roaring nonstop supported by the intricate and visceral instrumental pieces blasted by his bandmates, therefore putting a demolishing ending to the album.

With their debut album Apex, Complexant continue to push a sound defined by weight, darkness and unrelenting intensity, and if you want to know more about such a promising name from Down Under you can find those guys on Facebook and on Instagram, stream their music on any available platform such as Spotify, and of course purchase a copy of the excellent Apex from the band’s own BandCamp. In other words, Complexant are unleashing upon us an overdose of heaviness and savagery not recommended for the lighthearted, proving why they’re becoming the apex predator in the extreme music community in their homeland.

Best moments of the album: No Angels Weep, Swing Myself To Sleep and Eye For An Eye.

Worst moments of the album: Critical Mass.

Released in 2026 Bleeding Art Collective/Blood Blast Distribution

Track listing
1. Apex 1:24
2. No Angels Weep 3:58
3. Afterlife 3:19
4. Swing Myself To Sleep 3:30
5. Critical Mass 3:33
6. Heretical Supremacy 4:08
7. Cyclops 4:27
8. Eye For An Eye 4:23
9. No Hope For Humanity 1:09
10. No Hope For Sanctuary 4:38

Band members
Dan Greigsy – vocals
Shannon Zivkovic – guitar
Gavin Bradley – guitar
Chris Tuckley – bass
Seb Su – drums

Album Review – Psycroptic / The Pulse of Annihilation (2026)

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These Tasmanian devils reaffirm their status not merely as Technical Death Metal stalwarts in their new album, but as architects actively shaping its future, proving that mastery, sharpened by time, only grows more lethal.

For over two decades, Psycroptic have operated at the vanguard of Technical Death Metal, defined by instrumental precision, structural intelligence and an uncompromising creative ethic. From their Tasmanian origins to commanding stages worldwide, the band have built a reputation on rhythmic complexity, exacting musicianship, and a refusal to plateau. Now in 2026 the band formed of Jason Peppiatt and Jason Keyser on vocals, Joe Haley on the guitars, Todd Stern on bass, and David Haley on drums returns with their ninth studio opus, The Pulse of Annihilation, following up on their critically acclaimed 2022 album Divine Council. Produced once again by Joe Haley at Crawlspace Productions, and showcasing a haunting artwork by Belial NecroArts, the album features once again a formidable dual-vocal assault just like in their previous offering, heightening the record’s impact and presenting layered, confrontational elements that remain tightly synced with the band’s intricate foundation.

Joe’s lugubrious, evil riffs will darken the skies in the opening track Ashes of a New Dawn, quickly accompanied by David with his massive, intricate and ruthless beats and fills, followed by Gathering a Venomous Herd, with both vocalists exhaling hatred through the song’s demonic words (“Venomous tongues in this world now defiled / Fractured souls drown / In our self-proclaimed wisdom / Divided we fall to this new faceless god”) in a lecture in Technical Death Metal. Then a sinister intro evolves into a Stygian display of Progressive Death Metal titled A Sword of Me, with Joe and Todd hammering their strings with tons of anger and dexterity; and No Time for the Weak carries an excellent title for another hard hitting tune by those Australian veterans, with the deep and sharp vociferations by Jason Peppiatt and Jason Keyser reeking of Death Metal, while after an atmospheric intro the venomous Our Pillars Fall turns into a feast of progressiveness and violence, with David once again sounding inhumane behind his drums.

David kicks off the also groovy and technical Annihilation Pulse, with the slashing riffage by Joe cutting our flesh mercilessly; whereas No Blade of Grass brings forward another round of their acid words that will certainly pierce our brains (“Unseat the throne of hypocrisy / Who mourns when chaos dies / Relentless strife and delusion / Feeding fevered dreams of poisoned tribes / Who rise together a rancorous afterthought / Orate the funeral call”) amidst sheer Death Metal devastation. They keep the ambience as dense and brutal as possible to the sound of To Embrace This Curse, with their scorching vocals crushing our souls mercilessly, and lastly we face Forging the Crown, perhaps the most technical of all songs, where Joe and Todd are phenomenal armed with their respective guitar and bass while David dictates the pace with his beyond complex and thrilling beats and fills.

“The Pulse of Annihilation is pretty much the culmination of everything that has come before,” remarked Joe Haley. “As with past releases, we never force anything stylistically and just let the songs manifest of their own accord – maintaining progression while remaining very much Psycroptic. Because of this, I feel this is our most epic, thrashing, technical while grooviest release yet.” Across the excellent The Pulse of Annihilation, Psycroptic sound focused, disciplined, and fully aware of their trajectory. Complexity remains foundational, but it is now guided by compositional restraint and veteran confidence. Hence, you can get in touch with those Australian metallers via Facebook and Instagram, stream their sonic violence on Spotify, and of course purchase their new album from BandCamp, from Metal Blade Records, or from Direct Merch. With The Pulse of Annihilation, the band reaffirm their status not merely as Technical Death Metal stalwarts, but as architects actively shaping its future – proving that mastery, sharpened by time, only grows more lethal.

Best moments of the album: Gathering a Venomous Herd, Our Pillars Fall and Forging the Crown.

Worst moments of the album: None.

Released in 2026 Metal Blade Records

Track listing
1. Ashes of a New Dawn 4:08
2. Gathering a Venomous Herd 3:19
3. A Sword of Me 4:29
4. No Time for the Weak 3:43
5. Our Pillars Fall 6:45
6. Annihilation Pulse 4:03
7. No Blade of Grass 3:24
8. To Embrace This Curse 4:10
9. Forging the Crown 4:43

Band members
Jason Peppiatt – vocals
Jason Keyser – vocals
Joe Haley – guitars
Todd Stern – bass
David Haley – drums

Album Review – Eaten By Sharks / The Undertow Of Hate (2026)

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This Canadian Technical Death Metal sea beast returns from the ocean depths with their sophomore album, a dark conceptual journey rooted in nautical horror and psychological collapse.

Blending Technical and Progressive Death Metal with technical precision, crushing grooves, and Deathcore aggression, St. Catharines, Ontario’s own rising force Eaten By Sharks continues to evolve from the sound established on their 2022 release Eradication with their newborn spawn, entitled The Undertow Of Hate, embracing a more composition-focused and cinematic approach by crafting a dark conceptual journey rooted in nautical horror and psychological collapse. Recorded, mixed and mastered by Christian Donaldson, and displaying another killer artwork by Paolo Girardi, the new album by Matt Sherriff on vocals, Chris Chaperon and Dan Okowinsky on the guitars, Tyler Abrams on bass, and Justin Whitehead on drums offers us mere mortals a devastating blend of Deathcore, slam, and modern Extreme Metal intensity, becoming therefore a must-listen for fans of Fit For An Autopsy, Gojira and Cattle Decapitation, just to name a few.

The piercing guitars by Chris and Dan invite us all to dive deep into the unruly waters of The Undertow Of Hate in Vessels Torn, with Matt screaming and gnarling like a demented creature until the very end; while In Tidal Chaos starts in a sinister way before all hell breaks loose to the massive beats by Justin and the rumbling bass by Tyler in a lecture in Technical Deathcore. Capsized sounds even heavier and more demented, with Matt’s deep guttural reeking of classic Death Metal, supported by the always technical and venomous guitar work by Chris and Dan; and let’s enjoy several bodies slamming into the pit to the sound of Bodies Overboard, with Justin hammering his drums nonstop, consequently bringing even more heaviness and violence to their music.

Their Technical Death Metal vein pulses harder than ever in Treading Water, with the visceral roars by Matt walking hand in hand with the intricacy and hatred blasted by his bandmates, followed by Dragged Under, which keeps the momentum going with an explosion of absolute violence by all band members, all boosted by the groovy kitchen crafted by Tyler and Justin. Becoming Chum is definitely less electrifying than its predecessors, albeit still very aggressive and showcasing the band’s trademark sound; and the band will drag us 10,000 meters deep to the multi-layered, very technical and demonic Crimson Tide, where their striking riffage offers Matt exactly what he needs to vociferate like a creature from the deep, flowing into the cinematic outro Surfaced Remains, where you can smell the blood of the fallen on their shark-infested waters.

With a commitment to high-quality production and engaging storytelling, Eaten By Sharks are poised to leave a lasting impact on the genre with the release of The Undertow Of Hate, an album built around transformation, destruction, and irreversible change at sea. You can find those subaquatic death dealers on Facebook, on Instagram and on YouTube, stream their visceral creations on any platform like Spotify and Apple Music, and of course purchase their awesome new album from Bandcamp or from CDN Records. Just like an aggressive shark at sea, Eaten By Sharks can smell your blood from a very far distance, and once they capture with their Technical Death Metal and Deathcore jaws to the sound of their new opus, there’s no way out.

Best moments of the album: In Tidal Chaos, Treading Water and Crimson Tide.

Worst moments of the album: Becoming Chum.

Released in 2026 CDN Records

Track listing
1. Vessels Torn 4:43
2. In Tidal Chaos 4:36
3. Capsized 3:36
4. Bodies Overboard 3:53
5. Treading Water 3:40
6. Dragged Under 3:42
7. Becoming Chum 4:25
8. Crimson Tide 4:03
9. Surfaced Remains 1:26

Band members
Matt Sherriff – vocals
Chris Chaperon – lead guitar
Dan Okowinsky – guitar
Tyler Abrams – bass
Justin Whitehead – drums

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 – Nuclear Tomb / Epoch Inhumane (2026)

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These Progressive Thrash/Death Metal stalwarts are back with their sophomore full-length album, delivering faster speeds, deeper hooks, and even more dynamic twists than their fans have already come to expect.

Delivering a unique fusion of tight Thrash Metal riffing, noisy Punk Rock aggression, Progressive Rock ambition, and classic Heavy Metal grandeur, Baltimore, Maryland’s own Progressive Thrash/Death Metal stalwarts Nuclear Tomb are back as twisted and vicious as ever with their sophomore full-length album, titled Epoch Inhumane, following up on their 2024 opus Terror Labyrinthian. Engineered and mixed by Matt Michel at Viva Studio, mastered by Brad Boatright at Audiosiege, and showcasing a thrashing, apocalyptic artwork by Brad Moore, the new offering by Michael Brown on vocals and guitar, Matt Ibach also on the guitar, Amelia Morris on bass, and JD Lookabill on drums brings forward faster speeds, deeper hooks, and even more dynamic twists than their fans have already come to expect, being therefore perfect for fans of the music by Voivod, Pestilence, Coroner, and Atheist, just to name a few.

A cryptic warning sets the stage for the band’s maniacal thrashing feast titled Watch The Skies, with the harsh roars by Michael bringing even more adrenaline to their sound, followed by Falling Out The World Of Lies, a lesson in underground Progressive Thrash Metal by those American marauders with the rumbling bass and drums by Amelia and JD sounding absurdly heavy and vibrant. Unbowed / Averse is undoubtedly more experimental than its predecessors, led by the caustic and groovy riffs by Michael and Matt, whereas Faithless Continuum keeps the atmosphere as dark and visceral as possible, with JD once again sounding inhumane behind his drums. And they definitely know how to bring the intricacy of Progressive Metal to their core Thrash Metal insanity without slowing it down not even a bit, which is exactly the case in Broken Promise, Barren Essence.

Get ready to be caught in a nuclear mosh by Nuclear Tomb to the sound of Lifeless Transformation, where they speed things up and offer our avid ears their passion for the 80’s and 90’s infused with their progressive vein; followed by Butcher’s Lament, not their best effort to date, as it sounds a bit dissonant and out of place when compared to all other songs of the album. They get back on track with the razor-edged Terminally Emboldened, where their riffs and solos are effectively supported by the gigantic kitchen sounds crafted by Amelia and JD. The Coward’s Curse is another tune where they experiment with different sounds and tones while keeping blasting their killer thrashing core nonstop, whereas finally we face the multi-layered, rockin’ title-track Epoch Inhumane, showcasing the band’s undisputed dexterity until its eerie, grim finale.

Presenting songs that fearlessly rip and tear through warped tales of real world society’s impending collapse, Epoch Inhumane is a must-listen for fans of the weirdest side of Thrash Metal without forgetting the genre’s core aggression and speed, and if you want to know more about those American thrashers you can find them on Facebook and on Instagram, stream their caustic music on any platform like Spotify, and of course put your hands on such a striking album by purchasing it from the band’s own BandCamp or from Rotted Life Records. In other words, be prepared for the horror of the mind thrashing sonic nightmares blasted by Nuclear Tomb. You’ll never be able to sleep again after such a wild ride.

Best moments of the album: Falling Out The World Of Lies, Lifeless Transformation and Terminally Emboldened.

Worst moments of the album: Butcher’s Lament.

Released in 2026 Rotted Life Records

Track listing
1. Watch The Skies 3:17
2. Falling Out The World Of Lies 3:47
3. Unbowed / Averse 3:35
4. Faithless Continuum 3:56
5. Broken Promise, Barren Essence 3:58
6. Lifeless Transformation 3:02
7. Butcher’s Lament 3:30
8. Terminally Emboldened 2:25
9. The Coward’s Curse 3:53
10. Epoch Inhumane 5:02

Band members
Michael Brown – vocals, guitar
Matt Ibach – guitar
Amelia Morris – bass
JD Lookabill – drums

Guest musician
Demir Soyer – additional lead guitars

Album Review – Goreworm / Miasmic Solitude (2026)

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Meshing different Death Metal styles in a way that’s both confounding and challenging, this Canadian ensemble returns with their sophomore beast, their most evolved creation to date.

Meshing different Death Metal styles in a way that’s both confounding and challenging, throwing Technical, Melodic, and Brutal Death Metal elements into a high-speed blender, Brantford, Ontario-based ensemble Goreworm have been on a roll since their inception back in 2017, culminating now in 2026 with the release of their sophomore album Miasmic Solitude, following up on their 2020 debut Prodigy of the Grotesque. Displaying a grim, barren artwork by Leanna TenEycke, and featuring guest drummer Robin Stone (of bands like Ashen Horde, Norse and Chestcrush), the new album by Robert Miller on vocals, Jordan Estrela on the guitars, and Brent Moerschfelder on the guitars and bass is their most evolved creation to date, and it must be celebrated for its passionate and innovative take on the Technical Death Metal style.

It’s pedal to the metal from the very first notes in the infuriated Conjuring, with its background epicness elevating the band’s heaviness to a whole new level, not to mention Robin simply demolishes his drums in an ode to tech death. The following tune Monuments to Murdering brings forward a crazy fusion of Progressive and Technical Death Metal where Robert’s enraged roars match perfectly with the intricate riffs by Jordan and Brent; whereas The Enthralling Grave, the first single of the album, offers an onrush of violence and dexterity, with Robin once again hammering his drums in the name of extreme music. The band then delivers a somber, grim sonority in Orbweaver, evolving into another slab of brutal insanity spearheaded by the inhumane riffage by the band’s guitar duo, and it’s time to headbang like a maniac to the sound of Amor Vincit Omnia, a Latin phrase meaning “love conquers all,” coined by the Roman poet Virgil around 37 B.C., another solid Technical Death Metal beast crafted by the boys.

The band  goes berserk in the Death Metal extravaganza No Reprieve, with Robert barking and growling rabidly for our absolute delight in a lecture in Technical Death Metal made in Canada; while Eve of Flagellation feels a bit uninspired in the end despite its heaviness and fury, even with Robert roaring like a demonic entity nonstop. Then back to a more creative and demented sonority we face Jarrell, as infernal as it is technical, with Robin stealing the spotlight with perhaps his most demolishing performance of the entire album; whereas adding epic elements to their core savagery, the band destroys everything and everyone with Strelly, where Brent sounds ruthless with both his guitar and bass for our total delight. And lastly we have the title-track Miasmic Solitude, putting a beyond pulverizing ending to the album to the sound of the band’s undisputed screams, riffs and beats.

After all is said and done, the new offering by the unrelenting Goreworm will undoubtedly appeal to fans of the most intricate yet demolishing form of Death Metal crafted by bands the likes of Arsis, Gorod, Xenosis, Fleshbore, and Obscura, just to name a few. You can get to know more about such a talented band from Canada by following the band on Facebook and on Instagram, blow your speakers by streaming their music on Spotify, and of course grab a copy of their incendiary new album from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. Goreworm  offer classic Death Metal, Technical Death Metal, Brutal Death Metal and more in Miasmic Solitude, and you better get ready as once their music strikes you, it will be deadly.

Best moments of the album: Monuments to Murdering, No Reprieve and Jarrell.

Worst moments of the album: Eve of Flagellation.

Released in 2026 Transcending Obscurity Records

Track listing
1 Conjuring 4:10
2 Monuments to Murdering 3:04
3 The Enthralling Grave 3:04
4 Orbweaver 4:34
5 Amor Vincit Omnia 5:02
6 No Reprieve 4:13
7 Eve of Flagellation 4:11
8 Jarrell 4:10
9 Strelly 3:29
10 Miasmic Solitude 4:09

Band members
Robert Miller – vocals
Jordan Estrela – guitars
Brent Moerschfelder – guitars, bass

Guest musician
Robin Stone – drums (session)

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