Sep 012025
 

Recommended for fans of: Comeback Kid, Shai Hulud, Rise Against

One of the best things about a band announcing a new album – especially a band as seminal to their scene as this – is that it often acts as a prompt to go back and re-listen to their previous works, which often (in my case, at least) results in you developing a new appreciation for their earlier material.

Case in point, when prodigal Punk/Hardcore legends Modern Life Is War announced their upcoming fifth album (set for release this Friday, some twelve years since their last full-length record) I took it upon myself to revisit their discography just in case I wanted to write something about them to commemorate the occasion.

And not only did I end up rediscovering the band – while also developing a greater appreciation for the impact that legendary acts like Minor ThreatRancid and Black Flag have had on their music – but I also found myself connecting even more deeply this time around with their intensely personal, yet intimately relatable, lyrics and their distinctly dystopian (yet not hopeless) take on modern life (it’s war, don’t you know?).

Now, a word of warning… I’m off to Islay this weekend to spend a couple of days touring some of the island’s many distilleries (it’s my stag-do, if you were curious), so this article will be a little different to most of its predecessors as I’m going to focus my attention mostly on my favourite songs on each of the band’s albums, rather than trying to cover them all comprehensively.

But the one positive side-effect of this of course is that – if you like what you’re about to read and/or hear – you’ll still have lots to discover and appreciate on your own time!

Continue reading »

Aug 312025
 

(written by Islander)

Today I decided to focus on four selections: two songs from forthcoming albums, a debut EP, and a debut full-length. The two songs are tragic but breathtaking. The EP and the album are also stunning, in different ways.

The world often seems like it’s either burning or devolving into a deep and disgusting pool of glop (“shit” is an overused word), but if you immerse yourself in what I’ve chosen today I wager you’ll forget all about that, even if it will all eventually come back to you. Continue reading »

Aug 302025
 

(written by Islander)

This Saturday roundup is larger than usual — one new music video, seven songs from records due for release over the next couple of months, and an EP released a week ago.

Once again, I fell down a rabbit hole of high-powered musical intensity expressed in differing ways, from brutal and bludgeoning to mind-lacerating. I’m also going to give myself a pat on the back (because you’re too far away to do it) for arranging the songs in a way that I think provides a coherent flow (flow really isn’t the right word for the movements from song to song, but I haven’t thought of a better one).

P.S. In the U.S. this is Labor Day Weekend, a three-day break from work for a lot of people (but not everyone). As is our habit around here, we’re not taking a break. As usual for us during holidays, we’re just going to ignore this one and continue fouling the airwaves straight through Monday. Of course we hope you’ll come back to see what we have in store tomorrow and the next day, but even if you aren’t here we will be. Continue reading »

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 »