Tag Archives: transcending obscurity records

Album Review – Haxprocess / Beyond What Eyes Can See (2025)

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Playing incredibly heavy Death Metal music, this American group will attack with their sophomore album, sounding relentless in its barrage of gargantuan otherworldly riffs.

Playing incredibly heavy Death Metal music, leaden, thick and dark, while also somehow attempting to go progressive wielding that sound, like Morbid Angel covering The Chasm songs under the influence of Blood Incantation, Jacksonville, Florida-based Progressive Thrash/Death Metal brigade Haxprocess in unleashing upon humanity their sophomore beast, entitled Beyond What Eyes Can See, following up on their critically acclaimed 2023 debut The Caverns of Duat. Displaying another sick artwork by Juanjo Castellano (Ritual Fog, Typhonian), the new album by Lothar Mallea on vocals and guitar, Shane Williamson also on the guitar, Davis Leader on bass, and Adam Robinson on drums once again brings to our avid ears an overdose of epic songs averaging 10 minutes, sounding relentless in its barrage of gargantuan otherworldly riffs, what with the ever-changing patterns and combinations, albeit delivered in a comfortable pace so that everything can be registered for posterity, being therefore recommended for fans of Morbid Angel, Blood Incantation, The Chasm, Immolation, Opeth, Atvm, Atheist, Felgrave, and Typhonian, just to name a few.

Just like in their debut offering, the album begins in an atmospheric manner with the ethereal 11-minute beast titled Where Even Stars Die, with the deep, visceral growls and the slashing riffage by Lothar, alongside Shane also on the guitar, turning it into a must-listen song for admirers of Progressive Death Metal. The Confines of the Flesh is yet another complex, multi-layered and incandescent composition by the quartet, with Adam taking the lead with his intricate beats and fills while also presenting the raw and gory sounds of classic Death Metal the likes of Morbid Angel and Cannibal Corpse; and the band continues to embrace us in darkness and insanity with Thy Inner Demon Seed, with Davis firing absolutely mental bass lines while Adam keeps pounding his drums nonstop, all of course spiced up by another vile vocal performance by Lothar. Finally, after a beyond technical and melodic start we’re treated to an overdose of progressiveness and demented sounds in Sepulchral Void, with Lothar and Shane sounding brilliant armed with their axes, offering our avid ears several breaks, variations and tempo changes. In other words, it’s hard to describe the whole song in words due to its endless layers, an amalgamation of styles rooted in first-class Progressive Death Metal.

In summary, Beyond What Eyes Can See is an album that can withstand endless listens, offer everything a Death Metal fan would want, and yet do so much more than an average album would because of their constantly evolving music that manages to remain engrossing as well. Hence, don’t forget to give the band a shout on Facebook and on Instagram, stream their music on Spotify, and of course purchase such a multi-layered, captivating album from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. Beyond What Eyes Can See is as epic as a Death Metal album can possibly get without letting go of any of the heaviness that’s an inherent part of the band’s sound, and if you think you have what it takes to face this metallic voyage blasted by Haxprocess, simply hit play and you’ll definitely have an amazing time.

Best moments of the album: Where Even Stars Die and Sepulchral Void.

Worst moments of the album: None.

Released in 2025 Transcending Obscurity Records

Track listing
1. Where Even Stars Die 11:28
2. The Confines of the Flesh 9:28
3. Thy Inner Demon Seed 10:43
4. Sepulchral Void 13:12

Band members
Lothar Mallea – vocals, guitar
Shane Williamson – guitar
Davis Leader – bass
Adam Robinson – drums

Album Review – Serpent Corpse / Retaliate EP (2025)

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This unrelenting Death Metal beast from Canada strikes again with a pulverizing new EP, seeing them take their steely, thrash-tinged sound ahead.

After unleashing a superbly received full-length album in 2023 titled Blood Sabbath, Montreal, Quebec, Canada-based Death/Thrash Metal/Hardcore outfit Serpent Corpse has come up now in 2025 with a new release, a demented, violent four-track EP entitled Retaliate, with strong focus on songwriting and which sees them take their steely, thrash-tinged sound ahead. Displaying a sick cover artwork by Lucas Korte of Shoggoth Kinetics, the new EP by vocalist and bassist Andrew Haddad, guitarists Adam Breault and Christian Lacroix, and drummer Zachariah Su offers four unrelenting tracks fleshed out but never forced, showcasing their full expression with them being generally longer than usual. For instance, the shortest song on this EP is over five minutes while the longest song crosses the nine minute mark, which clearly indicates the band’s progressive tendencies, being highly recommended for fans of bands from the late 80’s and early 90’s when Death Metal still intermingled with Thrash Metal elements, and the sound kept mutating.

Like a demonic entity arising from the pits of the underworld, Serpent Corpse begin their Death Metal ritual to the cryptic guitars by Adam and Christian in Brazen Serpent, sounding as raw and evil as it can be, followed by Iron Corpse, a lecture in 90’s Death Metal with a dark, doomed twist, with Andrew growling deeply supported by the hammering drums by Zachariah. It’s then time to speed things up and increase the aggressiveness and heaviness with The Undying, a demolishing Death Metal tune where Andrew keeps roaring accompanied by the piercing riffs by Adam and Christian. Finally, ending this short but extremely caustic and vile EP we have Meteor Summon, with Zachariah dictating the song’s headbanging pace with his unstoppable beats and fills, resulting in a nine-minute creature form the abyss showcasing an evil Doom Metal vibe, in special during its haunting last part.

In summary, Serpent Corpse have not only aced the test with their faultless rendering of classic sounding, thrashy Death Metal music, but their ability to work on it to make it something more than what we’ve been accustomed to listening to all these years is truly impressive. Needless to say, they’re waiting for you on Instagram with news, tour dates and other nice to know details about the band, and don’t forget to also stream their excellent creations on Spotify, and of course, to purchase Retaliate from the Transcending Obscurity Records’ BandCamp, main store, US store, or EU store, or click HERE for all things Serpent Corpse. I would say that not only the name of the band perfectly represents their aforementioned fusion of Death and Thrash Metal, but when you face a title like Retaliate, you already know it’s going to be a real banger, and may those talented musicians from Montreal keep delivering first-class extreme music to our avid ears for many years to come, proving why pretty much any band from the Montreal scene is a fantastic treat for heavy music lovers.

Best moments of the album: Iron Corpse and The Undying.

Worst moments of the album: None.

Released in 2025 Transcending Obscurity Records

Track listing
1 Brazen Serpent 5:02
2 Iron Corpse 5:36
3 The Undying 6:07
4 Meteor Summon 9:08

Band members
Andrew Haddad – vocals, bass
Adam Breault – guitar
Christian Lacroix – guitar
Zachariah Su – drums

Album Review – Eschaton / Techtalitarian (2025)

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This Technical Death Metal and Deathcore juggernaut returns after a gap of six years with a reinvigorated, star-studded lineup, offering us all their breathtaking, intricate and demented third studio album.

Formed in 2006 and based in both Naugatuck, Connecticut and Lowell, Massachusetts, Technical Death Metal/Deathcore juggernaut Eschaton returns after a gap of six years with a reinvigorated, star-studded lineup that undoubtedly elevates their sound to hitherto unexplored heights, exploding our senses with their third full-length offering, entitled Techtalitarian. Displaying an Aliens-inspired artwork by Dave Melvin, the new beast by vocalist Mac Smith (Apogean, Abyssalis, Hammer of Dawn), guitarists Christian Muenzner (Retromorphosis, Eternity’s End, Necrophagist, Obscura, Alkaloid) and Josh Berry (the band’s founder), bassist Scott Bradley (Inanimate Existence), and drummer Darren Cesca (Goratory, Serpents of Gnosis, Pillory, Deeds of Flesh, Arsis) is the perfect follow-up to their 2019 album Death Obsession, standing on its own without having to be necessarily pitted against any of the aforementioned bands’ past efforts.

Their futuristic Death Metal attack begins with Inferior Superior, with Darren simply demolishing everything and everyone that dares to cross his path while Mac fires inhumane roars for our total delight, and the sick shredding by Christian and Josh set the tone in Devour the Contrarian, another bestial tune overflowing heaviness and insanity. Then their violent sounds will hammer our heads mercilessly in Blood of the People, where they showcase all their dexterity while also staying loyal to the foundations of the most ruthless form of Death Metal, whereas more demented riffs, solos, blast beats and demonic vociferations are offered to our avid ears in Hellfire’s Woe, perfect for some wicked headbanging, with Scott’s bass lines sounding utterly metallic. And The Bellicose Duality sounds even more infuriated and insane than its predecessors, with the entire band melting our faces with their undisputed Technical Death Metal sounds.

The album continues on a high and visceral note with Econocracy, with Darren once again demolishing his drums with tons of rage and dexterity while Mac barks and growls like a rabid beast nonstop; and in Antimatter the rabid Mac vociferates the song’s wicked lyrics manically (“Bleeding from inanimate spiracles / Metonymy of our existence / Our roaming stative / Repelling forces within all existence”) amidst a hurricane of aggressive yet complex Death Metal. Techtalitarian, the song that carries the name of the album, perfectly summarizes Eschaton’s current sound, a striking combination of violence with the most technical form of extreme music you can imagine. Darren also dictates the pace in The Sufferer’s Dichotomy, while Christian and Josh extract sheer insanity from their axes; followed by the closing tune Castle Strnad, which might be their homage to Trevor Strnad of The Black Dahlia Murder, who sadly passed away on May 11, 2022. Not sure if that’s the case, but even if it’s not, this is another neck-breaking, unrelenting display of first-class Death Metal by the band.

You can put your tech death hands on Techtalitarian by purchasing a copy of it from their own BandCamp, as well as from the Transcending Obscurity Records’ main store, Bandcamp, Europe store or US store, and don’t forget to also follow the band on Facebook and on Instagram, and to stream more of their demented creations on Spotify or any other streaming service. Eschaton are back into the Death Metal battlefield stronger and sharper than ever, staying loyal to their foundations but of course with the renewed energy brought by the band’s new members turning their heat and aggression up to 11, and if you consider yourself a loyal servant of the extreme music arts, always staying tech, then Techtalitarian is a must-have in your dark and heavy collection.

Best moments of the album: Hellfire’s Woe, The Bellicose Duality and Techtalitarian.

Worst moments of the album: None.

Released in 2025 Transcending Obscurity Records

Track listing
1. Inferior Superior 4:12
2. Devour the Contrarian 3:46
3. Blood of the People 4:51
4. Hellfire’s Woe 5:04
5. The Bellicose Duality 4:24
6. Econocracy 5:28
7. Antimatter 4:02
8. Techtalitarian 4:00
9. The Sufferer’s Dichotomy 4:20
10. Castle Strnad 5:21

Band members
Mac Smith – vocals
Christian Muenzner – lead guitars
Josh Berry – guitars
Scott Bradley – bass
Darren Cesca – drums

Album Review – Felgrave / Otherlike Darknesses (2025)

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This one-man project from Norway breaks the mould and offers three lengthy tracks that flow in an intuitive, undulating, almost whimsical manner, touching upon several styles and effortlessly shape shifting through them all.

After dropping its well-received debut album A Waning Light back in 2020, Viken, Norway-based entity Felgrave has crafted an ingenious album melding influences of Avantgarde Black, Death and Doom Metal in a way rarely done before, entitled Otherlike Darknesses, breaking the mould and offering three lengthy tracks that flow in an intuitive, undulating, almost whimsical manner, touching upon several styles and effortlessly shape shifting through them all. Mixed by the project’s mastermind, vocalist, guitarist, bassist and keyboardist M. L. Jupe, mastered by Brendan Sloan, featuring session drummer Robin Stone (Evilyn, Norse), and displaying another beautiful artwork by Adam Burke of Nightjar Illustration, Otherlike Darknesses is a multi-faceted opus and yet has a fairly cohesive sound with exceptional song writing, always engaging while also being unpredictable.

M. L. Jupe ignites his blackened machine armed with his scorching riffs and a menacing atmosphere in Winds Batter My Keep, sounding disturbing, avantgarde and addictive all at once, with the puissant drums by Robin adding an extra dosage of heaviness to the music, resulting in a sonic creature arising from the underworld ready to consume us all. After such a bludgeoning beast we face Pale Flowers Under an Empty Sky, the “shortest” song of the album (which still surpasses the 12-minute mark), beginning in a sinister manner until all morphs into an experimental, dissonant display of Black and Death Metal led by M. L. Jupe’s visceral growls and infernal riffage, also showcasing ethereal, soothing passages; building an instant bridge with the colossal title-track Otherlike Darknesses, offering us all mere mortals 18 minutes of grandiose Avantgarde Black and Death Metal. Futhermore, M. L. Jupe and Robin are on fire during the entire song, demolishing our senses and piercing our minds with their wicked vociferations, incendiary riffs and pulverizing drums, while also bringing forward so many breaks, variations and cryptic moments it feels like countless songs in one in the end.

“I’m super glad to have found a label so excited to release Otherlike Darknesses, an album of experimental, avantgarde extreme metal with many diverse influences, namely 20th century classical music, 70s symphonic prog rock, and the weirder side of 90s black and death metal. The music herein is a meticulously crafted dark yet colourful tapestry that goes far beyond anything I’ve done before, and will reward diligent and attentive enjoyers of unique extreme metal for countless repeats,” commented M. L. Jupe about his newborn spawn and his partnership with the always amazing Transcending Obscurity Records, and you can put your damned hands on such a unique album of extreme music by purchasing it from the label’s Bandcamp, main store, Europe store, or US store, keeping in mind it comes as a hand-numbered eight-panel digipak with full color printing and a metallic effect throughout, in addition to gloss raised UV lamination done on parts of the artwork, a download code and transparent logo stickers. Don’t forget to also see what M. L. Jupe and his Felgrave are up to on Facebook while listening to his new album, embarking on a multi-layered, classy and embracing journey across an array of music styles, all masterfully brought into being by a Norwegian lone wolf that definitely knowns how to turn music into a work of art.

Best moments of the album: Otherlike Darknesses.

Worst moments of the album: None.

Released in 2025 Transcending Obscurity Records

Track listing
1. Winds Batter My Keep 18:09
2. Pale Flowers Under an Empty Sky 12:29
3. Otherlike Darknesses 18:00

Band members
M. L. Jupe – vocals, guitar, bass, keyboards, programming

Guest musicians
Robin Stone – drums (session)

Album Review – Crypts of Despair / We Belong In The Grave (2025)

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Lithuania’s most infernal band is back with their third album, offering more of the their fierce, ruthless and ball-bustingly fusion of Dissonant, Blackened and Brutal Death Metal.

Four years after their demolishing sophomore opus All Light Swallowed, Kaunas, Lithuania’s own Death Metal beast Crypts of Despair returns with their third full-length installment, entitled We Belong In The Grave. Mixed and mastered by Christian Donaldson, and displaying a funereal, grim artwork by Vainius “Anomaly” Česnauska, the new album by a now five-piece band formed of Jonas Kanevičius on vocals, Dovydas Auglys and Tautvydas Kartanas on the guitars, Simonas Jurkevičius on bass, and Henri Mäll on drums offers more of the their fierce, ruthless and ball-bustingly fusion of Dissonant, Blackened and Brutal Death Metal, being highly recommended for fans of Ulcerate, Replicant, Obscureviolence, Dead Congregation, and Saevus Finis, among several others.

The album kicks off with a beyond cryptic intro in We Belong In The Grave before Henri and Jonas decimate our ears ruthlessly armed with their demented drums and visceral roars, respectively, and after such a boisterous start it’s time to get even heavier and darker in Terminal Dais, with the riffage by Dovydas and Tautvydas sounding absolutely demolishing. Their brutality keeps flowing in Obliteration Of The Impure, where the band invites us all to headbang like demonic beasts nonstop; and their furious blend of Death Metal will hit us hard in the head in Expulsion To Purgatory, spearheaded by the vile, deep guttural by Jonas. Then we face Undisillusioned, which carries a poetic name for an unrelenting, no shenanigans Death Metal onrush by the best metal band ever from Lithuania. Needless to say, it will sound majestic during their live performances.

Seizures starts in a more obscure, atmospheric way thanks to the sluggish beats by Henri, while also presenting hints of Deathcore and Doom Metal added to its core essence. It’s absolutely heavy, despite never really taking off; and the band gets back on track in Precipitous, crushing our damned souls with their ruthless sounds, with Jonas barking like a rabid beast accompanied by the metallic riffs by Dovydas and Tautvydas. There’s still time for more heaviness and violence in the form of Gaze Of The Adversary, with Simonas blasting his bass alongside Henri and his pounding beats, all spiced up by Jonas’ deep gnarls and a beyond grim atmosphere, before the album ends with the epic instrumental outro Burial Of The World, dragging us all to absolute darkness together with the band for all eternity.

In a nutshell, We Belong In The Grave is a bold step ahead for Crypts of Despair, maintaining the band’s high standards while updating the sound for maximum impact and utter devastation, and you can put your damned hands on such an amazing album of extreme music made in Lithuania by purchasing it from their own BandCamp page, as well as from the Transcending Obscurity Records’ Bandcamp, main store, US store, or EU store. Don’t forget to also give the band a shout on Facebook and on Instagram, and to click HERE for all things Crypts of Despair, including their tour dates. As we all belong in the grave, Crypts of Despair definitely belong amongst the cream of the European Death Metal elite based on the high quality of the music found in their new album, carving their name in the scene worldwide and, consequently, leaving us eager for more Lithuanian brutality in a not-so-distant future.

Best moments of the album: Terminal Dais, Undisillusioned and Gaze Of The Adversary.

Worst moments of the album: Seizures.

Released in 2025 Transcending Obscurity Records

Track listing
1. We Belong In The Grave 5:05
2. Terminal Dais 4:29
3. Obliteration Of The Impure 4:24
4. Expulsion To Purgatory 4:19
5. Undisillusioned 3:48
6. Seizures 4:07
7. Precipitous 3:11
8. Gaze Of The Adversary 3:11
9. Burial Of The World 2:07

Band members
Jonas Kanevičius – vocals
Dovydas Auglys – guitars
Tautvydas Kartanas – guitars
Simonas Jurkevičius – bass
Henri Mäll – drums

Album Review – Crown of Madness / Memories Fragmented (2025)

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An up-and-coming duo from Canada attacks with their first album, unique in the style of Dissonant Death Metal, sounding and feeling deeply personal and palpably emotive.

Port Coquitlam, British Columbia, Canada-based Dissonant Death Metal duo Crown of Madness has put out a slew of short-form releases, improving upon their sound with each one and culminating in their first full-length opus that sees the most evolved version of their music so far, entitled Memories Fragmented. Displaying an apocalyptic artwork by Erskine Designs, the new album by Sunshine Schneider on vocals, guitars and bass, and Connor Gordon on drums happens to be unique in the style of Dissonant Death Metal, sounding and feeling deeply personal and palpably emotive, and that poignant, introspective mood pervades their entire album, being therefore highly recommended for fans of Ulcerate, Devenial Verdict, Dysgnostic, and Gorguts, among others.

The beyond cryptic, devilish intro Visions From A Past Life will penetrate deep inside our psyche before the duo crushes our souls in Sovereign Blood, with Sunshine sounding amazing with her harsh vociferations and dissonant riffs, supported by the demolishing drums by Connor; and the same Connor continues to show his undeniable dexterity in Burdened, offering Sunshine exactly what she needs to shine with her she-demon gnarls. Ashes of Mine is another classy, visceral fusion of Death Metal with Dissonant, Experimental and Avantgarde Death Metal, perfect for some mosh pit action; and Sunshine and Connor sound even more in sync in When I Don’t Remember You, darkening the skies to their gripping riffs and blast beats.

The second half of the album begins in full force with Deafening, bringing forward two and a half minutes of top-of-the-line Dissonant Death Metal, inspiring the duo to sound even more demented in Sea of Fangs, in special Sunshine with her deep, venomous roars. Dreamless Nights No Longer brings to our avid ears an avalanche of Stygian, dissonant sounds by Sunshine and Connor that will invade our deepest thoughts, sounding ruthless form start to finish, and they keep blasting our senses with another cryptic tune entitled Hollow Thresher, which could have been slightly heavier or more dynamic, though. And lastly, we’re treated to The Grand Design, presenting more of their amalgamation of dark, doomed styles with pure insanity.

In a nutshell, Memories Fragmented is a beautifully tempered album underpinned by unforgettable melodies, an ambitious release but one completely devoid of pretence, which is bound to be regarded as one of the standout albums in the style in the years to come. Having said that, don’t forget to go check what the duo is up to on Facebook and on Instagram, to stream their music on Spotify, and of course to purchase a copy of such an incendiary album from the duo’s own BandCamp page, as well as from the Transcending Obscurity Records’ BandCamp, main store, EU store, or US store. This is first-class, unparalleled Death Metal made in Canada by a beyond talented duo, and I bet you’ll fall in love with them once you let the music found in their newborn spawn be the soundtrack to your own fragmented memories.

Best moments of the album: Sovereign Blood, When I Don’t Remember You and Dreamless Nights No Longer.

Worst moments of the album: Hollow Thresher.

Released in 2025 Transcending Obscurity Records

Track listing
1. Visions From A Past Life 2:30
2. Sovereign Blood 3:43
3. Burdened 3:06
4. Ashes of Mine 4:46
5. When I Don’t Remember You 4:32
6. Deafening 2:30
7. Sea of Fangs 3:52
8. Dreamless Nights No Longer 3:53
9. Hollow Thresher 2:56
10. The Grand Design 4:13

Band members
Sunshine Schneider – vocals, guitars, bass
Connor Gordon – drums

Album Review – Hierarchies / Hierarchies (2025)

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Let’s all embark on a one-way trip to incessant and inevitable hallucinations to the sound of the debut opus by this Dissonant Death Metal creature.

Members of Acausal Intrusion and Dwelling Below conspired amongst themselves to create Dissonant and Technical Death Metal that pushes the limits of reality under a newborn beast named Hierarchies, labelling their own music as “low gain high energy aggressive jazzy tech death with lots of weird timing and insane riffage,” which is exactly what they have to offer in their self-titled debut album. Mixed by Nick Turner at Malevolent Sound Studios, mastered by Will Killingsworth at Dead Air Studios, and displaying a deadly artwork by Belial NecroArts, the album showcases vocalist and drummer Jared Moran (Dwelling Below, Acausal Intrusion), guitarist Nicholas Turner (Dwelling Below, Acausal Intrusion) and bassist Anthony Wheeler (Dwelling Below, Hollowed Idols) bringing into being a truly frightening experience not merely outwardly but one that is also psychologically scarring for the listener, and endlessly fascinating all the same.

The guitar lines by Nicholas sound utterly dissonant from the very first second in Entity, accompanied by the pounding drums and demonic gnarls by Jared, being full of breaks, variations, demented moments and grim passages. Consecrate Phenomenon is another experimental beast by the trio where Anthony hammers his bass nonstop while Nicholas keeps firing strident, piercing riffs for our total delight; and the band shows no mercy for our souls in Dimension, blasting an amalgamation of the visceral sounds of Death Metal with progressive and experimental nuances, with Jared roaring like a demonic entity. Then adding elements from Doom Metal to their already evil sonority we have Twilight Tradition, turning the song into a blackened, sluggish creature.

Abstract brings forward an ever-evolving, maniacal feast of harsh gnarls and cryptic riffs, all boosted by another hammering performance by Anthony on bass, followed by Complexity Parallels, perhaps the craziest of all tracks of the album, with the visceral guitar riffs by Nicholas sounding absolutely disturbing for our vulgar delectation. Subtraction presents their second to last display of insanity and heaviness compressed into five minutes of a truly unique sonic experience led by the intricate drumming by Jared, sounding as perturbing and experimental as it can be, and Vultures displays a more than proper name for a song to end such a wicked, vile album of Dissonant Death Metal, with all band members simply crushing their instruments with endless dexterity, madness and rage.

The debut album by Hierarchies is a dark, murky, nightmarish dive into a realm where trajectories from multiple dimensions manifest to intersect and overlap before dissipating, taking different temporal forms. Nothing is permanent in their world; the tunes change every few seconds and so does everything around them – the implications are in real-time and catastrophically mind-melting. Hence, if you want to experience all that and more, you can find the band on Facebook and purchase a copy of their caustic album from their own BandCamp, as well as from the Transcending Obscurity Records’ BandCamp, main store, Europe store, or US store, joining the band on a downward spiral of your consciousness where the out-of-control thoughts overwhelm and overpower, taking you on a one-way trip to incessant and inevitable hallucinations.

Best moments of the album: Entity, Dimension and Complexity Parallels.

Worst moments of the album: Abstract.

Released in 2025 Transcending Obscurity Records

Track listing
1. Entity 7:30
2. Consecrate Phenomenon 5:02
3. Dimension 6:04
4. Twilight Tradition 6:43
5. Abstract 6:03
6. Complexity Parallels 5:07
7. Subtraction 4:56
8. Vultures 4:46

Band members
Jared Moran – vocals, drums
Nicholas Turner – guitars
Anthony Wheeler – bass

Album Review – Misanthropy / The Ever-Crushing Weight of Stagnance (2024)

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Offering a refreshing raw, frantic and visceral approach to the tech death style, the new album by this Chicago outfit proves why they’re an ever-evolving band in the best way possible.

Offering a refreshing raw, frantic and visceral approach to the tech death style, Chicago, Illinois-based Progressive Death Metal entity Misanthropy is carving their own path and going about the style in their own unconventional manner in their new album The Ever-Crushing Weight of Stagnance, the follow-up to their 2018 album Abhorrent Metamorphosis, skittering off without prior warning, swerving violently and just doing things seemingly at random but mostly at break-neck speed. Displaying a sick artwork by Pedro Sena aka Lordigan (Analepsy, Cognitive, Extermination Dismemberment), the new album by Kevin Kovalsky on vocals and guitar, José Valles also on the guitar, Mark Bojkewycz on fretless bass and Paul Reszczynski on drums is perfect for fans of Origin, Archspire, Ulcerate and Fleshbore, among others, proving Misanthropy Misanthropy are an ever-evolving band, imbibing the influences around them and freely recreating them in their own unique manner which may not be too straightforward but it definitely makes for a thrilling listen.

It’s truly impressive how their tech and progressive vein already explodes in the very first seconds of Of Sulking And The Wrathful, with Mark and Paul sounding ruthless with their bass and beats, respectively, not to mention how deep, evil the guttural by Kevin sounds and feels; and it’s pedal to the metal in the infuriated The All-Devouring, where Kevin and José give a lecture in Death Metal riffage supported by the crushing drums by Paul and the always thunderous bass by Mark, resulting in one of the best songs of the album hands down. The band continues their path of savagery and intricacy in A Cure For The Pestilence, where their riffs and fretless bass will pierce our minds in the name of Technical Death Metal, offering us all nonstop action and, therefore, calling us all to slam into the circle pit.

The quartet keeps embellishing the airwaves with their fusion of Death Metal and complex, progressive sounds and tones in the form of Condemned To A Nameless Tomb, with Paul stealing the show with another ass-kicking performance behind his drums. Descent sounds just as wicked, experimental, whimsical and furious as its predecessors, a neck-breaking tune where the sick roars by Kevin will haunt your putrid souls forever; whereas investing in a more direct, in-your-face Death Metal sonority the band will hammer our heads mercilessly in Sepulcher, with the riffage by Kevin and José exhaling sheer heaviness and animosity until the very end. Last but definitely not least, a beyond somber, eerie start gradually evolves into the massive Consumed By The Abyss, with Mark’s fretless bass punching us hard in the face in the best progressive way imaginable.

The guys from Misanthropy are eager to know what you think of their music and their new album, and you can get in touch with them via Facebook or Instagram, and of course stream all of their wild creation on any streaming platform like Spotify. And above all that, let’s support those talented metallers by purchasing their bestial new album from their own BandCamp page, as well as from the Transcending Obscurity Records’ BandCamp, main store, Europe store, or US store, and you can also click HERE for all things Misanthropy. Those guys are dead serious about the quality of their music and absolutely sharp and focused on their new album, inviting us all for a wild Death Metal ride that might be too complex for some, but extremely awesome for most of us metalheads.

Best moments of the album: The All-Devouring, A Cure For The Pestilence and Sepulcher.

Worst moments of the album: Descent.

Released in 2024 Transcending Obscurity Records

Track listing
1. Of Sulking And The Wrathful 6:05
2. The All-Devouring 4:43
3. A Cure For The Pestilence 6:39
4. Condemned To A Nameless Tomb 6:24
5. Descent 6:44
6. Sepulcher 7:18
7. Consumed By The Abyss 6:37

Band members
Kevin Kovalsky – vocals, guitar
José Valles – guitar
Mark Bojkewycz – fretless bass
Paul Reszczynski – drums

Album Review – Hell Is Other People / Moirae (2024)

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This Canadian entity will show you that hell is other people with their excellent newborn spawn of Black Metal, imbibing influences from several of its related subgenres.

Hailing from Windsor, a city in Ontario, Canada, across the Detroit River from the US city of Detroit, Post-Black Metal outfit Hell is Other People (by the way, “Hell Is Other People” is a quote from Jean-Paul Sartre’s No Exit) has elegantly and passionately crafted a brilliant Black Metal album, titled Moirae (which means “goddesses of fate or destiny” in Greek), that imbibes influences from several of its related subgenres such as Atmospheric Black Metal, Post-Black Metal and even DSBM in parts, forming a cohesive, expressive and all-encompassing sound that the band is comfortable in carrying throughout. Displaying a stunning cover art by Adam Burke of Nightjar Illustration, the new album by Nathan Ferreira on vocals and bass, Nathan Boots and Nicholas Luck on the guitars, and James Ditty on drums is a beautifully tempered opus with a remarkable range of expression that comes across as genuine and heartfelt, being recommended for fans of Agalloch, Altar of Plagues, Winterfylleth, White Ward, and Drudkh.

The dark, caustic riffs by Nathan Boots and Nicholas walk hand in hand with the sluggish Doom Metal beats by James in the title-track Moirae, while the vocals by Nathan Ferreira exhale pure Atmospheric Black Metal, sounding anguished and grim. Moreover, it’s impressive how they sound devilish while at the same time so elegant and delicate throughout the entire song. Fates keeps the ambience as somber and pensive as possible, with the hammering drums by James dictating the pace while Nathan Ferreira continues to roar and gnarl in a great fusion of Black Metal with Post-Metal, followed by Degrade, offering us all almost eight minutes of breathtaking, deep and meaningful music that will tear your soul apart to the minimalist yet sharp and austere riffage by the band’s guitar duo, starting in a serene manner before the band attacks once again with their visceral Post-Black Metal, building an instant bridge with the also venomous Loss, where Nathan’s enraged growls are nicely boosted by the intricate yet demented drumming by James while their guitars continue to exhale the harshest and most piercing sounds found in contemporary extreme music. And all comes to a climatic and epic conclusion in Atropos, offering our damned ears an overdose of heaviness and atmospheric elements, with James kicking our asses on drums, while Nathan Boots and Nicholas continue to cut our skin deep with their razor-edged axes, with all layers, breaks, passages and variations turning it into a must-listen for admirers of the genre.

If you want to put your damned, dirty hands on the excellent Moirae, you can find the album available from the band’s own BandCamp page, as well as from the Transcending Obscurity Records’ BandCamp page, main store, US store, or EU store in different formats and as part of some very special bundles, and don’t forget to also give those talented Canadian musicians a shout on Facebook and on Instagram, keeping an eye on the announcements of their live concerts, to stream their music on Spotify, and to stay updated with all things Hell Is Other People by clicking HERE. In the end, after listening to Moirae, you’ll finally realize that hell is indeed other people, and that the Post-Black Metal by this amazing Canadian band is perfect for representing all that darkness and melancholy found inside each one of us.

Best moments of the album: Moirae and Atropos.

Worst moments of the album: None.

Released in 2024 Transcending Obscurity Records

Track listing
1. Moirae 6:58
2. Fates 6:43
3. Degrade 7:48
4. Loss 8:45
5. Atropos 13:28

Band members
Nathan Ferreira – vocals, bass
Nathan Boots – guitars
Nicholas Luck – guitars
James Ditty – drums

Album Review – Typhonian / The Gate of the Veiled Beyond (2024)

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This unrelenting German entity will crush your damned soul with their newborn spawn, a phenomenal journey rooted in the old school Death Metal sound.

Where most bands are content reveling in the sound of the glory days of early 90’s Death Metal, Ulm, Baden-Württemberg, Germany-based band Typhonian has not only beautifully reimagined it with blackened elements laced with the classic Swedish and Finnish melodies, but they are also attempting to take that sound ahead in the most logical manner. Displaying a classic artwork by Juanjo Castellano Rosado, their new opus titled The Gate of the Veiled Beyond goes a step further compared to their 2021 EP The Cosmic Pendulum of Time and their debut album Beneath the Streams of Life, adding more progressive and atmospheric elements, a phenomenal music journey that’s evidently rooted in the old school Death Metal sound metamorphosing gradually and finally taking on a gleaming, breathtaking form and ascending, all carefully crafted by M. W. Styrum on vocals, Prometheus on the guitars, Typhon on the guitars and orchestrations, Charybdis on bass, and Thanatos on drums, being highly recommended for fans of Edge of Sanity, Unanimated, Necrophobic, Dismember, Desultory, Unleashed, and Evocation, among several others.

Just hit play and the atmospheric intro Celestial Salvation will transport us all to the dark world ruled by Typhonian before the band begins hammering our souls in Cosmic Throne, with the massive beats by Thanatos walking hand in hand with the powerful riffs by Prometheus and Typhon, not to mention how deep the guttural vocals by M. W. Styrum sound, flowing into the straightforward Death Metal attack titled Primal Deceptive Light, with the caustic riffage by the band’s guitar duo inviting us all to slam into the circle pit like true maniacs. Then bringing elements of Doom Metal to their sound, plus cryptic background orchestrations, the band fires the short and sweet Crimson Rivers, where once again M. W. Styrum sounds demonic on vocals; whereas another atmospheric, Stygian start gradually evolves into the heavy-as-hell, devilish aria The Gatekeeper, with Charybdis and Thanatos making the earth tremble with their respective bass and drums, also presenting elements from Atmospheric Black and Death Metal in their bold and dense sound.

Towards the Chamber of the Omnipresent Mind carries a beautiful name for a fast, acid and thunderous aria by Typhonian, with the guitars by Prometheus and Typhon exhaling heaviness and despair while M. W. Styrum keeps roaring and barking the song’s obscure words nonstop, and Typhonian brings forward a menacing fusion of Death Metal with Doom and Epic Metal entitled A Glimpse at the Starless Ocean, where Thanatos takes the lead with his crushing beats and fills, accompanied by the scorching riffs and solos by Prometheus and Typhon. Lastly, you better be prepared for a 20-minute ethereal, harsh and hypnotic musical voyage titled Cath’un – The Gate of the Veiled Beyond, flowing majestically to the demolishing drums by Thanatos before a sinister break permeates the air for quite some time, until all explodes into an imposing feast of Death Metal sounds, with M. W. Styrum’s vociferations adding an extra touch of insanity to their already wicked music, resulting in a stunning sonic beast by the quintet to conclude their infernal mass.

With the visionary The Gate of the Veiled Beyond release, Typhonian have more than just outdone themselves; they have surpassed expectations for the style as a whole. Hence, don’t forget to give them your best guttural shout on Facebook and on Instagram, to stream their music on Spotify, and of course, to purchase their imposing new album from their own BandCamp page, as well as from Transcending Obscurity Records (main store, BandCamp, EU store, and US store), or click HERE for all things Typhonian. Those talented German metallers are not your average Death Metal band, delivering a breathtaking amalgamation of styles that will leave you completely disoriented after all is said and done in The Gate of the Veiled Beyond, all in the name of first-class extreme music.

Best moments of the album: Primal Deceptive Light, Towards the Chamber of the Omnipresent Mind and Cath’un – The Gate of the Veiled Beyond.

Worst moments of the album: None.

Released in 2024 Transcending Obscurity Records

Track listing
1. Celestial Salvation 0:44
2. Cosmic Throne 4:06
3. Primal Deceptive Light 4:48
4. Crimson Rivers 3:35
5. The Gatekeeper 7:06
6. Towards the Chamber of the Omnipresent Mind 4:46
7. A Glimpse at the Starless Ocean 5:39
8. Cath’un – The Gate of the Veiled Beyond 19:21

Band members
M. W. Styrum – vocals
Prometheus – guitars
Typhon – guitars, orchestrations
Charybdis – bass
Thanatos – drums