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MONSTROSITY Returns With Ferocious New Album Screams From Beneath The Surface
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MONSTROSITY Announces New Album 'Screams From Beneath The Surface', Shares 'The Colossal Rage' Music Video
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MONSTROSITY Returns With Ferocious New Album Screams From Beneath The Surface
#MONSTROSITY #ReturnsWithFerociousNewAlbumScreamsFromBeneathTheSurface #deathmetal #album #newalbum #newrelease #single #MetalInjection #metal #music
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Death Metal Legends MONSTROSITY To Release Screams From Beneath The Surface Album In March; “The Colossal Rage” Music Video Streaming
#MONSTROSITY #DeathMetalLegends #ToReleaseScreamsFromBeneathTheSurfaceAlbumInMarch #deathmetal #album #newrelease #EP #video #musicvideo #streaming #BraveWords ...
New post: Monstrosity return with new album and unleash “The Colossal Rage” https://moshville.co.uk/news/video/2026/01/monstrosity-return-with-new-album-and-unleash-the-colossal-rage/ #Monstrosity
Calibre is the poster child (in application space at least) of everything that went wrong with free software. It desperately needs refactoring. Maybe even splitting into a dozen little tools.
We're not ready to have this conversation about Web browsers, of course. Remind me before 2038.
Guillermo del Toro Hopes He’s Dead Before AI Art Goes Mainstream
Stuck in the Filter: July 2025’s Angry Misses
By Kenstrosity
If you thought June was hot, you aren’t ready for what July has in store. The thin metallic walls of these flimsy ducts warp and soften as the sweltering environs continue to challenge the definition of “habitable.” But I must force my minions to continue their work, as this duty is sacred. Our ravenous appetites cannot be slaked without the supplementary sustenance the Filter brings!
Thankfully, we rescued just enough scraps to put together a meager spread. Enjoy in moderation!
Kenstrosity’s Blackened Buds
Echoes of Gloom // The Mind’s Eternal Storm [July 12th, 2025 – Self-Release]
Queensland isn’t my first thought when considering locales for atmospheric black metal. A genre so often built upon frigid tones and icy melodies feels incongruous to the heat and beastliness of the Australian landscape. Yet, one-man atmoblack act Echoes of Gloom persists. Masterminded by one Dan Elkin, Echoes of Gloom evokes a warm, muggy, and morose spirit with debut record The Mind’s Eternal Storm. But unlike many of the atmospheric persuasion, Echoes of Gloom also injects a classic heavy metal attack and a vaguely punky/folky twist into their formula to keep interest high (“Immortality Manifest,” “Throes of Bereavement I”). Furthermore, Echoes of Gloom weaponizes their energetic take on depressing atmoblack such that even as my head bounces to the riffy groove of surprisingly propulsive numbers like “The Wandering Moon” and “Great Malignant Towers of Delirium,” a palpable pall looms ever present, sapping all color from life as I witness this work. This in turn translates well to the long form, as demonstrated by the epic two-part “Throes of Bereavement” suite and ripping ten-minute closer “Wanderer of the Mind’s Eternal Storm,” boasting dynamics uncommon in the atmospheric field. In sum, if you’re the kind of metal fan that struggles with the airier side of the spectrum, The Mind’s Eternal Storm might be a good place to start.
Witchyre // Witchy Forest Dance Contest [July 14th, 2025 – Self-Release]
Germany’s Witchyre answer a question nobody asked but everyone should: what would happen if black metal and dance music joined forces? With debut LP Witchy Forest Dance Contest, we get to experience this mad alchemy firsthand, and it is an absolute joy! The staunchly anti-fascist Witchyre take the raw sound everyone knows and pumps it full of groove, bounce, and uninhibited fun for a raucous 46 minutes. Evoking equal parts Darude and Darkthrone, bangers like “Let There be Light…,” “Witchy Forest Dance Party,” and “Lost in a Dream” burst with infectious energy that feels demonic and exuberant at the same time. The raw production of the metallic elements shouldn’t work with the glossy sheen of electronic doots, but Witchyre’s often pop-punky song structure that develops as these divergent aesthetics collide adeptly bridges the gap (“Spirits Twirling,” “The Vampire Witch,” “Dragon’s Breath”). My main gripe is that even at a reasonable 46 minutes, each song feels a bit bloated, and some dance elements feel recycled in multiple places (“The Spirits Robbed My Mind”). But don’t let that scare you away. Witchyre is a delightful little deviation from convention fit for fans of Curta’n Wall and Old Nick, and everyone should give it a whirl just for fun!
Owlswald’s Hidden Hoots
Sheev // Ate’s Alchemist [July 11th, 2025 – Ripple Music]
While stoner can be hit-or-miss, Ripple Music often delivers the goods. And with Berlin’s Sheev, they can add another notch to their sativa-flavored belt. Since 2017, the four-piece has been brewing their unique, progressive-infused stoner rock sound. On their second full-length, Ate’s Alchemist, Sheev doubles down on their sonic elixir, with a throwback prog-rock vibe that evokes the likes of Yes and Jethro Tull, but with heavy doses of grunge, jam and modern rock. Vocalist Nitzan Sheps’ provides a stripped-down and authentic performance, sounding like a cross between Muse’s Matt Bellamy and Alice in Chains’ Layne Staley. The rhythm section is particularly great here. Drummer Philipp Vogt’s kit work is exceptionally musical, with intricate cymbal patterns on tracks like “Elephant Trunk,” “Cul De Sac,” and “King Mustard II” that fuel deep-pocket grooves. He also provides Tool-like syncopated rhythms on tracks like “Tüdelüt” and “Henry” that lock with bassist Joshan Chaudhary. Chaudhary’s bass playing is rare in its prominence and clarity in the mix. He maintains a tight pocket while also venturing out regularly with nimbler, adventurous flurries that highlight his technical skill. Yeah, a couple of the longer songs get a little lost, but the album is packed with killer musicianship and vocal hooks that stick with you, so it barely matters. Overall, Sheev has delivered a solid record that I’ll be spinning a lot—and you should too.
Dephosphorus // Planetoktonos [July 18th, 2025 – Selfmadegod Records/7 Degrees Records/Nerve Altar]
Space…the final grind-tier. On their fifth album, Planetoktonos (“Planetkiller”), Greek astro-grind quartet Dephosphorus rejects normal grind classifications and instead annihilates worlds with a brutal, interstellar collision of grind, blackened death, and hardcore. Taking inspiration from the harsh sci-fi of James S.A. Corey’s The Expanse, Planetoktonos is a relentless twenty-eight-minute assault—a sonic asteroid belt of thick, menacing distortion and time-warped drumming that channels Dephosphorus’ raw, furious energy. “The Triumph of Science and Reason” and “After the Holocaust” attack with the ruthless speed of Nasum while others, such as “The Kinetics of a Superintelligence Explosion,” “Hunting for Dyson Spheres,” and “Calculating Infinity,” punctuate sludgy aggression with razor-sharp, shredding passages reminiscent of early Mastodon that offer contrasting technical and rhythmic hostility. Vocalist Panos Agoros’ despairing howls are a particular highlight, full of a gravelly, blackened urgency that sounds the alarm for an interplanetary attack. Gang vocals on tracks like “Living in a Metastable Universe” and “The Kinetics of a Superintelligence Explosion” add extra weight to his frantic performance, proving Dephosphorus can incinerate worlds and still have a blast doing it. Raw, intense, and violent, Planetokonos is a must-listen for fans seeking Remission-era energy.
Tyme’s Tattered Treats
Mortual // Altars of Brutality [July 4th, 2025 – Nuclear Winter Records]
From the fetid rainforests of Costa Rica, San Jose’s Mortual dropped their sneaky good death metal debut, Altar of Brutality, on Independence Day this year. Free of frills and fuckery, Justin Corpse and Master Killer—both have guitar, bass, and vocal credits here—go for the jugular, providing swarms of riffs entrenched in filthy, Floridian swamp waters and powdered with Jersey grit. Solo work comes fast, squealy, and furious as if graduated from the Azagthothian school of shred (“Dominion of Eternal Blasphemy,” “Skeletal Vortex”), as hints of early Deicide lurk within the chugging chunks of “Altar of Brutality” and whiffs of early Monstrosity float amongst the speedier nooks and crannies of “Divine Monstrosity.”1 Incantationally cavernous, the vocals fit the OSDM mold to a tee, sitting spaciously fat and happy within Dan Lowndes’ great mix and master, which consequently draws out a bestial bass sound that permeates the entirety of Altar of Brutality with low-end menace. Chalo’s (Chemicide) drum performance warrants particular note, as, from the opening tom roll of “Mortuary Rites,” he proceeds to bash skulls throughout Altar of Brutality’s swift thirty-five-minute runtime with a brutal blitz of double-kicking and blast-beating kit abuse. Embodying a DIY work ethic that imbues these tracks with youthful energy and a wealth of death metal character, Mortual aren’t looking to reinvent the wheel as much as they’d like to crush you under its meaty treads, over and over again.
Stomach // Low Demon [July 18th, 2025 – Self-Release]
Droney, doomy, sweaty, and sludgy as fuck, Stomach’s blast furnace second album, Low Demon, is the antithesis of summer-fun metal. Hailing from Geneva, Illinois, Stomach is drummer/vocalist John Hoffman (Weekend Nachos) and guitarist Adam Tomlinson (Sick/Tired, Sea of Shit), who capably carry out their cacophonous work in such a way as to defy the fact that they’re only a duo.2 At volume, and believe me, you’ll want to crank this fucker to eleven, Low Demon will have you retching up all that light beer you drank by the pool and crying for yer mom, as “Dredged” oozes, rib-rattling from the speakers, a continuous, four-and-a-half-minute chord-layered exercise in exponentially applied tonal pressure. With five tracks spanning just over forty-three minutes, there’s not a lot on Low Demon that’s in a hurry, and aside from sections of up-tempo doom riffs (“Get Through Winter”) and some downright grindery (“Oscillate”) offering respite from the otherwise crushing wall of sound, listening to Stomach is akin to being waterboarded with molasses. Heavy influences from Earth, Sunn O))), Crossed Out, and Grief—whose Come to Grief stands as a sludge staple—form the basis for much of Stomach’s sound, and while Primitive Man and Hell draw apt comparisons as well, I’m guessing you know what you’re getting into by now. Maniacally cinematic and far from light-hearted, Stomach’s Low Demon was everything I didn’t think I needed during this hot and humid-as-an-armpit-in-hell summer.
Killjoy’s Flutes of Fancy
Braia // Vertentes de lá e cá [July 10th, 2025 – Self-Release]
Bruno Maia is one of the most inventive and hardworking musicians that I know of. Best known for the whimsical Celtic folk metal of Tuatha de Danann, he also has his own folk rock side project, Braia. Vertentes de lá e cá explores the rich history and culture of the Minas Gerais state in his native country, Brazil.3 Bursting with more sweetness than a ripe mango, Vertentes de lá e cá sports a huge diversity of musical styles and instruments. A combination of flute, viola, and acoustic guitar forms the backbone of most of the songs, like the Irish jigs in “Vertentes” or the flitting melodies of “Princesa do Sul.” My ears also detect accordion (“O Cururu do Ingaí”), saxophone (“Serra das Letras”), harmonica (“Hipólita”), banjo (“Carrancas”), and spacey synth effects (“Pagode Mouro”). That last one might sound out of place, but it makes more sense after learning of the local tales of extraterrestrial encounters. Maia sings in only two of the twelve tracks (“Emboabas” and “Rei do Campo Grande”), but all 41 minutes should be engaging enough for listeners who are typically unmoved by instrumental music. Though thematically focused on one specific location, Vertentes de lá e cá deserves to be heard by the entire world.
Storchi // By Far Away [July 25th, 2025 – Self-Release]
I would guess that the “experimental” tag causes some degree of trepidation within most listeners. However, occasionally an artist executes a fresh new vision so confidently that I can’t help but wonder if it’s secretly been around for a long time. Storchi, an instrumental prog group from Kabri, Israel, utilizes a flute in creative ways. Its bright, jazzy demeanor almost functions as a substitute for a vocalist in terms of expressiveness and personality. The Middle Eastern flair combined with modest electronic elements reminds me of Hugo Kant’s flute-heavy multicultural trip-hop. The chunky palm-muted guitar and bass borrow the best aspects of djent alongside eccentrically dynamic drum tempos. There is premeditation amidst the chaos, though. The triplet tracks “Far,” “Further,” and “Furthest” scattered throughout By Far Away each offer a unique rendition of the same core flute tune. “Lagoona” and “Smoky” make good use of melodic reprisals at the very end to neatly close the loop on what might have otherwise felt like more disjointed songs. Despite frequent and abrupt stylistic shifts, Storchi manages to make the 31-minute runtime of By Far Away feel more enjoyable than jolting. Flute fanatics should take note.
ClarkKent’s Addictive Addition
Daron Malakian and Scars on Broadway // Addicted to the Violence [July 19th, 2025 – Scarred for Life]
Since System of a Down disbanded, guitarist Daron Malakian has gone on to release 3 full-length albums under the moniker Scars on Broadway between 2008 and 2025. This spinoff project has proven Malakian to be the oddball of the group, and this goofiness hasn’t mellowed since SOAD’s debut released 27 years ago. The energetic set of tunes on Addicted to the Violence mixes nu-metal, groove rock, and pop with plenty of synths to create some fun and catchy beats. Sure, you have to delve through some baffling lyrics,4 such as when Malakian sings that there’s “a tiger that’s riding on your back / And it’s singing out ‘Rawr! Rawr!'” (“Killing Spree”). Malakian also turns to the familiar theme of drug addiction that he and Serj have explored from “Sugar” to “Heroine” to “Chemicals.”5 This time around, it’s “Satan Hussein,” where he mixes Quaaludes and Vicodin with Jesus Christ. To offset the repetition within songs, Malakian has the sense to mix things up. There’s the nu-metal cuts of “Satan Hussein” and “Destroy the Power,” featuring energetic vocalizations and grooves, but there’s also a lot of pop (“You Destroy You”). The riffs may not be as wild or creative as times past, but Addicted to the Violence makes use of a variety of instruments that keep things fresh, from an organ (“Done Me Wrong”) to a mandolin (“You Destroy You”) to some sweet synth solos. There’s even a brief saxophone appearance to conclude the album. Yes, I know exactly what you’re thinking: “This sounds awesome!”
#2025 #7DegreesRecords #AddictedToTheViolence #AliceInChains #AltarsOfBrutality #AmericanMetal #AteSAlchemist #AtmosphericBlackMetal #AustralianMetal #BlackMetal #BlackenedDeathMetal #Braia #BrazilianMetal #ByFarAway #Chemicide #CostaRicanMetal #CrossedOut #CurtaNWall #Dance #Darkthrone #DaronMalakianAndScarsOnBroadway #Darude #DeathMetal #Deathgrind #Deicide #Dephosphorus #Doom #DoomMetal #Drone #Earth #EchoesOfGloom #EDM #ExperimentalMetal #FolkMetal #FolkRock #GermanMetal #Gindcore #GreekMetal #Grief #GrooveMetal #Hardcore #Hell #HugoKant #InstrumentalMetal #IsraeliMetal #JethroTull #Jul25 #LowDemon #Mastodon #MelodicBlackMetal #Monstrosity #Mortual #Muse #Nasum #NerveAltar #NuMetal #NuclearWinterRecords #OldNick #Planetoktonos #PopMetal #PrimitiveMan #ProgressiveMetal #RawBlackMetal #Review #Reviews #RippleMusic #ScarredForLife #SeaOfShit #SelfRelease #SelfmadegodRecords #Sheev #SickTired #Sludge #SludgeMetal #Stomach #StonerDoom #StonerMetal #Storchi #StuckInTheFilter #StuckInTheFilter2025 #SunnO_ #SystemOfADown #TheMindSEternalStorm #Tool #TuathaDeDanann #VertentesDeLáECá #WeekendNachos #WitchyForestDanceContest #Witchyre #Yes
🧟♂️🧜♀️ I'm very pleased to share that my chapter on the Zombie Mermaid has been published as part of the new edited volume "Deconstructing the Zombie: Cultural and Ideological Approaches".
Warm thanks to the editors, Cristina and Alfonso, for guiding this ambitious project to fruition — and for inviting me to be a small part of it.
📘 https://doi.org/10.14679/4184
#ZombieStudies #CulturalStudies #MediaStudies #Mythology #FanStudies #Mermaids #Monstrosity #OpenAccess #AcademicPublishing #ZombieMermaid
Azure Emote – Cryptic Aura Review
By Owlswald
Azure Emote is the project of two very busy musicians, vocalist Mike Hrubovcak (ex-Monstrosity, ex-Vile) and guitarist Ryan Moll (Hypoxia, Total Fucking Destruction). In between their work with many acclaimed death metal acts, the duo reconvenes every five years or so to craft a new Azure Emote record.1 What began in 2010 with Chronicles of an Aging Mammal as an experimental think tank for their genre-defying ideas has steadily evolved into their own eclectic brand of avant-garde death metal. Cryptic Aura marks the group’s fourth full-length and their third featuring the same all-star lineup: drumming powerhouse Mike Heller (Abigail Williams, ex-Fear Factory), legendary bassist Kelly Conlon (ex-Death), and violinist extraordinaire Pete Johansen (ex-Sirenia). Anna Murphy (ex-Eluveitie) also joins this renowned lineup, contributing her enchanting clean vocals.2 While long gaps between releases and an overabundance of ideas have historically hindered Azure Emote, Cryptic Aura strives to defy this pattern, arriving with a clear ambition to be both darker and heavier than anything they’ve released before.
Imagine a collision of Dimmu Borgir, Ne Obliviscaris, and Mithras and you’ll be in the ballpark of describing Azure Emote’s sound. Hrubovcak’s symphonic keyboards and Shagrath-esque blackened growls top Moll’s driving riffs, Conlon’s dexterous bass and Heller’s remarkable drumming to create occult-infused songs rich with dark atmosphere and dramatic flair. Heller’s performance on Cryptic Aura is mind-blowing. His blazing tom rolls (“Aeons Adrift”), tight rhythms (“Disease of the Soul”), and creative backbeats (“Return to the Unknown”) are consistently jaw-dropping, at times even overpowering the album’s bright DR 9 master. Johansen’s violin steps into a main role, often assuming a folky, crestfallen tone across the album’s ten tracks.3 Enhancing Johansen’s violin are Murphy’s backing vocals, her majestic croons (“Bleed with the Moon”) and ethereal melodies (“Feast of Leeches,” “Aeons Adrift”) driving haunting transitions. She is a welcome addition, offering bouts of serenity and a fresh touch to Azure Emote’s relentless instrumental virtuosity.
Azure Emote’s technical elements frequently coalesce to create powerful, well-structured material, despite their inherent complexity. Still incorporating a wide array of musical styles and ideas into a progressive death metal mélange, Cryptic Aura feels more calculated than past efforts. “Disease of the Soul” is a prime example, standing out as one of the album’s strongest tracks. It demonstrates the group’s unified musical vision, maintaining control amidst torrents of virtuosic chaos. Likewise, “Feast of Leeches” showcases this synergy—Murphy’s soothing pitches, Johansen’s violin, and Hrubovcak’s synth arrangements artfully balancing its thrashy riffs, relentless blast beats and Moll and Conlon’s adventurous soloing. Johansen’s violin plays a crucial role in grounding Cryptic Aura’s songs and providing a consistent thematic thread. Far from being buried in the mix, Johansen often takes the lead, offering melodic death-folk elements and a variety of engaging leads and solos that share the spotlight with Moll. From trilling melodies (“Aeons Adrift,” “Insomnia Nervosa”) to chilling atmospheric passages with delay (“Defiance Infernus”) to a somber homestead feel (“Bleed with the Moon”), Johansen’s versatility adds a distinctive layer to Azure Emote’s multifaceted soundscape.
While Cryptic Aura features impressive technicality and several strong tracks, its prevailing density occasionally hampers it, thereby leading to listener fatigue. Heller’s performance, while spectacular, is overwhelming at times—particularly on “Defiance Infernus,” “Into Abysmal Oblivion,” and “Aeons Adrift”—due to his blistering speed and the drum-forward mix. Furthermore, the powerful beginnings of “Provoking the Obscene” and “Aeons Adrift” ultimately dissolve into exhausting complexity during their chaotic conclusions. “Bleed with the Moon,” meanwhile, offers a repetitive, cascading instrumental barrage that offers little reprieve from its intensity. Murphy’s performance serves Cryptic Aura well, however, helping to counterbalance the overwhelming instrumentation. Her choral passages shine—notably the Gladiator-like ambient transition in “Bleed the Moon”—and her dramatic and warm tone commands attention on “Return to the Unknown” and “Provoking the Obscene.” Unfortunately, she is largely confined to backup duties—a disappointing and missed opportunity.
Though not without its flaws, Cryptic Aura remains a good album. A consistent lineup has allowed Azure Emote to streamline their creativity, presenting their impressive virtuosity with a newfound focus. With Cryptic Aura, the group has found solid footing, marking a positive evolution and resulting in my favorite record from them to date. Such progress ignites my excitement for the future. My only hope is that their next iteration arrives much sooner.
Rating: Good
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Testimony Records
Websites: azureemote.bandcamp.com/music | facebook.com/azureemote
Releases Worldwide: July 25th, 2025
#2025 #30 #AbagailWilliams #AmericanMetal #AvantGarde #AzureEmote #CrypticAura #Death #DeathMetal #DimmuBorgir #Eluveitie #FearFactory #Hypoxia #Jul25 #Mithras #Monstrosity #NeObliviscaris #ProgressiveDeath #Review #Reviews #Sirenia #TestimonyRecords #TotalFuckingDestruction #Vile
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happiness.bmp #labubu #monstrosity#ai #aiArt #aiArtWork #cyberpunk #nightmare #cyborg #failedexperiment #hybridhuman #robot #dystopian #biomechanics #medicalphotography #ultradetailed #hyperrealistic #cyberscience #bodyhorror #ai #aiArt #aiArtWork #cyberpunk #hellishnightmare #cyberscience #disaster #failedsymbiosis #cyborg #monstrosity #hybridhuman #robot #cybernetics #medicalphotography #hyperrealistic #ultradetailed #scifi #experimentgonewrong
Unbounded Terror – Something Is Rotten in Humanity Review
By Mark Z.
Unlike other major European countries, Spain has never been much of a hotbed for death metal, presumably because they’ve been too busy perfecting their paella (holy shit is that stuff good). That hasn’t stopped Spanish death metal bands from trying to make their mark, however, and possibly the first to make such an attempt was Unbounded Terror. Led by guitarist Vicente Payá, the group initially only managed to release one album, 1992’s Nest of Affliction, before going kaput. Vincente went on to be more prolific with his doom/death band Golgotha before eventually resurrecting Unbounded Terror for 2020’s Faith in Chaos. That album turned out to be a nice little pre-COVID surprise, deviating from Nest of Affliction’s Obituary-gone-atmospheric style in favor of something simpler, catchier, and better produced. The follow-up, 2022’s Echoes of Despair, was another enjoyable release that showed Golgotha’s more melodic tendencies bleeding into the Unbounded Terror formula, an influence that wasn’t entirely surprising given that the two groups also share bassist/vocalist Andrew Spinosa. Now, Vicente has somehow found time between all the fucking projects he’s involved with (including Holycide, Sons of Cult, and a bunch of other stuff I’ve never heard of) to unleash a fourth Unbounded Terror album, Something Is Rotten in Humanity. That title seems more true with each passing day. But what of the music within?
A lot of death metal released today can be readily defined by which old school band it mainly sounds like (usually Incantation, Autopsy, or Entombed/Dismember). In the case of Something Is Rotten, that band is Monstrosity. Like those Floridians, this album offers death metal that almost no fan of the genre would take issue with. The tempos are fast, but not too fast. The vocals are gurgly, but not stupidly so. The production is balanced and polished, but not to the point that it makes things feel sterile. And the riffs? They’re fine, too.
Initially, the approach works. “Fear of Dying” opens the record like a big greasy fist to the face, with meaty chugging riffs that give way to groaning tremolos before a nice melodic lick bursts in partway through. The Monstrosity comparison is especially apt with this track, but even those looking for a more measured version of Cannibal Corpse are likely to find enjoyment here (and elsewhere, for that matter). “Destiny of Evil” quickly mixes things up with blast beats, gyrating tremolos, a winding solo, and even some raspier vocals, while “Demons in Your Mind” works well enough by using a peppy, mid-paced beat to propel a tightly wound, pig-fart verse riff.
Sadly, it soon becomes apparent that “Demons” seems to have served as the template for most of the six tracks that follow. Other than its cleanly picked opening, “Reviving” sounds far too similar to “Demons,” and it took me a couple of listens to realize that the pause between “Reviving” and “Inside Death” was a transition between songs and not a false ending to the former track. Later songs like “Divine Virtue” and “Believing Again” also have a similar feel to “Demons” but are somehow even less compelling, causing the album’s 32-minute runtime to drag more than it should. Ironically, “The Disappointment” is actually one of the strongest cuts in the album’s second half, with a cruising, groovy swagger that its neighboring tracks lack. The instrumental closer “The Evil Cause” is another standout, as its crunchy and confident main riff at least offers something different. As another plus, the solos of lead guitarist Ancor Ramírez (Holycide) are fantastic throughout, with a rich sense of melody and a glorious feel that’s often lacking in death metal leads.
Overall, Something Is Rotten is a perfectly competent death metal record. It falls short, however, by not being anything else. Other than a few good songs and some great guitar solos, everything here is serviceable but not particularly notable, which is especially disappointing given how many standout ideas could be found on the two prior albums. Ultimately, it’s not bad, it’s not great, but at least it offers a nice break from masturbating to the thought of the next COVID variant wiping out me and the eight billion other naked apes that have infested this planet like a black mold. Sometimes, that’s all we can ask for.
Rating: 2.5/5.0
DR: 8 | Format Reviewed: v0 mp3
Label: Xtreem Music | Bandcamp
Websites: unboundedterror.com | facebook.com/unboundedterror
Releases Worldwide: April 1st, 2025
#25 #2025 #Apr25 #CannibalCorpse #DeathMetal #Golgotha #Holycide #Monstrosity #Obituary #Review #Reviews #SomethingIsRottenInHumanity #SpanishMetal #UnboundedTerror #XtreemMusic
Charting the course to 2025: reflecting on 70000tons of Metal 2024 Artist Spotlight: Monstrosity:
Yer Metal Is Olde: Monstrosity – In Dark Purity
By Maddog
The year is 1999. Valfar is alive, but Billie Eilish is not. Yours truly enjoys one last year of freedom before kindergarten. Bruce and Adrian rejoin Iron Maiden, and Madonna’s Ray of Light celebrates its first birthday. In the background, death metal mutates. Brutality proliferates; Suffocation has disbanded (for now), but Cryptopsy, Dying Fetus, Nile, and Deeds of Flesh have hit the scene. Technicality flourishes, as Necrophagist and Decapitated prepare to release superhuman debuts. Gorguts’ Obscura has ushered in a decades-long march toward dissonance. Death has proggified death metal forever, releasing their swansong a few months prior. Opeth is doing Opeth stuff. Meanwhile, vintage death metal is not dead, but it sputters. Titans like Morbid Angel and Deicide have already released their most iconic works; indeed, few of the old guard (save Immolation and perhaps Cannibal Corpse) have excellent studio albums in their future.
Amidst this turmoil, Florida’s Monstrosity hangs by a thread. After releasing a stellar sophomore record Millennium in 1996, the band lost both its vocalist (Corpsegrinder, poached by Cannibal Corpse) and its guitarist. After replacing them and experiencing another round of guitarist turnover,1 Monstrosity trudges to the studio and records In Dark Purity. Against all odds, the album is an icon. More polished than Millennium, In Dark Purity builds on the ABC’s of death metal without mimicking its ancestors. Unlike the truly experimental artists of their era, Monstrosity trounces the listener with chunky mid-paced riffs. On face, their guitar-centric attack may seem akin to the likes of Cannibal Corpse, but Monstrosity innovates around the edges. Ever-evolving rhythms keep your neck on its toes, off-kilter melodies add character, and the tempo ranges from Autopsy to Deicide. Both thrilling and unmistakable, In Dark Purity outshines most of death metal’s classics.
In Dark Purity’s most enduring feature is its creativity. Tinged with Death, the album’s nonstandard rhythms induce delicious whiplash and break free of genre shackles (“In Dark Purity”). While Lee Harrison’s drums aren’t flashy, they spring to life in support. The most potent example is “Perpetual War,” whose fluid drum performance and furious riffs make it one of the greatest tracks of the 1990s. Not to be outdone, Monstrosity’s melodies embrace subtle strangeness as well. Channeling Slayer’s Hell Awaits, Monstrosity’s accidentals and hopscotching riffs stand out among the overcrowded Florida swamps (“Hymns of Tragedy”). While Kelly Conlon’s (Death) bass presence is subtle, he bubbles to the surface with some delectably wonky backbone melodies (“Shapeless Domination”). For all their creativity, Monstrosity never innovates for innovation’s sake; rather, In Dark Purity’s power grows with each quirk. The flailing solo of “Shapeless Domination” wouldn’t hit as hard without Harrison’s wild tom fills or its truncated measures, and the most neck-snapping segments of “Perpetual War” are its nine-beat extravaganzas. Monstrosity’s take on death metal stands apart.
Fear not; In Dark Purity is brainy, but it’s a bonanza of bangers. The album’s most well-known track is “Destroying Divinity,” whose explosive main theme kicks off the proceedings with a bang. In Dark Purity shines brightest during its climaxes, which are often dumb fun. For instance, “Suffering to the Conquered” uses a tranquil Azagthothian solo to lead into a three-chord riff that rocks me every time. Jason Avery’s fearsome growls raise these moments into the thermosphere, and “The legions gather // They form behind their king // Suffering to the conquered // Left dead for all to see // Pray for the impaler” raises the bar for the genre. At times, In Dark Purity’s brain and its heart join hands, like the pummeling crescendos of “The Angels [sic] Venom.” From its simple firestorms to its adventurous compositions, In Dark Purity is a spectacle.
Having reached the age-old crossroads between thoughtful songwriting and sick riffs, Monstrosity chose both. In doing so, they forged an album that’s both immediate and timeless. In Dark Purity was one of the first death metal records to capture my heart in my mid-teens. In the years since, as I’ve felt out its nooks and crannies, my love has only grown. Most impressively, Monstrosity is still alive and well, with 2018’s The Passage of Existence breaking our very own score counter. And their 2 AM set aboard 70K last January was likely the greatest death metal show I’ve ever experienced. Whether you’re a long-time Monstrosity fan or a newcomer, you owe In Dark Purity a spin.
#1999 #2024 #AmericanMetal #CannibalCorpse #DeathMetal #InDarkPurity #Monstrosity #OlympicRecordings #Slayer #YerMetalIsOlde
Hypoxia – Defiance [Things You Might Have Missed 2024]
By Maddog
In a year where most death metal gems have come from well-established acts, Hypoxia carries the torch for the underground. Hypoxia caught my eye by advertising two ex-members of Monstrosity: both bassist Michael Poggione and vocalist Mike Hrubovcak appeared on 2007’s Spiritual Apocalypse and 2018’s late-career highlight The Passage of Existence. Along with the likes of Morbid Angel and Immolation, Monstrosity played a critical role in wooing a high school Maddog into death metal. Name-dropping them was bound to grab my attention, especially as Hypoxia’s third full-length Defiance promised girthy vintage death metal riffs. Defiance delivers that and more.
Brief bookends aside, Defiance doesn’t waste a moment. Hypoxia’s mastery of riffs covers both quality and quantity. Defiance comprises unabashed worship of Florida death metal, blending the crunch of Morbid Angel’s Domination (1995) with the shapeshifting stampede of Monstrosity’s In Dark Purity (1999). Some songs rise above the rest, with “Bleed for Blasphemy” and “Scorched and Skinned” both boasting candidates for riff o’ the year. But duds are nowhere to be found, as Hypoxia collars me with both their slower chunky cuts and their waltzy choruses. Defiance lays down colossal riffwork even when you least expect it, like during the melodic solo of “Drowning in Darkness” and the somber midsection of “Black Omens.” Meanwhile, Defiance’s tinges of slam are frequent enough to add swagger but rare enough to avoid eye rolls. While Defiance feels like a mild OSDM overdose despite its 37-minute runtime, it’s a powerful example of an often-underwhelming style.
Hypoxia’s largest similarity to Monstrosity lies in its sneaky complexity. Defiance’s songs evolve at will, with “Pathway to Charon” deftly jumping among a grab bag of OSDM bangers, an explosive chorus, and a late-arriving riff that jams fierce death metal into a surprising proggy rhythm. Similar rhythmic variations help Hypoxia’s catchy choruses stand out even amidst airtight verses. None of these ideas are rocket science, but they distinguish Hypoxia from the cluttered death metal underground. Mike Hrubovcak’s (Monstrosity) vocals sit high in the mix and add fearsome emphasis throughout, like the “sing”-along-able chorus of “Agonized Asphyxia.” The key to Defiance’s success is that every one of its artistic leaps is in service of raw death metal fun. For instance, the opening highlight “Bleed for Blasphemy” uses In Dark Purity-style rhythmic adventures and an infectious extended chorus as vehicles to cram ten minutes of riffs into under four minutes. There is no senseless wank here; every creative risk on Defiance aims to club your ears harder.
“Scorched and Skinned” has served as my morning alarm for the last nine months, and I don’t see that changing any time soon. I tried Kryptos, but that just left me laying in bed smiling. I tried Wormed, but that turned me into a chronic snoozer. I tried Selbst, but that turned my dreams into nightmares. Defiance isn’t groundbreaking, but it’s such a well-executed slab of death metal that I don’t care. Hypoxia scratches a primal itch. That’s good enough for me.
Tracks to Check Out: “Bleed for Blasphemy,” “Pathway to Charon,” “Scorched and Skinned”
#AmericanMetal #DeathMetal #Defiance #Hypoxia #Monstrosity #MorbidAngel #ThingsYouMightHaveMissed #ThingsYouMightHaveMissed2024 #TYMHM
#TheMetalDogArticleList #BraveWords Today In Metal History 🤘 August 27th, 2024🤘 ALEX LIFESON, STEVIE RAY VAUGHAN, MONSTROSITY, OPETH, HAMMERFALL bravewords.com/news/today-i... #AlexLifeson #StevieRayVaughan #Monstrosity #Opeth #Hammerfall #StephenStevieRayVaughan #JohnBogert
