Tag Archives: transcending obscurity records

Album Review – Ninth Realm / Damnation’s Veil (2026)

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This up-and-coming American Death and Thrash Metal brigade erupts on the scene with a scathing form of extreme music in their debut album, taking a narrative process pertaining to their original dark fantasy world.

Hailing from Maryland, in the United States, the venomous Death/Thrash Metal brigade known as Ninth Realm erupts on the scene with a scathing form of extreme music bearing influences of Hardcore and Heavy Metal, with a slight blackened edge, perfect for fans of bands like Power Trip, Malevolent Creation, Deceased, Ritual Fog, and Glorious Depravity. Now in 2026 the band formed of Ben Hageage on vocals, Liam McMahon and Charles House on the guitars, Amelia Morris on bass, and Joey Burke on drums is ready to crush our souls armed with their debut album, titled Damnation’s Veil. Adorned by a stylish artwork by Jerry “Wyrmwalk” Hionis (Maul, Celestial Sanctuary), the album takes a narrative process pertaining to their original dark fantasy world, Tythorin, while being intense and violent for the most part.

The dark and sinister intro Valigeth will embrace our souls in darkness before we face Damnation’s Veil, which evolves into a massive beast of Death and Thrash Metal led by the striking guitars by Liam and Charles. Joey then takes the lead in Cohorts of the Abyss, hammering his drums nonstop while Ben delivers his trademark visceral gnarls, followed by Imbued in Hellfire, another hard hitting, heavy-as-hell tune by the band, with the enraged roars by Ben being nicely boosted by the stringed attack by Liam, Charles and Amelia. Then we face Rituals in Thar’amath, one of the songs with the strongest Thrash Metal vibe, as violent as it can be, with Ben once again vociferating rabidly like a wild beast, being therefore perfect for some action inside the pit.

After the ethereal (but unnecessary) interlude Orphaned Throne, it’s time for a progressive extravaganza entitled Wyrd of Strideborne, where the thunderous bass by Amelia adds even more heaviness to the already demented beats and fills by Joey. Let’s all travel together with Ninth Realm beyond absolute darkness in Beyond the Void, where the striking guitars by Liam and Charles exhale Melodic Death and Thrash Metal; whereas back to a more ferocious, no shenanigans sound we have Vengeance Unto Rot, a high-octane composition perfect for slamming into the pit to the brutal vocals by Ben. All Hail Treachery continues to spread the same level of insanity and violence as its predecessors, with their strident riffs penetrating deep inside our skulls; and last but not least, let’s raise our swords to the sound of Twilight’s Blade, a headbanging tune led by their flammable riffs and crushing drums.

A fascinating, expressive, and most importantly, exciting album that is sure to please fans of the classic Death and Thrash Metal sound as well as those who dig well-written, nuanced, and invigorating extreme music in general, Damnation’s Veil is only the first step in the promising career by Ninth Realm, who are waiting for you armed with their swords, axes and shields on Facebook and on Instagram to join them in battle. Don’t forget to also stream their powerful music on Spotify, and to purchase their incendiary new album from their own BandCamp, as well as from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. As you prepare to die in battle, there’s nothing better than the crushing heaviness found in Damnation’s Veil to inspire you to fight until your last breath in the name of extreme music.

Best moments of the album: Damnation’s Veil, Rituals in Thar’amath and Vengeance Unto Rot.

Worst moments of the album: Orphaned Throne.

Released in 2026 Transcending Obscurity Records

Track listing
1. Valigeth 1:30
2. Damnation’s Veil 3:49
3. Cohorts of the Abyss 4:09
4. Imbued in Hellfire 3:54
5. Rituals in Thar’amath 4:17
6. Orphaned Throne 1:00
7. Wyrd of Strideborne 3:52
8. Beyond the Void 4:18
9. Vengeance Unto Rot 3:38
10. All Hail Treachery 2:36
11. Twilight’s Blade 3:58

Band members
Ben Hageage – vocals
Liam McMahon – lead guitar
Charles House – rhythm guitar
Amelia Morris – bass
Joey Burke – drums

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 – Viande / Monument aux morts (2026)

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This the unrelenting Blackened and Atmospheric Death Metal entity from France strikes again with their sophomore album, definitely not one for the faint of heart.

Forged in 2013 in the fires of Chambéry, an Alpine town in southeast France, the unrelenting Blackened/Atmospheric Death Metal entity known as Viande (the French word for “meat”) does more than create scarring, wholesome dark and doomy Death Metal – they delve into the more atmospheric side of things that messes with your consciousness and has potential psychological implications. Adorned by a grim artwork by JB Godefroy, the caustic Monument aux morts, which is French for “war memorial,” is the sophomore studio opus by vocalist J, guitarist B, bassist O, and drummer I, following up on their 2022 full-length L’abime dévore les âmes, offering more of the band’s aggressive, militaristic approach aided by a combination of abyssal growls and tormented screams, and ultimately, a haunting, eerie atmosphere touched by dissonance that wouldn’t be out of place in a horror movie.

After an ominous start the band comes ripping our hearts out in Linceul immense (“immense shroud”), with the vile guttural by J sending shivers down our spines in a lecture in Blackened Doom Metal; then O and I make the earth tremble with their ruthless bass and drums in Sacrifice ardent (“burning sacrifice”), as sluggish, grim and vile as it can be. Germes de mort (“seeds of death”) brings forward another round of the band’s trademark fusion of Black, Death and Doom Metal, led by the cryptic riffs and synths blasted by B, while Monolithe de chagrin (“monolith of sorrow”) alternates between the absolute heaviness of Doom Metal and the visceral sounds of Death Metal.

After such a demented display of deadly sounds the band keeps haunting our souls with Cercueil de vase (“coffin of vase”), a bold, intense display of their Atmospheric Death Metal vein spearheaded by the always gruesome vociferations by J, followed by Une cage d’os (“a cage of bones”), not recommended for the faint at heart, with the dissonant riffs by B piercing our flesh mercilessly. I takes the lead with his slab of brutality on drums in L’esprit cachot (“the dungeon spirit”), making the album sound even more obscure and infuriated, whereas Austérité maximum (“maximum austerity”) is an extensive outro that albeit atmospheric doesn’t add much to the album. And lastly, as a bonus track we have L’homme Brasier (“the brazier man”), as demented as the other songs and, therefore, worth the investment in whatever version it’s available.

When the carefully devised Monument aux morts ends, the feeling is akin to stumbling out of a horrific catacomb in an enhanced spiritual state, with the cries of a thousand dead souls still ringing in your head, being therefore perfect for fans of the obscure music crafted by Incantation, Teitanblood, Cruciamentum, Dwelling Below, and Dead Congregation. Furthermore, if you want to know more about such a dark creature from the French extreme music landscape, you can find the band on Facebook and on Instagram, staying up to date with their live concerts, stream their scorching music on any platform such as Spotify, and above all that, grab a copy of the excellent Monument aux morts from their own BandCamp, as well as from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store (or click HERE for all things Viande). Monument aux morts is an exceptional album in the style and definitely not one for the faint of heart, and we can all rest assured Viande are far from done when it comes to spreading darkness through their Black and Death Metal creations.

Best moments of the album: Linceul immense, Cercueil de vase and Une cage d’os.

Worst moments of the album: Austérité maximum.

Released in 2026 Transcending Obscurity Records

Track listing
1. Linceul immense 6:26
2. Sacrifice ardent 7:07
3. Germes de mort 6:17
4. Monolithe de chagrin 3:58
5. Cercueil de vase 7:07
6. Une cage d’os 6:28
7. L’esprit cachot 6:11
8. Austérité maximum 2:30

Bonus track
9. L’homme Brasier 5:58

Band members
J – vocals
B – guitar, synths
O – bass
I – 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 – Dysgnostic / End Whispers (2026)

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

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

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

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

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

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

Worst moments of the album: The Shattered Timekeeper.

Released in 2026 Transcending Obscurity Records

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

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

Album Review – Verdun / Abyssal Womb (2026)

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Emerging from the depths of France after a prolonged gap of seven years, this uncanny entity has evolved into a Blackened Sludge and Doom Metal beast with a dissonant edge in their visceral new album.

Emerging from the depths of Montpellier, France after a prolonged gap of seven years, armed with a sound more potent and lethal than ever before, the uncanny entity Verdun has evolved into a Blackened Sludge and Doom Metal beast with a dissonant edge, culminating now in 2026 with the release of their third studio effort, titled Abyssal Womb, following up on their 2019 sophomore Astral Sabbath. Showcasing a cadaverous artwork by the band’s own vocalist David Sadok (aka Jaxartattooer), the album sees David alongside guitarist Jay Pinelli, bassist Florian Celdran, and drummer Geraud Jonquet deliver a riff-driven sound through and through. Without wasting time on ambience or buildup, they go straight for the jugular and leave things filthy.

David begins vociferating rabidly in the harsh and doomed Funeral of the Cosmic Knight, accompanied by the sluggish drums by Geraud and the vile riffage by Jay, whereas Silent Witness keeps the atmosphere utterly dense and heavy, with Jay’s Stygian guitar lines blackening the skies in an ode to obscurity by the quartet. Their Mastodon vein arises in He Who Killed the Devil, adding progressiveness and insanity to their already caustic sound led by Geraud’s hammering drums, followed by La Lame et la Chair, or “the blade and the flesh” from French, where Jay and Florian pound their axes nonstop, generating reverberating sounds that permeate the air until the very end. Rise of the Atomic Ghouls is as infernal as its title, with the devilish roars by David sending shivers down our spines, and the band still has a lot of fuel to burn in the album, starting with The Man Behind My Eyes, where the heaviness flowing from their vocals, riffs, bass and drums is an ode to Blackened Sludge Metal. Lastly, Les Noces du Néant, or “the wedding of nothingness,” is even more sluggish and phantasmagorical, spearheaded by another visceral performance by Geraud on drums.

In the end, Abyssal Womb doesn’t drag on and seems to end sooner than later but only after exploring various aspects of the band’s sound that keep it engrossing and thoroughly satisfying, resulting in a fine representation of the style, having a sublime sound and faultless execution, and more importantly, staying with you long after it is over, being highly recommended for admirers of the harshness blasted by bands the likes of Drofnosura, Coffinworm, Thou, and Indian, just to name a few. You can find those Stygian French metallers on Facebook and on Instagram, including their pounding, ruthless live concerts, stream their grim creations on Spotify, and of course purchase Abyssal Womb from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. Because, in the end, Abyssal Womb is top-of-the-line Blackened Sludge and Doom Metal, darkening our minds and thoughts just the way we love in the style, and leaving us eager for more.

Best moments of the album: He Who Killed the Devil and Rise of the Atomic Ghouls.

Worst moments of the album: None.

Released in 2026 Transcending Obscurity Records

Track listing
1. Funeral of the Cosmic Knight 5:11
2. Silent Witness 5:53
3. He Who Killed the Devil 6:39
4. La Lame et la Chair 4:54
5. Rise of the Atomic Ghouls 4:43
6. The Man Behind My Eyes 5:37
7. Les Noces du Néant 6:15

Band members
David Sadok – vocals
Jay Pinelli – guitars
Florian Celdran – bass
Geraud Jonquet – drums

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

Album Review – The Scalar Process / Agnomysticism (2026)

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One of the most promising prog and tech death bands of the current scene is finally back with their sophomore opus, showcasing a staggering progress from their debut.

Hailing from Besançon, a city in eastern France, near the border with Switzerland, the up-and coming Progressive/Technical Death Metal outfit The Scalar Process showed a lot of promise on their 2021 debut album Coagulative Matter as a young band. Fast forward five years and vocalist Mathieu Lefevre, guitarists Eloi Nicod and Lucas Martinez, bassist Vincent Amar, and drummer Thomas Giroud are finally back with their sophomore opus, entitled Agnomysticism, showcasing a staggering progress from their debut. The music seems to have taken an ethereal form, soaring above and raining down thundering riffs followed by shards of piercing melodies, all embraced by the striking artwork by Celest C. and featuring the very special guests Andy Thomas (Rivers of Nihil) and Justin Mckinney (The Zenith Passage), being therefore highly recommended for fans of bands like Fallujah, The Zenith Passage, and Rivers Of Nihil.

After an ethereal, otherworldly intro the music evolves into pure Progressive Death Metal madness in Physical Conquest, where Thomas showcases all his dexterity supported by the rumbling bass by Vincent. Mathieu’s deep guttural matches perfectly with the striking riffage by Eloi and Lucas in Far From The Flesh, a lecture in Technical Death Metal by those talented musicians that will surely smash your spine like a vile creature, followed by Incessant Continuum, featuring guest Andy Thomas on clean vocals, where another whimsical start that morphs into sheer madness led by Thomas’ relentless beats and fills. And guest Justin Mckinney delivers a killer guitar solo in Illness, while Mathieu continues to fire his deep, devilish roars nonstop, flowing manically until its grand finale.

Then after the enfolding instrumental interlude Affluent Marea, showcasing their crying guitars and dense atmosphere, we face A Breathing Moment, absolutely visceral and aggressive from the very first second while also presenting the band’s trademark progressive and intricate sounds. The title-track Agnomysticism will penetrate deep inside your soul and drag you to a different dimension to the sound of the metallic bass by Vincent and the hammering drums by Thomas, while Lack Of Colors continues from where the previous song left off, with Eloi and Lucas once again delivering absolute insanity from their axes. The electronic interlude Sigil feels too lengthy in the end as it takes away part of the rage from all previous songs, but fortunately the album comes to an end in style with In A Light Frame, where Mathieu’s deep vociferations walk hand in hand with the pulverizing wall of sounds crafted by his bandmates, with all riffs, solos and relentless drumming sounding majestic.

After all is said and done, you’ll realize Agnomysticism is a highly accomplished album, taking the sound of the band forward and elevating it beyond the ordinary, and if you’re curious to know more about such a promising band of the prog and tech death scene you can find them on Facebook and on Instagram, stream their classy music on any platform like Spotify, and purchase their striking new album from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store (or simply click HERE for all things The Scalar Process). Agnomysticism is not an album for the average listener. It’s a lecture in Progressive and Technical Death Metal, and once you’re dragged into the world of The Scalar Process, there’s no turning back.

Best moments of the album: Far From The Flesh, Incessant Continuum and In A Light Frame.

Worst moments of the album: Sigil.

Released in 2026 Transcending Obscurity Records

Track listing
1. Physical Conquest 6:00
2. Far From The Flesh 4:47
3. Incessant Continuum 5:41
4. Illness 3:51
5. Affluent Marea 3:04
6. A Breathing Moment 4:02
7. Agnomysticism 6:58
8. Lack Of Colors 2:25
9. Sigil 4:20
10. In A Light Frame 4:39

Band members
Mathieu Lefevre – vocals
Eloi Nicod – guitars
Lucas Martinez – guitars
Vincent Amar – bass
Thomas Giroud – drums

Guest musicians
Andy Thomas – clean vocals on “Incessant Continuum”
Justin Mckinney – guitar solo on “Illness”

Album Review – Defect Designer / Depressants (2026)

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

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

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

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

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

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

Worst moments of the album: Expiration Deferral Request Denied.

Released in 2026 Transcending Obscurity Records

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

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