Tag Archives: technical death metal

Album Review – Endspace / First Contact (2026)

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This uncanny Sci-Fi Black Metal duo is ready to attack armed with their debut opus, offering music that is light years ahead of what we’re accustomed to hearing.

Consisting of two anonymous members operating under the numerical aliases 040118180514 (vocals, bass, keyboards and drums) and 102119200914 (guitars and backing vocals), both members of the Canadian Technical Death Metal band Fractal Generator, Sudbury, Ontario-based Sci-Fi Black Metal entity Endspace creates music that is light years ahead of what we’re accustomed to hearing. Using synthesizers and vocoders to make music that sounds as if it’s emanating from beings on some distant planet, drawing thematic and sonic comparisons to acts like Darkspace, Aborym, Thorns, Labyrinthus Stellarum, Midnight Odyssey, and Imperialist, the duo is unleashing upon us their debut opus, titled First Contact, merging heavily structured, futuristic Black Metal elements with Experimental, Industrial and Death Metal influences, all embraced by a sinister artwork by Midge “Mantissa” Sinnaeve. Furthermore, the songs in First Contact are all called “transmissions,” and each one has a different identity and purpose, making the album an utterly fascinating and unique listening experience.

Such an uncanny duo kicks off their Sci-Fi feast with First Transmission, with the guitars by 102119200914 transpiring cosmic insanity, followed by Second Transmission, where 040118180514 embellishes the airwaves with his futuristic keys accompanied by the cryptic guitars by 102119200914. Things get serious in Third Transmission, with the venomous roars by 040118180514 sounding like a creature from outer space, or in other words, it’s the epitome of Experimental Black Metal, whereas Fourth Transmission, follows a similar path of otherworldly insanity, again presenting their deep vociferations and ruthless beats and fills.

Fifth Transmission is a weird one, maybe too experimental at times, not really a song but more like an interlude, whereas Sixth Transmission puts the duo back on track with their haunting Sic-Fi Black Metal, offering us all Stygian vocals and guitars. Then we have Seventh Transmission, getting heavier and heavier as the music progresses, sounding disturbing at times, followed by Eighth Transmission, again delivering an overdose of uncanny riffs and keys, as mechanized yet visceral as it can be. Their last breath of Black Metal insanity comes in the form of Ninth Transmission, a multi-layered feast from another world tat puts a stunning ending to the album.

Tenuously Black Metal, with its elements taken apart and pieced together using unconventional components, First Contact offers a unique exploration of the Sci-Fi side of Black Metal, and if you want to join 040118180514 and 102119200914 in such a dark and otherworldly quest you can find the duo on Facebook and on Instagram, stream their idiosyncratic creations on Spotify, and of course grab a copy of the album from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. In other words, let the Sci-Fi sounds blasted by Endspace in First Contact take your soul to outer space. End of transmission.

Best moments of the album: Third Transmission, Fourth Transmission and Ninth Transmission.

Worst moments of the album: Fifth Transmission.

Released in 2026 Transcending Obscurity Records

Track listing
1. First Transmission 4:21
2. Second Transmission 4:29
3. Third Transmission 3:24
4. Fourth Transmission 3:56
5. Fifth Transmission 3:56
6. Sixth Transmission 4:51
7. Seventh Transmission 4:46
8. Eighth Transmission 4:44
9. Ninth Transmission 4:38

Band members
040118180514 – vocals, bass, keyboards, drums
102119200914 – guitars, backing vocals

Album Review – Werewolves / You’re Weak and You Know You’re Weak (2026)

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Back from the Death Metal pits of Down Under, these Australian cavemen attack once again with their seventh display of absolute savagery and hatred.

Back from the Death Metal pits of Down Under, having sworn to release ten albums in ten years (or commit group suicide if they fail), Melbourne, Australia’s own Technical Black/Death Metal cavemen Werewolves attack once again with their seventh display of absolute savagery and hatred, beautifully titled You’re Weak and You Know You’re Weak, following up on their just as demented albums The Dead Are Screaming (2020), What a Time to Be Alive (2021), From the Cave to the Grave (2022), My Enemies Look and Sound like Me (2023), Die for Us (2024), and The Ugliest of All (2025). Once again mixed and mastered by Joe Haley at Crawlspace Productions, and showcasing a savage artwork by Mitchell Nolte featuring crucifixions, baby kebabs, and a werewolf army, the new offering by Sam Bean on vocals and bass, Matt Wilcock on the guitars, and David Haley on drums beautifully marches against world peace, offering another blast of berserk heavy music not recommended for the lighthearted.

There’s no sign of happiness, hope or sanity on the horizon as the trio begins their infuriated metal attack with Uroboric Fuckwit, where David is as usual absolutely inhumane on drums while Sam growls like a rabid beast; and Matt delivers his trademark Black and Death Metal riffs in Tank Habit, inviting us all to slam into the pit like true headbanging bastards. Burn It To The Ground is even more demented and violent than its predecessors, with Sam sounding pissed off on vocals supported by the heavy artillery brought forth by David, followed by Triple Negative, a very positive name for an Extreme Metal song, with Sam’s deep roars and demented screams piercing our putrid minds mercilessly. And their circle pit extravaganza goes on in full force with So Say All Of Us, where David showcases another round of his unique, visceral drumming skills always in the name of our good old Death Metal.

Fields Of Suicide is another song with a very charming and poetic name, offering our avid ears an avalanche of unfiltered Death and Black Metal insanity led by the scorching riffs by Matt while Sam keeps barking and hammering his bass manically. The trio definitely knows how to offer pure darkness and fear through their slower compositions, which is exactly the case in We March, enhancing the depth of their vocals, and of course the heaviness of their riffs; and it’s pedal to the metal in the infernal aria beautifully titled The Song Of Stupid Men, where David pounds his drums like a true Tasmanian devil, resulting in another lecture in absolute brutality and chaos by those phenomenal musicians. Lastly, their coup-de-grace comes in the form of You’re Weak and You Know You’re Weak, played with endless fury, hatred and venom in their blackened hearts, therefore leaving us eager for more of the uncompromised insanity by Werewolves in about a year or so.

As soon as you start listening to You’re Weak and You Know You’re Weak, you know there will be blood, just like how those amazing guys form Australia have been doing for the past seven years under the Werewolves banner, as well as with their other bands including Psycroptic, Abramelin, and The Antichrist Imperium. In other words, this album is for fans of Marduk, Marduk, fucking Marduk, and getting your teeth kicked right the fuck in. Having said that, once again don’t forget to invite the guys from Werewolves for an afternoon tea while blasting their ravenous Death Metal by following them on Facebook and on Instagram and by streaming the visceral, deadly music on YouTube or on Spotify, and of course to grab their scorching new album from their website or BandCamp page, from Direct Merch, from Nightshift, or from Plastic Head. You’re weak, and you know you’ll always be weak. Unless, of course, you start listening to Werewolves. Then you’ll be Death Metal.

Best moments of the album: Uroboric Fuckwit, Burn It To The Ground, Fields Of Suicide and The Song Of Stupid Men.

Worst moments of the album: None.

Released in 2026 Back On Black Records

Track listing
1. Uroboric Fuckwit 3:22
2. Tank Habit 3:43
3. Burn It To The Ground 3:04
4. Triple Negative 2:55
5. So Say All Of Us 3:25
6. Fields Of Suicide 4:16
7. We March 5:21
8. The Song Of Stupid Men 3:35
9. You’re Weak and You Know You’re Weak 3:28

Band members
Sam Bean – vocals, bass
Matt Wilcock – guitars
David Haley – drums

Concert Review – Revocation (Lee’s Palace, Toronto, ON, 09/12/2026)

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A feast of absolute raging Death Metal turned up the heat even more on an already hot night in the city of Toronto.

OPENING ACTS: Weeping, Fuming Mouth and Defeated Sanity

We’re lucky the weather is still quite warm in Toronto now that the summer is “unofficially” over (when kids get back to school, parents consider the summer as over, and will sport sweaters and jackets even when the temperature is above +25oC and sunny), and even luckier to host the awesome 20 Years of Torment 2026 Tour with WEEPING, FUMING MOUTH, DEFEATED SANITY, and the guys celebrating those 20 years of pure metal magic, REVOCATION, another great event brought to the city by Noel Peters of Inertia Entertainment. The cozy Lee’s Palace was the place chosen for such a nice gathering, and I was actually surprised it wasn’t too hot inside the venue during the entire night. Keith Ibbitson of Metal Paparazzi is still recovering from his injury and surgery, which means our friend Blair Burch once again helped us with his sharp photography skills to make this review of the concert as incendiary as the bands onstage. Also, traffic to get to Toronto has become a true nightmare no matter what time or day of the week, but fortunately as the first band was only scheduled to play after 7:30pm there was plenty of time to get to the venue before the celebrations started.

It was around 7:40pm when New Jersey’s own Death Metal/Hardcore/Powerviolence quartet WEEPING kicked off their insane performance, melting our faces mercilessly with their scorching heaviness and undisputed technique. Having released the album Spiritual Barbarism back in 2024, plus a new single titled When You Beg now in 2026, all available on BandCamp and on Spotify, the band formed of Theo Vlahos on vocals and guitars, Thomas Deabreu also on the guitars, Anthony Izworski on bass (who’s also the bassist for Fuming Mouth, by the way), and Jon Lievano on drums crushed our damned souls with a no shenanigans concert, kicking some serious ass onstage and, therefore, inspiring everyone on the floor section to already go mental inside the circle pit. Those guys are simply insane, and if you know nothing about them, go check their music asap and keep an eye on their tour dates, because if they ever take your city by storm, you know what to do.

Band members
Theo Vlahos – vocals, guitars
Thomas Deabreu – guitars
Anthony Izworski – bass, backing vocals
Jon Lievano – drums

Perhaps the most anticipated attraction of the night, besides obviously Revocation, was Milford, Massachusetts-based Death Metal/Metalcore/Hardcore outfit FUMING MOUTH, who are becoming a fan-favorite in Toronto when it comes to violence and heaviness. Mark Whelan, Patrick Merson, Anthony Izworski and Jay Weinberg made sure no one was left alive with an overdose of venomous roars, crushing riffs, thunderous bass lines, and demented beats and fills. Of course, the fact that their 2026 album The Ringing Bell (available on both BandCamp and on Spotify) is insane made their task a lot easier, as the crowd was eager to witness some of those new songs live, like Cheat Death, Self‐Exhumed, and Finally Fearless. It was really nice to see Mark explaining what Fuming Mouth means, this evil entity that will kill everyone, saying to several people in the crowd “You will die! You will die! You will die!” and, therefore, creating this fun connection between the band and the fans. We will all die eventually, and if we have the live music by Fuming Mouth to entertain us during our last moments, we’ll surely die happy metalheads.

Setlist
Cheat Death
A Blaze of Nihilism
Hidden in the Moor
Self‐Exhumed
I’ll Find You
Respect Mortality
Visions of Purgatory
Finally Fearless

Band members
Mark Whelan – vocals, guitars
Patrick Merson – guitars
Anthony Izworski – bass
Jay Weinberg – drums

After a short break, German-American squad DEFEATED SANITY kicked off their onrush of demonic, visceral and grim fusion of Technical and Brutal Death Metal, making the foundations of Lee’s Palace tremble so heavy they sounded. Having released the album Chronicles of Lunacy in 2024, available on BandCamp and on Spotify, frontman Josh Welshman alongside the extremely talented guitarist Vaughn Stoffey, the incredible bassist Jacob Schmidt, and the ruthless drummer Lille Gruber were insane onstage, with the circle pit getting out of control due to the extreme violence blasted by all band members. I honestly do not remember a kitchen so technical yet demolishing like the one crafted by Jacob and Lille, and if you enjoy extreme music with a strong technical vibe, go check the music by Defeated Sanity because those guys are amazing both in the studio and live.

Setlist
Introitus
Consumed by Repugnance
Verblendung
Liquifying Cerebral Hemispheres
Accelerating the Rot
Martyrium
The Bell
Dislimbing the Ostracized

Band members
Josh Welshman – vocals
Vaughn Stoffey – guitars
Jacob Schmidt – bass
Lille Gruber – drums

REVOCATION

After three opening bands that were all 10 out of 10, the crowd was more than warmed up for the lecture in Technical Death and Thrash Metal by Boston, Massachusetts-based crew REVOCATION, who might be celebrating 20 years of existence, but the ones receiving all the presents were us fans with each and every song played by those first-class musicians. It doesn’t matter if it was a late start, already close to 10:30pm, because the entire venue was burning with the blend of classics and new songs from their 2025 album New Gods, New Masters, which you can listen in full on Spotify. David Davidson, Harry Lannon, Ash Pearson and Alex Weber proved why they’ve become one of the most important bands of the current tech death scene with an impeccable performance, kicking our asses hard until the very end.

Songs like Nihilistic Violence, Chaos of Forms, Dismantle the Dictator, Summon the Spawn, and Bound by Desire were all played to perfection by those four extremely talented musicians, and the result was of course an intense circle pit that was dragging everyone into it in celebration of our good old Death Metal. There’s this very small Asian girl that’s rockin’ in every single show in Toronto, and of course she was there Saturday night. No idea how she can handle so much alcohol and how she can venture inside those demented circle pits due to her tiny stature and very low weight, but one thing I can say is that she knows how to party, and that’s exactly what Revocation wanted us all to do. They simply asked Toronto to party with them after 20 years kicking ass with their unique heavy music, and we partied hard. Needless to say, I don’t think it will take long for us to see such a phenomenal band in the city again, and we’ll all be there yet again to raise our fists and horns while they melt our faces with their killer tunes.

Setlist
Nihilistic Violence
Scorched Earth Policy
Fracked
Confines of Infinity
The All Seeing
Data Corpse
Chaos of Forms
Of Unworldly Origin
Dismantle the Dictator
Summon the Spawn
Only the Spineless Survive
Bound by Desire

Band members
David Davidson – vocals, guitars
Harry Lannon – guitars
Ash Pearson – drums
Alex Weber – bass

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Album Review – Vulgar Mephitis / From Dust (2026)

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Can you smell the foul stench of rotten corpses from the debut full-length opus by this unrelenting American Brutal Death Metal creature?

Following their 2022 three-track self-titled debut EP with a compositionally varied approach that disorients with violent tempo disruption and dissonant riff angularity, Pittsburgh, Pennsylvania-based Brutal Death Metal foursome Vulgar Mephitis is ready to unleash hell once again armed with their first ever full-length opus, titled From Dust. Mixed and mastered by Sasha Borovykh at Tsun Tsun Productions (with drums recorded by Shane Mayer at Cerebral Audio), and displaying a suffocating artwork by Leon Humphrey of Theosis Design, the new album by vocalist Jacob Toy, guitarist Dan Martin, bassist Jay Schweinberg, and drummer Nick Bentzel will pulverize you like a putrid insect without compromising its melody and structure, proving Brutal Death Metal can be gory and visceral, yet extremely technical and dynamic.

The cryptic, atmospheric intro From Dust warms us up for the metallic storm that’s about to come with Martyr, where the quartet shows absolutely no mercy for our putrid bodies and rotten souls, with Jacob roaring and barking like a demented creature craving for flesh, supported by the infernal beats and fills by Nick. If you survive their first strike, get ready for Exterminating Profane, a ruthless blast of Brutal Death Metal yet sounding very technical where Dan and Jay provide us with a nonstop, pulverizing stringed extravaganza, followed by Peer Into The Abyss, simply perfect for some wild slamming into the pit, with Nick once again hammering his drums like a demonic entity while the guitar lines by Dan transpire violence and hatred.

Nick’s drumming sounds even more impressive in the infuriated Scorn Of My Flesh, where their Technical Death Metal vein pulses harder than ever for our total delight, not to mention Jacob’s guttural sounds utterly insane; and Dan’s blazing riffs will pierce our impious minds mercilessly in Gorging Greed, offering more of the band’s trademark Death Metal insanity. After such a demolishing tune we face the title-track To Dust, where the quartet makes sure no one is left alive, pulverized by their demented Death Metal sounds; whereas last but certainly not least, we’re treated to one final explosion of Death Metal madness in the form of Wounds, where Nick takes the lead once again with his intricate yet demolishing beats and fills.

“The main difference in songwriting from the 2022 EP to now would be the addition of myself and Nick Bentzel (drums) stepping into the band, which expanded upon the way songs are structured in general. Previously, the writing process was solely done by Jay Schweinberg (bass) and Jacob Toy (vocals). At the time, the idea was to be a straight up brutal band with linear song structures,” commented guitarist Dan Martin about the songwriting approach this time around. You can find more information about such an up-and-coming extreme band on Facebook and on Instagram, stream their violent creations on Spotify, and purchase their killer new album from their own BandCamp or from the Willowtip Records webstore as a CD or an LP. Having said all that, can you smell the foul stench of rotten corpses from the debut full-length opus by this unrelenting American Brutal Death Metal creature?

Best moments of the album: Martyr, Peer Into The Abyss and To Dust.

Worst moments of the album: None.

Released in 2026 Willowtip Records

Track listing
1. From Dust 1:40
2. Martyr 4:09
3. Exterminating Profane 2:21
4. Peer Into The Abyss 2:48
5. Scorn Of My Flesh 3:10
6. Gorging Greed 3:30
7. To Dust 3:14
8. Wounds 5:20

Band members
Jacob Toy – vocals
Dan Martin – guitars
Jay Schweinberg – bass
Nick Bentzel – drums

Album Review – Zvindiyar / Six Rites EP (2026)

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Behold the debut EP by this uncanny Bahrain-based Atmospheric Death Metal entity, a concept-driven album drawing inspiration from Persian and Arabic mythology.

Drawing inspiration from Persian and Arabic mythology, Six Rites, the new EP by Manama, Bahrain-based creature Zvindiyar, is a concept-driven album exploring themes of transformation, collapse, and transcendence through a cinematic blend of Atmospheric Death Metal. Recorded by Hani Taqi at Studio 77, mixed and mastered by Ronnie Björnström at Björnström Sound, and showcasing anoither Stygian artwork by Ani Artworks, the debut offering by vocalist and multi-instrumentalist Mohammed AlMeshkhas (although Zvindiyar is in fact an entity and conceptual world rather than a personality-driven band,  with the core creative and founding components also attributed to Meshkhas, PJ, and Ryan) serves as the project’s first complete release, expanding upon the conceptual world introduced by their three singles already released.

Named after a mysterious, legendary female bird from pre-Islamic Arabian mythology, Anqapresents a striking blend of atmospheric and melodic extreme sounds, with all vocals sounding dark and anguished while the guitars exhale heaviness. Then Hex Of The Frenzied Decay offers more of the project’s venomous Black and Death Metal sonority, with the song’s hammering drums matching perfectly with all devilish vociferations by Mohammed; while The Soaring Enigmatic showcases a more Technical Death Metal side of the band, even presenting some Deathcore breakdowns to give it a fresh vibe. Fell is perfect for breaking our necks headbanging to the scorching riffs and beats by Mohammed, followed by the ethereal interlude الهمس الأول (or “The First Whisper”), warming us up for Shadhavar, which pulls directly from medieval Muslim bestiaries and Persian cosmography written by ancient scholars like Al-Qazwini, ending the album on a high note with all vocals and guitars transpiring obscurity and harmony.

Built as a cohesive sonic and visual experience, the debut EP by such an uncanny and mystic entity from the always interesting Bahrain scene will certainly appeal to fans of all types of extreme music who also enjoy a meaningful and unique concept behind the music, and if you want to know more about the whole concept that’s the core of Zvindiyar you can find more information via their official Facebook and Instagram. Don’t forget to also stream their idiosyncratic music on any platform such as Spotify, and of course to purchase a copy of their excellent debut from their own BandCamp (by the way, fans who had purchased the album before its official release already received the full six-track EP and digital booklet early on August 20, ahead of the official worldwide release on September 3). Dark, mysterious and deeply rooted in the band’s multi-layered culture, Six Rites is a must-listen for admirers of the most caustic and somber side of heavy music, paving a phenomenal path ahead of this up-and-coming beast from the Middle-East.

Best moments of the album: Hex Of The Frenzied Decay and Shadhavar.

Worst moments of the album: None.

Released in 2026 Independent

Track listing
1. Anqa 6:11
2. Hex Of The Frenzied Decay 4:28
3. The Soaring Enigmatic 5:31
4. Fell 4:45
5. الهمس الأول  (The First Whisper) 2:15
6. Shadhavar 6:25

Band members
Mohammed AlMeshkhas – vocals, all instruments

Album Review – The Absolution Sequence / Dread Cycle (2026)

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Emerging from the isolated, unforgiving wilderness of Tasmania, these Technical Death Metal beasts will attack armed with their their highly-anticipated debut full-length album.

Emerging from the isolated, unforgiving wilderness of Tasmania, Technical Groove/Death Metal outfit The Absolution Sequence has carved out a unique identity within the Australian extreme metal scene. Their sound is a direct reflection of their homeland’s “dark isle” reputation, a place defined by a sinister history and a cold, remote landscape that stands in stark contrast to the Australian mainland. Following a string of EP’s and singles, the band formed of Shawn Wells on vocals, Luke Tucker, Stephen Cusato and Steven Mason on the guitars, Alastair Boon on bass, and Nick Machin on drums is unleashing now in 2026 their highly-anticipated debut full-length album, titled Dread Cycle, which with the crisp production of Chris Themelco, the classy mastering by Jens Bogren at Fascination Street Studios, and the Stygian artwork by Shaun Hyatt, is definitely set to solidify the band’s position as a premier name in contemporary Technical Death Metal.

The opening aria Despotic Ruin (Diet of Worms) is already atmospheric, melodic and bold from the very first notes, with the deep guttural by Shawn walking hand in hand with the riff attack by the band’s guitar triumvirate formed of Luke, Stephen and Steven, followed by Idols of Confraternity, even heavier and more infuriated, with Nick hammering his drums nonstop in a lesson in Groove and Death Metal with a strong technical edge. Then we face Ghost Mantra, blending elements of Deathcore to their core Death Metal essence, where their guitar work is again striking, offering Shawn exactly what he needs to bark like a rabid beast; whereas This Sordid Miasma is as atmospheric as its predecessors, with the groovy, thunderous kitchen by Alastair and Nick making the earth tremble. and The Nightlight Sigil, albeit sounding as heavy as the other songs, is not as exciting. Its drums and all background elements still sound great, though.

Promethean Pilferage might be one of the most technical of all songs, where Alastair extracts sheer electricity, heaviness and groove from his bass supported by the intricate beats and fills by Nick; and their Blackened Death Metal vein arises in A Mire Caked Nativity, clashing with their more technical Groove Metal sounds, all boosted by another bestial performance on vocals by Shawn. The band’s guitar triumvirate once again showcases all their dexterity and passion for the extreme in Grinding the Sphere, not to mention Alastair once again adds his share of insanity to the music with his Djent-infused bass lines, flowing into the closing song Diary of the Emaciated, sounding very detailed, multi-layered and absolutely electrifying, with the wall of sounds crafted by all band members feeling perfect for the scorching vociferations by Shawn.

The Absolution Sequence have developed a signature style of Technical Death Metal that balances high-velocity musical prowess with a deeply immersive, atmospheric undertone in all of their previous releases, and in Dread Cycle those Tasmanian devils have certainly stepped up their game with an even more infuriated and intricate sound. If you have what it takes to face the demolishing music crafted by those amazing musicians from Down Under, you can find them on Facebook and on Instagram, stream their killer creations on Spotify, and above all that, grab a copy of the album from their own BandCamp. Australia has become the place to go when the music in question is Technical Death Metal, and Dread Cycle is undoubtedly one of the must-listen albums of the genre coming from Down Under.

Best moments of the album: Idols of Confraternity, Promethean Pilferage and Diary of the Emaciated.

Worst moments of the album: The Nightlight Sigil.

Released in 2026 Bleeding Art Collective

Track listing
1. Despotic Ruin (Diet of Worms) 4:11
2. Idols of Confraternity 5:01
3. Ghost Mantra 3:45
4. This Sordid Miasma 5:02
5. The Nightlight Sigil 5:13
6. Promethean Pilferage 4:18
7. A Mire Caked Nativity 5:02
8. Grinding the Sphere 4:29
9. Diary of the Emaciated 5:57

Band members
Shawn Wells – lead vocals
Luke Tucker – lead guitar
Stephen Cusato – rhythm guitar, backing vocals
Steven Mason – rhythm guitar
Alastair Boon – bass, backing vocals
Nick Machin – drums

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 – Ethereal Rot / Ethereal Rot (2026)

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This Blackened and Technical Death Metal supergroup is unleashing upon humanity their debut opus, a cosmic horror story which lyrically represents the most accurate depiction of a true “Ethereal Rot” conceptually.

A Blackened and Technical Death Metal supergroup formed in 2021 from seacoast Maine and New Hampshire comprised of former members from The Last King, Sawtopsy and Sonic Pulse, the unrelenting Etheral Rot are unleashing upon humanity their highly anticipated self-titled debut album, a cosmic horror story which lyrically represents the most accurate depiction of a true “Ethereal Rot” conceptually. Having already released the EPs Until Existence Is Diminished Entirely (2020) and Cadaverine Skies (2023), the band currently formed of Cody Moreau on vocals, Dan Train and Brett Horton on the guitars, Taylor Belanger on bass, and Duncan Fosnough on drums brings their vision to life in their debut full-length album, leaving us eager for more of their music in a not-so-distant future.

The Beckoning Contagion starts in a serene, almost ethereal manner before morphing into a tech death beast led by the piercing guitars by Dan and Brett while Cody delivers demonic shrieks and roars nonstop, whereas That Which Dwells already kicks off in sheer violence and adrenaline, with Duncan taking the lead with his intricate yet visceral beats and fills in a lecture in Technical Death Metal. The following tune, titled Ophidian Womb, is as demented as its predecessors, with the vile gnarls by Cody walking hand in hand with the guitar madness blasted by Dan and Taylor, while Festum Terrae (a Latin phrase that translates to “Festival of the Earth” or “Feast of the Land”) sounds even heavier and more obscure, again presenting the thunderous, ruthless kitchen by Taylor and Duncan. Then after the wild and atmospheric instrumental interlude Transversing the Cosmic Plains, we face the closing aria Into the Naught, where all band members are on absolute fire, in special Duncan behind his drums, while Cody’s deep guttural add an extra dosage of insanity to their first-class Death Metal attack.

If you want to know more about this dark creature from the underworld, their music, tour dates and so on, you can find Ethereal Rot on Facebook and on Instagram, stream their caustic music on any platform such as Spotify, and of course, above all that, put your blood-soaked hands on their striking debut by purchasing it from BandCamp or by clicking HERE. Diving into space, H.P. Lovecraft and cosmic horror, the first ever full-length offering by Ethereal Rot is crafted for all fans of heavy music, especially those who enjoy the likes of Cattle Decapitation, Suffocation and The Zenith Passage, positioning the band as one of the must-listen names of the current scene. Not only that, Ethereal Rot is 100% independent, and they’re already planning to record the follow-up to their debut over the winter of 2027, showing us all that those guys are not fooling around when it comes to heavy music and, therefore, confirming we won’t need to wait for too long to enjoy another blast of their metallic and cosmic horror.

Best moments of the album: That Which Dwells and Into the Naught.

Worst moments of the album: None.

Released in 2026 Independent

Track listing
1. The Beckoning Contagion 3:57
2. That Which Dwells 7:12
3. Ophidian Womb 7:46
4. Festum Terrae 6:16
5. Transversing the Cosmic Plains 5:44
6. Into the Naught 8:45

Band members
Cody Moreau – vocals
Dan Train – guitars
Brett Horton – guitars
Taylor Belanger – bass
Duncan Fosnough – drums