May 272026
 

(written by Islander)

Nearly 20 years into their career, which in the context of metal is akin to a geologic epoch, the Danish band Crocell prove through their latest album that they are at the peak of their powers rather than on a downhill slide. They have used their accumulated experience to create a harrowing adventure, equal parts furiously violent, oppressively crushing, and deeply haunting — an adventure threaded with dark melodies that are just as vital as Crocell’s ability to hammer hearts and fracture spines.

The name of the album (Crocell’s seventh full-length) is Swarm of Insects, and it will be released on May 29th through Emanzipation Productions. As the label’s texts explain, “The album title evokes images of biblical plagues, but may just as well reflect a humanity blindly swarming and feeding on whatever scraps are thrown its way.” And thus “the lyrics explore tyranny, oppression, betrayal and demagoguery.”

As for the music, Crocell’s evolved hybrid of death and black metal often does sound like audio portrayals of plague, but it drives a listener’s imagination toward other visions as well — which you can now experience for yourselves through our full streaming premiere. Continue reading »

May 272026
 

(Our friend and contributor Ben Manzella caught the Los Angeles stop of the ongoing Decibel Magazine Tour on the night of May 12th and sent in the following thoughts about the performances, along with his own excellent photos. We’re late in posting this, through no fault of Ben’s, due to our editor’s distractions at a recent festival in Baltimore.)

As I write this review, still recovering from the welcome bangover courtesy of Northwest Terror Fest, the annual Decibel tour will be rolling into Portland this evening. While most of the lineup showcased varied interpretations of death metal, the addition of Spirit Adrift ended up being a personal highlight due to my limited familiarity with their music. Weeknight metal shows are always a gamble, and while the collective attention span at most shows seems limited, I was glad to see a good crowd show up at the Belasco this past Tuesday. Continue reading »

May 272026
 

(Here’s DGR’s review of the debut demo from a pulverizing U.S./Canada grind band called Vision of Terror. It will take you more time to read the review than to listen to the demo. But you should read the review anyway, ‘cuz it’s fun.)

You’d think by this point the idea of reviewing a grindcore release and giving it the same sort of treatment we would give to a full album would cease to be funny, but never let it be said that we aren’t a bunch of children trapped in aging and frail bodies. Because, the idea is still funny – especially if we can double up on said humor by reviewing a demo as well – given that grindcore is one of the battle-hardened genres that’ve gone through the ritual scarification required to be the musical equivalent of an auditory tantrum.

The fact that the songs are short, usually three to four parts total, and generally speaking reflect a tremendous amount of passion but not a lot of technique, is one of the defining marks of a major root of the grindcore tree. That idea has been part of the genre’s virulent strain since the very beginning, like a DNA marker that allows us to figure out that someone had sex with a hippo four hundred years ago and that is why you now have to deal with a weeks-long coughing fit.

No matter what gets added to it, whether it’s the NCS-fave hardcore punk or even melodeath riffwork that in combination tends to result in the sort of manic and explosive material accredited to modern day grind groups like Rotten Sound, you are always guaranteed that short burst of energy and head-spinning drumming by the time you’re done. If it doesn’t sound like the band are racing against the time it takes for the venue to cut power to the stage, then what’re we even accomplishing? Continue reading »

May 262026
 

(Below you will find Comrade Aleks’ very engaging discussion with the humble founder of the French epic black metal band Eminentia Tenebris, whose latest album, their fourth, was released last year by Antiq Records.)

We always do our best to follow new releases and present our readers the most actual and up-to-date information, but life is life and it’s difficult to cover all releases we receive. So I found the digital promo of Eminentia Tenebris’ album Whispers of the Undying in the corner of my desktop. I immediately recognized the album’s cover art, as it looks like a manifest, it’s very metal to the degree of cliché, yet it’s remarkable and solid. Thus finally I paid proper attention to this album and enjoyed it a lot with its epic and cinematic black metal.

It could be a nostalgic vibe of some songs or their refreshing breath, but I believe that the decision to do an interview with Cryo, Eminentia Tenebris’ founder, was a right one. Continue reading »

May 262026
 

(This is Todd Manning’s review of the first new album from Chicago destroyers Lair of the Minotaur in a very long time, and it’s out now on The Grind-House Records.)

It’s difficult this time of year for me to find time to write about music, but I couldn’t let a new Lair of the Minotaur record go without comment. I Hail I is the first full-length they’ve released in sixteen years, and it is a fabulous return. Lair of the Minotaur is the brainchild of guitarist/vocalist Steven Rathbone. He’s always managed to bring in top-notch talent to complete the lineup, this time reuniting with longtime drummer Chris Wozniak and bringing in bassist/producer extraordinaire Sanford Parker.

If any metalheads have been unlucky to overlook this killer band in the past, it is worth saying that Lair of the Minotaur sound like their name, like a minotaur let loose in the proverbial china shop. They deftly combine sludge and thrash influences, along with a talent for mixing in limitless hooks and memorable riffs. Their classic debut, Carnage, seemed to emphasize the sludge over the thrash, while most have emphasized the thrash a bit more. I Hail I returns to the burly sludge sounds of the debut. Continue reading »

May 262026
 

(Our writer DGR obviously had a shit-ton of fun listening to Scumbag’s new EP, and probably just as much fun coming up with the word salad needed to describe the experience. See for yourselves. And listen for yourselves.)

Every year while questing in the wilds of heavy metal we find ourselves discussing a new death metal discovery out of New York. It goes without saying that New York as a state and its surrounding areas have a deep, deep, deep history with death metal and has long codified its own regional flavoring of it with mega-sized headlining bands that seem to inspire everyone nearby. You could name the greats for days but it’s likely you’ve known your chosen few already.

One of the reliable things about the area though is that for as boneheaded and dumb as death metal can be, New York, through its adaptations of brutal death and slam, has created something that exists on polar opposite ends of the spectrum, equal parts insanely technical and impressive and just about as brain-dead as a boulder. The megalopolis city on its own is a hive of activity. Continue reading »

May 252026
 

(Andy Synn, who spent the whole weekend at MDF, still found time to handle today’s premiere)

In my opinion, the job of an article like this – one that’s simultaneously both a premiere and a review (you might even call it a preview) – is not so much to tell you what to think as it is to shape your expectations, so that those thoughts can proceed and develop free of any incorrect assumptions or misconceptions about the music.

This is particularly relevant in this case, as while Montana-based quartet Galvanist are often billed as “Experimental Doom/Death Metal” I feel that this has the potential to be misleading, even counterproductive, going into their upcoming new album, The Silence Between Stars, which has more in common – to my ears at least – with the more progressively structured, esoterically atmospheric end of the Black Metal spectrum.

That’s not to say there aren’t some deliciously doomy moments to be found – elements like the sundered atmospheric synthscapes underpinning “Dreich” and the gloom-laden, grand guignol climax of “Spiorad” recall the bleakest (albeit still “blackened”) moments of Mizmor and Bethlehem (especially the former) – but there’s also a clear debt owed here to the likes of Leviathan and Blut Aus Nord (particularly the latter’s more cosmically-inclined compositions), and it’s in this context that the album is best approached.

Continue reading »

May 252026
 

(This is our friend Gonzo’s review of the first new album in 11 years from Pro-Pain, out now on Napalm Records.)

Eleven long years have passed since we last heard from New York’s Pro-Pain. And not unlike other groove-laden crossover heroes from the early ’90s — Helmet, Merauder, and Prong come to mind first — their influence has quietly given life to an entire movement of others who follow in their footsteps.

Since they first appeared on the map in 1992 with the seminal Foul Taste of Freedom, Pro-Pain has been a band that’s been more comfortable flying under the radar and delivering punishing riffs, anthemic choruses, and a raw, uncompromising sound. More than 30 years later, they’ve carried that energy with aplomb into Stone Cold Anger, an aptly titled record if there ever was one. Continue reading »

May 252026
 

(Our contributor Zoltar is back with us again, this time presenting his interview with José Pablo, vocalist and bassist of the Costa Rican death metal band Candarian, whose debut album was released in April of this year.)

Two out four members of CANDARIAN already play in Chile, eat your heart out? If you’re a classic and dark-sounding death metal freak like I am, you do know damn well that over the last few years, Chile has more or less taken the lead in that style, piling one after another bands with the right attitude, underground ethos, and shitloads of reverb this style requires. But there’s a new boy in town… Continue reading »

May 232026
 

(Due to Islander being off in Baltimore doing Maryland Deathfest things, we will not have his usual weekend columns, but we do have (at least for today) another vivid review by DGR, who this time takes on a new EP by the crafty UK sonic terrorists who call themselves The Machinist.)

On the shorter and sweeter side of things we find ourselves landing upon the shores of the UK again with a new EP from the group The Machinist entitled Towers.

The Machinist are a self-defined industrial black metal band who cite Anaal Nathrakh and The Berzerker as being close comparisons to their sound. They are a three-piece consisting of a dual-vocal attack, walls of guitars, and enough programmed drums rattling about that it sounds like a hailstorm happening outside.

Towers is a three-song EP, arriving a year after their second full-length album Contempt For Life. And indeed, The Machinist have an overarching theme of dislike for humanity as a whole – as British bands tend to be experts in, disdain ranks fairly high – and if you did not have enough of it with Contempt For Life, Towers is the band on the offensive once again for another about twenty-five minutes worth of music dripping with dislike for the fact that you as a human being dare to exist. Continue reading »