Aug 292025
 

(Here is DGR‘s review of the latest EP from New York-based Divergence, released last month.)

Following the paths charted by heavy metal’s history has long been a hobby around here, with others having taken up the travelling pack and walking stick and played musical cartographer as the genre became less one defining sound and more of a filter that conventional music was squashed through, only to have it emerge as its own ‘heavy metal’ counterpart. One of the things that is quickly revealed by such travels, though, is that heavy metal has a lot of divergences – four at least, if you trust the ole metal archives these days – and a person could easily lead a life in which many of those are ignored in favor of specializing in one or two breaks from the path.

This is how you have people who could easily name every sludge band to ever emerge from the muck of musical misery but would fail in separating a single song between bands like Sonata Arctica and Blind Guardian. It’s how you could lead a life in which you may never cross paths with a single band bearing the name of Divergence, even though there have been a few throughout the years with a concentration of them based on the East Coast.

This current Divergence then, hails from New York and plays a very technically infused style of death metal, with regional bleedover for taste when it comes to heavy, chugging riffs and a monstrous groove bordering on the overwhelming. Continue reading »

Aug 262025
 

(Scalp‘s new album Not Worthy of Human Compassion detonated last month with help from Closed Casket Activities. We’re detonating DGR‘s review of it now.)

One of the most consistently difficult challenges in heavy metal writing is to listen to an album like Scalp’s newest release Not Worthy Of Human Compassion and then try to avoid using the word ‘abrasive’ to describe the experience within your first few sentences. Acknowledging this doesn’t make it any easier nor does it absolve one of committing said sin.

Scalp hail from a charged grindcore and powerviolence scene, one whose music was given a turbo-boost in both increasing extremity and publicity during the ‘locked in our houses with just our thoughts’ COVID-era of music. From 2020 on we saw – and this is putting it politely – a lot of projects whose main goal was to reflect the ugliness of humanity at that particular point in its history while also serving as an outlet for an expulsion of emotion that, plainly, had nowhere to go. Many groups that had already been toiling in these mines – which included a lot of crossover with the more nihilistic black metal side of things as well – suddenly had themselves launched into a semi-cultural zeitgeist and used it to full effect.

Needless to say, recent years have become a stellar nursery for albums that are outright caustic, confrontational, overwhelmingly aggressive, and nuclear-hot on the intensity front while often clocking in under the twenty-minute mark. More traditional songwriting would barely be in the fourth song by the time many of these albums have left themselves a smouldering heap on the ground. Not Worthy Of Human Compassion is the newest addition to that particular pile. Continue reading »

Aug 222025
 

(Andy Synn gets in the ring once more, ready for another beating from Justice For The Damned)

Did you know that Amazon was originally called “Relentless”?

It’s true, and while I’m glad they didn’t stay relentless – as that would have really confused things SEO-wise for this review – that little factoid does provide a bit of extra insight into the organisation’s unapologetically brutal business practices that they’ve used to beat down their competitors and crush all opposition.

And speaking of beat downs…

Continue reading »

Aug 212025
 

(DGR finally caught up with the German melodic death metal band Soul Demise via their latest album released this past March by Apostasy Records, and what follows here is his extensive review of that newest record.)

Much of what we do around these here parts is taking bands at first blush. Such is the nature of discovery; we cannot be experts in absolutely everything and were we to trot out the mighty statistics of just how many bands exist across this pale blue dot of ours it would be more of a sermon about being crushed under the weight of inevitability than anything valuable. There is a mammoth amount of music out there, and as self-cast spelunkers we are just as likely to cross a band when they are wee bairns in the musical world as we are to come across a group who are deep in their career.

When such a case does arise, we do try to make an attempt to look backward for context but that can only take one as far as one can be thrown, and the flesh is so spongy and weak these days. Instead, you get that aforementioned first glance at a group – a current-eye snapshot of a band who have enough releases to their name and a lengthy enough career that there are going to justifiably be fans of a group who are mind-boggled that we’re just getting around to them now.

And so we encounter Germany’s Soul Demise, who have existed in their Soul Demise form since 1998 and, barring some lengthy gaps in their recent two releases, were on a pretty consistent clip of music up until 2010. The group’s newest album Against The Abyss is also the first time yours truly has ever crossed paths with them. Continue reading »

Aug 202025
 

(Andy Synn contemplates chaos, and genre tags, with the new album from Defacement)

The genre tag “Post-” – as in “Post-Rock”, “Post-Hardcore”, “Post-Black Metal”, etc – is one of the most maligned (and often misunderstood) terms in music (according to some of the comments I’ve seen, anyway).

The thing is, while the initial idea behind “Post-Rock” was to take the fundamental elements of the genre – the distorted, crunchy guitars, the heavy, hooky rhythms, the bombastic, larger-than-life melodies – and separate them from their traditional structures and conventional constraints, allowing for more expansion, more experimentation, and more dynamic depth (especially in terms of pushing the classic “quiet/loud” dynamic even further) that’s often not how the “Post-” prefix has come to be used in recent years.

Let’s face it, the term “Post-Hardcore” is often just as synonymous with “Melodic Hardcore”, while a lot of “Post-Black Metal” artists are just Black Metal bands stealing directly from the tropes of “Post-Rock” (or vice-versa), and too many people in general just seem to use the term “Post-” when they actually mean something like “Progressive”, “Atmospheric”, or “Avant-Garde” (and we can argue about what those terms mean another time).

So perhaps we need to think of another way to talk about a band like Defacement – who have been wilfully and unapologetically deviating from the formula since 2018 – that properly reflects their ongoing attempts to deconstruct extremity in order to let something new, or at least something else, fill the gaps.

Continue reading »

Aug 192025
 

(written by Islander)

It’s rare to find debut albums that seemingly come out of nowhere which are as coherently conceived and masterfully rendered as the forthcoming first album of the Helsinki death metal band Grave Hex. Although the band only came together in 2024, the album makes it obvious that they quickly coalesced in what they wanted to do and knew almost instinctively how to do it.

What they chose to do is reflected in both the name they picked for themselves and the title of the album — Vermian Death — which is to say, they chose to make primal, worm-ridden death metal that’s equal parts stupendously crushing, hideously festering, and chillingly spectral.

They’re not reinventing any wheels, but they’re really, really good at the gargantuan and gruesome artform they’ve embraced — as you’ll have the chance to experience for yourselves through our full streaming premiere of Vermian Death today, in advance of its August 22nd release by Night Terrors Records and Cavernous Records (two labels whose names fit very well with this music). Continue reading »

Aug 192025
 

(written by Islander)

We are about to present a full stream of the debut album from प्रलय (Pralaya), a Polish two-person formation consisting of Demoniac (vocals, guitars, bass, effects) and Thisworld Outof (drums). Entitled Beyond the Tattered Curtain of Unspeakable Madness, it will be released on August 23rd by Ancient Dead Productions.

Ancient Dead calls the music a “Black and Death Metal monument of despair, bestiality and blasphemy in its purest form,” and a “conflagration straight from the depths of mighty Yama’s underworld” that “will eat you alive.” Of course, we have our own thoughts about what Pralaya have accomplished with their devastating music, but first we want to share the results of our own investigation of the band’s name. Continue reading »

Aug 192025
 

(On August 5th Nuclear Blast released a new three-song EP by Aversions Crown, and below you’ll find DGR‘s review of the beast.)

The story of Australian deathcore group Aversions Crown‘s career is going to be a fascinating one to dive into when they call it a day. They may eventually find a modicum of stability before things wrap up just yet, but for now Aversions Crown are a band who have four full-lengths and a smattering of EPs to their name, and ever since the release of their album Tyrant, have had a different vocalist in each one.

Whether it is by virtue of the frontman shuffle that tends to happen to many a deathcore group or the recruitment of one into a more popular group, Aversions Crown have had a different talent behind the microphone for the requisite nigh-unintelligible sounds nearly every time. Continue reading »

Aug 182025
 

(Andy Synn sets out to see just how “great” the new album from Renunciation, out now, actually is)

Look, if you’d asked me before now I would have sworn blind that I reviewed Autelmorte, the second album from Renunciation, back in 2022.

But, as it turns out, I only managed to mention them as part of my regular end of year round-up (where it seems a couple of you also discovered them).

Which makes it doubly fortunate that I randomly stumbled across their third album, Make Babylon Great Again, towards the end of last week, as not only do I get to review it but I also get a chance to properly introduce you all to their shamelessly infectious amalgam of blast-driven, hyper-melodic Black Metal and fret-melting, pulse-pounding Tech Death.

Continue reading »

Aug 172025
 

(written by Islander)

About half an hour after I finished yesterday’s roundup I left home with my wife and didn’t return until nightfall. Waking up later than usual today, I immediately got diverted from anything musical by reading a long discussion by two really smart people about a harrowing political and economic subject. By the time I finally re-oriented myself to the column you’re now reading, my clock for this thing was winding down, so it’s shorter than I had hoped it would be.

In deciding what I’d need to leave on the cutting room floor, I found myself focusing on music that in different ways is unorthodox, at least in how I think about black metal orthodoxies. But you can be the judge of that, as I hope you will be. Of course, to judge, you need to listen. Continue reading »