Mar 122025
 

(written by Islander)

We’re about to premiere the entirety of a stunning new Wombbath album, which will take listeners Beyond the Abyss.

Our French contributor Zoltar (Olivier Badin) has quite a history of writing about metal, and considerable familiarity with both Wombbath‘s previous works and some of the band’s members. Putting that knowledge to good use, he wrote an extensive introduction to the album which can be found on its Bandcamp page. If we were smart we would just cut and paste that mini-essay here instead of just leaving a link to it, and then embed the album stream to let the music speak for itself.

But being smart and having fun aren’t always the same thing. And so to have our own fun, here are some further elaborate thoughts about what you’ll encounter on this new album today, just a couple days away from its March 14 release by Pulverised Records. Continue reading »

Mar 122025
 

(Andy Synn puts the debut album from New York weirdniks Frogg under the microscope)

Metal, as we all know, is a serious business for serious people.

And what could be more serious than a colossal cosmic amphibian attempting to devour the moon?

Honestly, it kind of puts all our common, everyday concerns into perspective, doesn’t it?

Continue reading »

Mar 122025
 

(What we have for you here is DGR‘s review of the tenth installment from Sadist, just released last week by Agonia Records.)

We’ve reached an interesting period in heavy metal wherein it seems as if every Sadist release is going to be the last one, as if Sadist are held together by fierce determination and super glue – though it’s not clear which one is doing the most work.

At this point in their career the entity bearing the Sadist name has been reduced down to its two founding members: vocalist Trevor Nadir and multi-instrumentalist Tommy Talamanca. Drummer Romain Goulon seems to have bowed out after a four-year stint with the band – which, granted, brought us a pretty mean release in 2022’s Firescorched – and it does not appear that Sadist have settled on a permanent rhythm section since then.

The group nowadays seems to be largely reinforced by the Italian death and groove band Fate Unburied, with three of its four members taking up live duties with the band and its rhythm section performing session work with them as well. Which is the way we loop back around to how Sadist is being held together and what they consist of these days – because clearly someone believes in this band’s angular and bizarre take on death metal. A large part of the explanatory weight is left to the group’s newest material then, an early March unleashing of death metal entitled Something To Pierce. Continue reading »

Mar 112025
 

(SpiritWorld‘s new album Helldorado will be arriving on March 21st on Century Media Records, and we have Gonzo‘s take on it today.)

I’ve often described metal as the perfect additive to any other type of music. When done right, it can be an incredible marriage of styles. Results may vary, of course, but the ongoing explosion of subgenres within the metal realm will prove the point either way.

This fact will undoubtedly be obvious to anyone reading this. But the fun part of such experimental alchemy that so many bands have tried over the years? It creates new sonic territory yet to be explored by anyone else.

Enter Stu Folsom and his bedazzled cowboy cohorts in SpiritWorld. I was (and still am) hopelessly hooked on their 2022 album DEATHWESTERN, with its furious Slayer-inspired riffs and paint-peeling vocals. The fusing of country, folk, and dust-crusted Sergio Leone-style storytelling made the album worth its weight in gold. Three years later, the big question about new album Helldorado is whether or not it holds up to its predecessor.

Let’s find out.

Continue reading »

Mar 112025
 

(written by Islander)

Vampyriia is the solo project of the Italian musician S. N. Nosfer. Even people unfamiliar with the project’s past works, which include a pair of demos, a debut album, and an EP, would take their clues from those names and the night-dwelling and bloodthirsty mythologies they invoke.

But the music of Vampyriia also seems to contemplate other more haunting and tortured sides of undead immortality, as reflected in the name of a new four-song EP — The Melancholic Charm Of The Moon — which will be released on April 24th by Void Wanderer Productions.

What we have for you today is the premiere of one of those songs, and its name is also evocative: “Ghost of Moon and Cosmic Nebula“. Continue reading »

Mar 112025
 

(written by Islander)

Next month the always interesting Personal Records will release a new album by The Infernal Deceit, a German duo consisting of guitarist/bassist C and vocalist R, ably aided on the album by session drummer Jörg Uken. This new full-length, The True Harmful Black, is the successor to the band’s independently released 2021 album debut The Formless Graves (a vinyl release followed via Idiots Records in 2022).

Having overlooked that debut, the new album has provided our own introduction to The Infernal Deceit‘s talents, and it is (to put it mildly) a wonderfully eye-opening discovery. The “elevator pitch” is that the band have drawn inspiration from melodic blackened death metal from the mid-to-late ’90s. Delving deeper, the PR materials make comparative references to “prime Unanimated, second- or third-album Sacramentum, Darkside-era Necrophobic, the lone Vinterland album, ’90s Naglfar or Ebony Tears or Sweden’s Eucharist, or even In Flames‘ never-sullied The Jester Race.”

All of that is very enticing to people like us who found our way into extreme metal through bands such as those, but even more enticing is the immediate experience of The Infernal Deceit‘s new music, which is equal parts thrilling and chilling, ferocious and epic. We have a great example in the album track “Schwarz” that we’re premiering today. Continue reading »

Mar 112025
 

(Late last week Hammerheart Records released the debut album from the Swedish death metal band Impurity, and today we follow that with Zoltar‘s interview of all four bandmembers.)

We’ve seemingly been buried under an endless stream of classic Swedish death metal sounding bands lately, old and new, as if one could never get enough of THAT instantly recognizable buzzsaw guitar sound and part-old-school-death-metal-part-crust dynamic, more than thirty years after Left Hand Path originally dropped, turning the scene upside down. Not that it is a bad thing, mind you but the downside of this endless outpour is that fans tend to stick a rather tunnel-visioned view of what Swedish death metal was/is.

Granted, Entombed, Grave, and Dismember all wrote the rules most of their followers to this day strictly follow. But once you started going beyond the mandatory Into The Grave or Clandestine, less-talked-about or cursed by the ‘wrong label’ plague acts like Necrophobic or Hetsheads had their own say about what Swedish death metal could also be about, with a meaner, darker, and even satanic at times edge to it.

All four members of Impurity weren’t even born when said bands were first active but that didn’t prevent them from fully embracing their elders’ (morbid) vision, yet without trying to play the retro card. As a matter of fact, while being recorded at Studio Sunlight – yep, THE Studio Sunlight where ALL Entombed, Grave, and Dismember early misbehaviors were put to tape and where THAT guitar sound was basically invented – their just-released debut album The Eternal Sleep goes the extra mile by truly tapping into something more sinister and menacing. And as you can read below, they know their shit alright! Continue reading »

Mar 102025
 

(Late last week the Canadian heavy metal band Spiritbox released their second album, and today we’ve got Wil Cifer‘s review.)

Before you throw the LaPlante out with the bathwater, it might be easy to write this band off as a pop act. After all, they are an evolution of Myspace metal. However, I might go as far as to say that this album is more inspired than Knocked Loose’s You Won’t Go Before You Are Supposed To, which was one of the heaviest albums since Sunbather to catch the ear of more mainstream audiences. It certainly takes more chances and employs a wider range of sonic colors, rather than hits you with blunt force you bob your head to.

If your eyes have skimmed any of the reviews I have done for this fine site or other of the more devious ones you might have stumbled across on the Dark Web, then you know this is outside of what I normally listen to. If you caught the trail of breadcrumbs that starts with Chelsea Wolfe covering one of their songs, then you might be getting warmer. Continue reading »

Mar 102025
 

(What sort of difference does a name make? Andy Synn sets out to find out!)

Hands up… how many of you have heard of Danish existential extremists Kollapse?

Well, this is not that band.

How about Swedish Post-Metal noisemongers Kollaps\e?

Well, it turns out that the latter group, in an effort to differentiate themselves further from their fellow Nordic neighbours just across the water (who, in fairness, did have the name first), recently re-branded themselves as K L P S (still pronounced the same way) and decided that the best way to celebrate his new era was with a brand-new, self-titled album.

All of which begs the question, does a rose band by any other name still smell sound as sweet?

Continue reading »

Mar 102025
 

(written by Islander)

It often happens that we, like everyone else, find our first exposure to an album in a single song provided in advance of the album release, even when we later find ourselves premiering the entire record. That is what happened here in the case of Fust, the apocalyptic fourth album by the sludge/doom band Nomadic Rituals from Northern Ireland that will soon be released by our friends at Cursed Monk Records.

One of their early singles from the album was “Change“. It greeted our ears with clobbering beats and demonic snarls, with vicious sizzling tones and shrill demented decibels. The song’s mangling low-frequencies lurch like some enormous primeval beast; the vocals scream and bay at the moon; the beats crack and tumble.

The music also pounds like a sledgehammer and seems to moan in agony, and the beasts come out in the doubled vocals too. It might have ended there, but doesn’t: the drums vividly clatter; the guitars go off like sirens; the low end brutally gouges with gruesome claws; the voices scream bloody murder.

As a welcome sign placed before listeners, “Change” was very fucking intense, an experience in rage and ruin, like a welcome sign made of skull and crossbones. How indicative was it of the album as a whole? You’re about to find out. Continue reading »