ALBUM REVIEW: Pestilength – Solar Clorex

Art is a reflection of life. Thus the upswing in Death Metal – a renaissance that is not just a matter of marketing hitting just right. There is a wide breadth of different stylistic turns being taken, rather than just a worldwide tribute to the Tampa of the eighties. As someone who lives in Tampa at present, this might be the one city without an abundance of the deathly goodness that the rest of the world is nailing right now. Continue reading

ALBUM REVIEW: Yersin – The Scythe Is Remorseless

A beguiling atmosphere. A deliberate sense of urgency. A cacophony of turmoil and finality: blackened Grindcore-meets-crust purveyors Yersin needed only a hair under twenty-five minutes to effectively and enthusiastically encapsulate all of the above mentioned techniques, and then some.

The Scythe Is Remorseless (Trepanation Recordings) sounds as if the Sunderland-based trio recorded seven tracks in the midst of an apocalyptic phenomenon known only to them. The sound bites and pierces; the vocals pummel and decimate. Together, it’s enthralling.Continue reading

ALBUM REVIEW: Thorn – Evergloom


Allow me to go out on a limb here: the bathroom floor of a frat house on a Saturday night/Sunday morning has less bacteria and filth than Thorn’s newest record. But don’t be fooled into thinking Evergloom (Transcending Obscurity Records) is solely reliant on gag-inducing landscapes. The collective is armed with an innate ability to devise structured songs that possess personality and conjure truly frightening thoughts.

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My first encounter with SEVEN)SUNS was two weeks into 2023 at La Suspendida, the Jazz-Metal-Opera brainchild of Kilter and William Berger, a massive undertaking in which the string quartet played a vital part. (Editor’s Note: read our review here.) Wait – violas and violins in metal? Of course. Connoisseurs of the progressive would expect violin in bands like Ne Obliviscaris, but the less familiar may be surprised to find strings in heavier, speedier bands like Fleshgod Apocalypse. While such symphonic metal may not be for everyone, let’s not pretend the haunted wailing of orchestral instruments has no place in metal.

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ALBUM REVIEW: Burner – It All Returns to Nothing


It All Returns to Nothing (Church Road Records) is the debut album from London-based four-piece Burner, and has been highly anticipated by those in the know, who have been following the singles releases the band have been drip-feeding since the end of 2021. And Burner are the latest in a long line of artists who have found a suitable home on Church Road Records, one of the UKs thriving independent labels for heavy music.

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ALBUM REVIEW: Languish – Feeding The Flames Of Annihilation


To follow the seven-year trajectory that is Languish’s ascent from debut to their third and most recent offering is rewarding and comforting. The Arizonan death grinders were born as an independent group that had neither the backing of a record label nor even song titles for their first album, opting instead to use Roman numerals. Now, the foursome has harnessed the support of Prosthetic Records and is finally starting to carve out a compelling identity, and that journey crescendos with Feeding The Flames Of Annihilation, the first full-length to feature artwork that isn’t monochromatic.

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ALBUM REVIEW: Mantar – Pain Is Forever And This Is The End

Some believe that bands that are comprised of only two members will never make enjoyable music. Fortunate for us, Mantar from Hamburg, Germany would like to have a word with those folks. They have now released their fifth full-length album entitled Pain Is Forever And This Is The End (Metal Blade). Taking the sludge foundations of their earlier works and sprinkling in some black metal influences makes for ten tracks to keep your attention and release that, yes, a two-person musical group can make some kick-ass music!Continue reading

ALBUM REVIEW: Wormrot – Hiss


It has been a very long six years, but finally, the world is graced with a new record from Singapore grindcore legends, Wormrot! Entitled Hiss and released once again through Earache (though with no #MakeEaracheGrindAgain this time – Reviews Ed), the three-piece absolutely shreds through twenty-one tracks of aggression that made the wait well worth it. Continue reading

ALBUM REVIEW: Knoll – Metempiric

In what seems to be the year of the sophomore releases for new bands in the scene, Knoll has come stomping back with their second full-length, Metempiric (Self-Released). Somewhere between grindcore and horror movies is where this record will be classified years from now. The use of shrieking vocals, traditional grindcore instrumentals, and uncomfortable brass sections (oh yeah, there are trumpets!) peppered in really make this album a formidable contender for end-of-year discussions, but is just uncomfortable overall, which is a commendation that is not handed out often.

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ALBUM REVIEW: No/Mas – Consume/Deny/Repeat

Grindcore by its very nature, is polarizing. It’s either unapproachably abrasive or energizingly frenetic; disorganized noise pollution or homicidally refreshing.

No/Mas stakes their claim by presenting a grindcore record peppered with intricacies that are as subtle as they are appreciated. One or two cycles isn’t enough to fully absorb the wonders that lie within Consume/Deny/Repeat (Closed Casket Activities)

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