Just few days ago new video by Vomitory
#metal #deathmetal #death #music #musicvideo #video #vomitory #sweden
Vomitory - For Gore and Country
https://youtu.be/voOD1qQ9BYY?si=xCeZrFpKM7Fi5Oj1
#Vomitory
Oooohhhhh, new Vomitory out at April 10th!!!! 🤘 :awesome_rotate:
#TheMetalDogArticleList
#MetalInjection
VOMITORY Return With Savage New Album In Death Throes, Drop Blistering Single 'For Gore And Country'
#VOMITORY #ReturnWithSavageNewAlbumInDeathThroes #DropBlisteringSingle #deathmetal #album #newalbum #newrelease #single #MetalInjection #metal #music
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#Blabbermouth
VOMITORY Announces 'In Death Throes' Album, Shares 'For Gore And Country' Single
#VOMITORY #InDeathThroes #deathmetal #album #newalbum #newrelease #single #announcement #Blabbermouth #metal #music
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#BraveWords
VOMITORY – In Death Throes Full-Length Due In April; “For Gore And Country” Music Video Available Now
#VOMITORY #InDeathThroesFull #LengthDueInApril #deathmetal #album #video #musicvideo #BraveWords #metal #music
Vomitory, Vreid, Abbath und Hypocrisy
22.04.2026 Stuttgart / LKA Longhorn
Vomitory, Vreid, Abbath und Hypocrisy
22.04.2026 Stuttgart / LKA Longhorn
Vomitory, Vreid, Abbath und Hypocrisy
25.04.2026 M?nchen / Backstage
Vomitory, Vreid, Abbath und Hypocrisy
23.04.2026 K?ln / Essigfabrik
Alestorm, Overkill, Amorphis, Skindred, Subway To Sally, Brothers Of Metal, Grailknights, Octoploid, Impureza, Bonded, Submasq, Gangrena Gasosa, Goatfather, Detartrated und Aereum
16.07.2026 Neukirchen-Vluyn / Halde Norddeutschland -
Vomitory, Vreid, Abbath und Hypocrisy
23.04.2026 K?ln / Essigfabrik
#Alestorm #Essigfabrik #HaldeNorddeutschland #Koln #NeukirchenVluyn #Vomitory #SteelFeed
Vomitory, Vreid, Abbath und Hypocrisy
23.04.2026 K?ln / Essigfabrik
Stuck in the Filter: October 2025’s Angry Misses
By Kenstrosity
They say it’s going to be a harsh winter this year. They always say that, and it’s almost never true, at least not from where I’ve set up camp. However, no matter the weather I am a harsh taskmaster, doling out grueling hours, no pay or benefits, and probably the worst coffee on the planet to my dutiful minions. It takes a special kind of person, motivated by pure unadulterated greed to ravenously scour the filter for dusty, almost-forgotten gems like they do.
But we are thankful for them for being exactly that! And we also benefit, in the form of quality(ish) chunks of glimmery, shimmery metal. BEHOLD!
Kenstrosity’s Riffy Representation
Xaoc // Repulsive Summoning [October 31, 2025 – Edgewood Arsenal Records]
Xaoc’s history is one of the more confusing I’ve encountered in my time writing for this blog. After breaking up in 2008, a new lineup spawned in 2022 to record and release Proxime Mortis from the ashes of songs written pre-breakup, supported by Edgewood Arsenal. At some point this year, two more members spawned in anticipation of this new slab Repulsive Summoning. But the band’s labeled as Split Up already on Metallum? I don’t understand what’s going on there, but at least I can say that Repulsive Summoning is a turbo banger! These riffs are bonkers, full of verve and swagger, brimming with groove and muscularity. A happy mix of Vomitory and Dormant Ordeal, this Virginian outfit know how to throw down. Highlights like “Ave Solva Coagula,” “Antima Samskara,” “The Great Perfected Ones,” and the entire “Degenerate Era” three-part suite reduce my body into a fine slurry by the grinding, vicious power of their riffs alone. But the rabid growls, ballistic percussion, and meaty guitar tones contain more than enough fuel to propel those riffs across this tight and thunderous 35-minute runtime. It’s a simple record, built to beat me down and leave me broken and bloodied, but it’s also an effortlessly memorable affair that leaves me wanting more despite the mounting medical bills. Don’t sleep on Xaoc!
Andy-War-Hall’s Succulent Surplus
Canvas of Silence // As the World Tree Fell [October 31st, 2025 – Rockshots Records]
Finnish symphonic metallers Canvas of Silence describe themselves as “prog-influenced chorus metal,” and that description goes far in outlining their debut As the World Tree Fell. Their core sound resembles a progged-out Nightwish moonlighting as a melodeath band, committing ludicrous bombast on symphonic-heavy cuts like “The Great Unknown” and “Wayfarer” amidst a sharp Gothenburg riff attack in “Watching the World Tree Fall” and “Drown.” Canvas of Silence mete out a balanced approach of light and dark sounds between Theocracyesque prog-power (“One With the Wind,” “Humanimal”) and Madder Mortem-like gothic twists (“Drown,” “Anthem for Ashes”), all reined in by the commanding vocal presence of singer Loimu Satakieli.1 Sitting somewhere between Anette Olzon (ex-Nightwish, The Dark Element) and Agnete Kierkevaag (Madder Mortem), her impassioned and heavily-layered singing turns As the World Tree Fell into a smörgåsbord of lush, catchy and anthemic tunes of an uplifting, sing-along nature. Optimism permeates As the World Tree Fell, felt at a fever pitch on the enormous choral bridge of “Humanimal” and the folky power metal jaunt of “One With the Wind.” Even on lyrically dark/mournful passages like “Wayfarer” and “Garden of the Fallen,” Canvas of Silence deliver soaring, hopeful crescendos that at times reach Fellowship levels of good cheer. Canvas of Silence can craft sincerely beautiful moments, and though As the World Tree Fell’s production can be sterile and overly loud2 I am nothing but excited to see what these Finns can cook up next.
Spicie Forrest’s Punky Proferrings
Violent Testimony // Aggravate [October 17th, 2025 – Horror Pain Gore Death Productions]
Do you wish there was more grind in your life? Well, Cheyenne, Wyoming’s Violent Testimony just assumed you would. Combining the punky flair of Napalm Death with the lead foot ethos of early Pig Destroyer and Cattle Decapitation, debut LP Aggravate is 26 minutes of delicious grindy goodness. From the opening salvo of “God Complex Massacre” to the final detonations of “Hit N’ Run,” Violent Testimony shows absolutely no restraint. D.N.’s Gatling drums mow down everything in their path while T.W.’s serpentine bass clears the chaff and flattens any obstruction. Shrapnel propelled by N.Y.’s brutish, breakneck riffing can be seen burying itself in concrete walls, still quivering (“Rider in the Night,” “Psychotic Episode”). Caustic growls and vitriolic screams tear from T.W.’s throat at mach fuck (“Flashbang Celebration,” “Obligatory Manifestation of Infinite Grind”). With only two tracks exceeding the two-minute mark, Violent Testimony screams their piece with as much sound and fury as possible before moving on and picking their next bone with the system. This keeps Aggravate a lean, densely-packed offering. If you need to get pissed off right now and even the fastest death metal is too slow, Violent Testimony is all too happy to decimate the opposition with you.
Uaar // Galger og Brann [October 17th, 2025 – Fysisk Format Records]
Hailing from Oslo, Norway, crust outfit Uaar celebrates their tenth birthday by releasing their debut LP. Galger og Brann, which means “Gallows and Fire” in Norwegian, expands on the foundations laid by established acts like Skitsystem and Tragedy. With one foot firmly planted in black metal and the other in hardcore, Uaar unleashes a cacophony of rage unfettered. D-beats abound, courtesy of Truls Friesl Berg, creating a frantic, enraged atmosphere. Dag Schaug Carlsen’s blackened rasps are so cold they burn, matching the evil pall hanging over tracks like “Galeås” and “Den siste.” Post-flecked, Ancsty tendencies (“Alt Skal Brenne,” “Overalt”) peek through the feral hardcore riffage (“Håpet forsvinner”) of guitarists Erik Berg Friesl and Jon Schaug Carlsen, while bassist Stian S. Evensen provides the muscle to convince you these guys aren’t screwing around. Uaar is well-versed in their base genres, alternating between and mixing black metal and hardcore effortlessly. The occasional blues-tinged heavy metal lead—as in “Overalt” and “Dolken”—keep Galger og Brann from being a one-note affair. With a dearth of standout blackened hardcore releases this year, Uaar’s Galger og Brann is a welcome—if late—addition to the list.
Scorching Tomb // Ossuary [October 24th, 2025 – Time to Kill Records]
I’ll be honest, I’ve never considered Montreal, Canada, to be prime death metal territory. Luckily, Scorching Tomb doesn’t care what I think. Debut LP Ossuary is an aural violation born of Tren-induced hardcore aggression and filthy old school death metal. With a guitar tone (Philippe Lelbanc) like sandpaper and a bass like swallowing gravel (Miguel Lepage), Scorching Tomb plays in the same cesspools as Bloodgutter and Rotpit. We normally associate melted faces with guitar solos, but that honor belongs to whatever corrosive noises issue forth from vocalist Vincent Patrick Lajeunesse’s guts. Drummer Émile Savard loves a blast beat, often detonating them in short bursts to support an already bone-breaking assault (“Feel the Blade”). “Stalagmite3 Impalement” and “Sanctum of Bones (Ossuary)” are particularly savage, with tetanus-inflicting riffs and bloodthirsty screams threatening to drag you into the crypt to be used for meal prep. On “Skullcrush,” Sanguisugabogg’s Devin Swank perfectly matches Scorching Tomb’s vile depravity, cementing them as a promising new act in the scene. Ossuary is raging, muscle-bound, caveman death metal drowned in a vat of viscera and sewage, and it tastes incredible.
ClarkKent’s Gratifying Goodies
Sutratma // Adrift [October 3rd, 2025 – Self-Release]
While I didn’t purposely seek out more doom during my self-imposed month of picking only doom promos, Sutratma’s fifth full-length, Adrift, ranks as one of the better doom albums I listened to in November. This California four-piece has been writing funeral doom for 15 years, and it shows in their ability to craft effective melancholic slow-burns that strike a balance between melody and crushingly heavy. Adrift impresses straight out the gate with the piano-drenched “Wind and Sea.” This song nicely melds the sorrowful softness of the piano with punishing guitar riffs and impressive growls. Just like stalwarts My Dying Bride, Sutratma mixes growls with cleans, and Daniel Larios’s cleans effectively hit you right in the feels while the growls take on a more despairing note. There’s plenty of variety from song to song, with organs stealing the show on “Guiding Star” and a lovely melody on “The Great Bereaver” that builds up to a moving finale. Just like with Oromet, there’s a serenity to the music that is calming, and the skilled songwriting and musicianship lends a poignancy to it all. With the frenzy of list season upon us, it’s nice to have something like this to remind us that it’s okay to just slow down—even when an angry ape is berating you for more content.
Starer // Ancient Monuments and Modern Sadness [October 10th, 2025 – Fiadh Productions]
Josh Hines, the one man behind black metal project, Starer, has been very busy. Since forming Starer in 2020, he has released four EPs and now, with the release of Ancient Monuments and Modern Sadness, four LPs. I first became acquainted with this band on 2023’s Wind, Breeze, or Breath and was taken in by Hines’s aggressively atmospheric take on black metal. Ancient Monuments and Modern Sadness hits the ground running on “I Cry Your Mother’s Blood” with some aggressively catchy melodies. The aggression continues on “Il-Kantilena” with its icy riffs and pumping blast beats. Meanwhile, “The Field of Reeds” combines the black n’ roll of Fell Omen with the fuzzy reverb of atmoblack for a rollicking good time. Hines screams into the void as subdued symphonics add layers of melody, providing a surprising amount of depth to each song. Because of the frenetic pace, the 50-minute runtime flies right by, even as songs like “Song of the Harper” do their best to vary the tempo. For black metal, the production is lush and gorgeous, giving air to all instruments. The epic, ten-minute finale is the culmination of Hines’s ability to put together complex and compelling music that both excites by its aggression and dazzles with its atmospherics. Black metal fans should not miss this one.
Grin Reaper’s Haunted Harvest
Black Cross Hotel // Songs for Switches [October 31st, 2025 – Someoddpilot Records]
Three years after dropping their favorably reviewed debut Hex, keys-drenched and industrialized outfit Black Cross Hotel returns bearing Songs for Switches. 80s-inspired synths, mid-paced chugs, and dance-ready grooves pack neatly into forty-one minutes of grubby fun, sure to interest fans of Ministry and Killing Joke, or anyone with a predilection for leather. Where Hex boasted a wider assortment of tempos, Songs for Switches narrows its focus to mid-paced songs with a keener emphasis on keyboard melodies. Averting a direction that could have been limiting, Black Cross Hotel smartly sidesteps this by shaving down song lengths and arranging the tracks for optimal pacing. Individual moments across the album evoke Me and That Man (“Eyes from Nowhere”), Soulfly (“Blood Dance”), and Joy Division (“Typo”), casting an eclectic array of sounds into Mount Gloom to forge ten dangerously fun tracks. Though I liked the album at first listen, it took multiple spins for Songs for Switches’ distilled aesthetic to fully unfurl, and once it did, my appreciation redoubled. With a sinister atmosphere designed as much for pain as pleasure, Black Cross Hotel has readied your room for a night you won’t forget.
Miasmata // Subterrania [October 31st, 2025 – Naturmacht Productions]
Still hawking their distinctive blend of meloblack and heavy metal, Miasmata dropped sophomore platter Subterrania on what was one of the most congested release days of 2025.4 In addition to the recurring influences of Windir (“Die at the Right Time”) and Iron Maiden (the intro to “Subterrania” smacks of The X Factor), Subterrania adds a dollop of thrash into the mix. Opener “Those Who Cross the Flame” struts out with a punky riff that wouldn’t be out of place on an Anthrax record, while “Full of the Devil” tastes as much like Testament or Havok as Diamond Head. The beauty of Miasmata, both on debut Unlight: Songs of Earth and Atrophy and Subterrania, is one-man mastermind Mike Wilson’s aptitude to synthesize a mighty host of influences into a unique sonic palette all his own. As Sharky noted in Unlight’s review, Miasmata has a knack for remarkable restraint. Subterrania clocks under forty minutes, layering slithery riffs upon one another in a way that propels the music in constant motion, shifting and unfolding so organically that the album slips by before you realize it’s over (an especially impressive feat considering the self-titled closer’s near fourteen-minute runtime). If you missed Miasmata’s latest on release day, go rectify that. Don’t let Subterrania get lost to the underground.
Dolphin Whisperer’s Autumnal Anomoly
夢遊病者 // РЛБ300119225 [October 28th, 2025 – Self Release]
As if plucked into lucidity from amidst a hazy, proggy machination, РЛБ30011922 steps into its narrative—an exploration of a beloved figure in its creator’s life, including sound clips describing the trials through which she persisted—with an entrancing stumble. Through an understated math rock lens, tight kit rhythms with a tension-building hi-hat clashes strut against a loud and leading bass voice across 37 minutes of fluid guitar textures. Whether it’s the chunky fusion reminiscent of Hackett-era Gordian Knot, the playful rhythmic post-rock that evokes a band like toe, or the fuzzed-out punctuation that tell a prog tale as ’70s King Crimson would, 夢遊病者, also known as Sleepwalker, makes their love of sound as clear as their love of РЛБ30011922’s inspiration. In a setting this free and detailed, not a single moment of this one-long-song opus passes by without taking a moment to focus on a given performer’s escalation in the drama of the movement. Wielding short guitar solos as segues into popping double-kick trots, spoken word exposition as pedal switch-up opportunities, all leading to a crescendo of bent and bluesy expression, 夢遊病者 succeeds in more than just holding an audience captive with their jammy and heartfelt statement. РЛБ30011922, like the shorter form releases that have graced these halls before, will have you coming back time and time again to explore its sentiments, which feel both traced from a dream yet rooted in rich, earthly tone pleasures.
Saunders’ Slinky Sneaks
Enragement // Extinguish All Existence [October 31st, 2025 – Transcending Obscurity]
The back end of 2025 has thrown down some delightfully vicious, chunkified, and straightforward death metal gems, courtesy of the likes of Depravity, Glorious Depravity and Terror Corpse. Not to be discounted, Finland’s Enragement dropped their own intense slab of brutal death on fourth LP, Extinguish All Existence. Cutting with any pleasantries, Enragement get down to business, slamming through a tight, burly collection of Americanized death, keenly treading a balance between thuggish beatdowns, chest-busting blasts, slammy, pig-squealing grooves, and more traditional, though deceptively diverse brutal death fare. Despite the certifiably crushing formula deployed, there is an air of accessibility, perhaps attributed to the clean but suitably beefy production job, bludgeoning, addictive grooves and sinister currents of atmospheric melody flowing through the album’s riff-centric veins. Thrashy, straightforward bursts of fury are tempered by more technical flourishes and an impressively versatile vocal assault. The likes of Devourment, Deeds of Flesh, Dawn of Demise and Benighted are perhaps fitting reference points, however, Enragement blast their own path of uncompromisingly heavy destruction.
Stephen Brodsky // Cut to the Core Vol. 1 [October 3rd, 2025 – Pax Aeturnum]
There are a couple of ways to broach this latest solo endeavor from lovable rogue and Cave In/Mutoid Man mastermind Stephen Brodsky. Brodsky delivers refreshed interpretations of various ’90s hardcore songs, reimagined in acoustic form. Those familiar with the original compositions will likely have fun dissecting and comparing the original anthems. While others, such as myself, largely unfamiliar with the originals, can enjoy these polished takes in their reimagined form, without comparison. Over the years, I have developed a strong connection with Brodsky’s works and come to appreciate his softer, acoustic flavorings. The likes of Snapcase, Converge, Texas is the Reason, Threadbare and By the Grace of God are some of the acts covered with typical style, zest, and emotion. Brodsky’s expressive and emotive delivery showcases both a loving appreciation of the material and deeper emotional connection that bleeds through the often darker, melancholic vibes of the acoustic constructions. The collection is remarkably consistent and infectious, highlighted by Brodsky’s crisp and soulful acoustic playing and distinctive singing voice on standout cuts, including “Windows” (Snapcase), “Benchwarmer” (Lincoln), “Fissures” (By the Grace of God), “Farewell Note to This City” (Converge), and “Voice” (Sense Field).
Soul Blind // Red Sky Mourning [October 10th, 2025 – Closed Casket Activities]
Riding a familiar wave of early ’00s alt-rock/metal and ’90s grungy nostalgia, New York’s Soul Blind emerge with sophomore LP, Red Sky Mourning. Although they tread dangerously close to overt derivation of prominent influences, including Alice in Chains, Deftones, and Helmet, Soul Blind manage to just stay afloat on their own terms. The dreamy melodies, chunky alt metal riffs, and soaring, Cantrell-esque vocal melodies cultivate some earwormy hooks and fuzzy, 90s/’00s feels. Soul Blind possess a knack for writing textured, mildly sludgy, infectious rock ditties, dabbling in shoegazing atmospherics, and sturdier alt metal territories along the way. Soul Blind relish in AIC inspired earworms (“Dyno,” “Hide Your Evil”), grittier, more aggressive alt metal fare (‘Billy,’ “New York Smoke”) and airy, indie pop-rock (“Thru the Haze”). Soul Blind have work to do to stand out from their influences and develop a more unique sound and robust character. However, the signs are positive for better things to come. Red Sky Mourning is a solid throwback album and handy companion piece to the equally nostalgia-inspired album from Bleed earlier in the year.
#2025 #Acoustic #Adrift #Aggravate #AliceInChains #AmericanMetal #AncientMonumentsAndModernSadness #Ancst #Anthrax #AsTheWorldTreeFell #AtmosphericBlackMetal #BlackCrossHotel #BlackMetal #Bleed #Bloodgutter #ByTheGraceOfGod #CanadianMetal #CanvasOfSilence #CattleDecapitation #CaveIn #ClosedCasketActivities #Converge #Crust #CutToTheCoreVol1 #DeathMetal #Deftones #Depravity #DiamondHead #DormantOrdeal #EdgewoodArsenalRecords #Enragement #ExtinguishAllExistence #FellOmen #Fellowship #FiadhProductions #FinnishMetal #FuneralDoom #FysiskFormatRecords #GalgerOgBrann #GloriousDepravity #GordianKnot #GrooveMetal #Grunge #HardRock #Hardcore #Havok #HeavyMetal #Helmet #HorrorPainGoreDeathProductions #IndependentRelease #IndustrialMetal #InternationalMetal #IronMaiden #JapaneseMetal #KillingJoke #KingCrimson #Lincoln #MadderMortem #MeAndThatMan #MelodicBlackMetal #Miasmata #Ministry #MutoidMan #MyDyingBride #NapalmDeath #NaturmachtProductions #NewZealandMetal #Nightwish #NorwegianMetal #Oct25 #Oromet #Ossuary #PaxAeternum #PigDestroyer #ProgressiveMetal #ProgressiveRock #RedSkyMourning #RepulsiveSummoning #Review #Reviews #RockshotsRecords #Rotpit #Sanguisugabogg #ScorchingTomb #SelfRelease #SelfReleased #SenseField #Skitsystem #Snapcase #SomeoddpilotReocrds #SongsForSwitches #SoulBlind #Soulfly #Starer #StephenBrodsky #StuckInTheFilter #StuckInTheFilter2025 #Subterrania #Sutratma #SymphonicMetal #TerrorCorpse #Testament #TexasIsTheReason #TheDarkElement #Theocracy #Threadbare #TimeToKillRecords #toe #Tragedy #TranscendingObsurityRecords #Uaar #ViolentTestimony #Vomitory #Windir #Xaoc #РЛБ30011922 #夢遊病者
AMG’s Unsigned Band Rodeö: Kalaveraztekah – Nikan Axkan
By Dolphin Whisperer
“AMG’s Unsigned Band Rodeö” is a time-honored tradition to showcase the most underground of the underground—the unsigned and unpromoted. This collective review treatment continues to exist to unite our writers in boot or bolster of the bands who remind us that, for better or worse, the metal underground exists as an important part of the global metal scene. The Rodeö rides on.”
The Rodeö is full of surprises. Today’s potential riff trap hails from the arid lands of Aguascalientes, Mexico, known most famously for its array of hot springs and National Museum of Death. Yes, in death Kalaveraztekah revels, and not just in a death metal groove indebted to the jagged scrawl of Morbid Angel or the destructive howl of early Behemoth. With a healthy inclusion of pre-Hispanic, indigenous instrumentation alongside their chunky and pinch-addled drive, Nikan Axkan churns and tumbles through chants and thunderous drum roll to shine a light on the Mexica culture and history of sacrifice and spirit world. To excavate the wonders that the adventurous Kalaveraztekah holds hidden in the underground, we’ve assembled a crack Rodeö crew, including an appearance from The Man, The Myth, The AMG Himself. Surely that means that everyone followed the word count, right? – Dolphin Whisperer
Kalaveraztekah // Nikan Axkan [May 2nd, 2025]
AMG Himself: Kalaveraztekah’s Nikan Axkan represents hopes and dreams that I have harbored for years. When will we finally get the seminal piece of Aztec-influenced extreme metal that will whet my appetite for both death metal and Mesoamerican history?1 With aplomb, these astonishingly unsigned Aguascalientes-ites2 do the fine job of balancing two equally vital parts of a single sound. Kalaveraztekah hits like a ton of bricks, dealing in death metal that’s neither old nor school, it’s just brutal and grindy, tempered only by peyote-fueled excursions into the netherworld. The core of their sound is brutal Mexican death metal replete with blasts and machine gun kicks, neck-damaging riffing, pig-squealing guitars, brutal growls (and occasionally less-brutal screamies) synced with the snare, and an intensity that I associate with writing reviews of bands like Vomitory or Crypta. It’s got the riffs and intensity with just a touch of melody, and I bask in its brutality and shreddy, squealy solos. Kalaveraztekah’s particular innovation in this sphere is the successful inclusion of traditional folk elements from the indigenous people located throughout Mexico, but which is today used almost exclusively for the Mexica people of Tenochtitlan (which is modern-day Mexico City).3 Kalaveraztekah’s focus on “Aztec Cosmogony” lends itself perfectly to the second part of their unique sound: dreamy folk soundscapes that they adapt seamlessly—and convincingly—when they shift gear. Driven by reverb-soaked soundscapes, Spanish guitars,4 and what I assume is a tlapitzalli (flute), the band lends atmosphere and dynamics that are necessary to offset a style of death metal that at times can risk monotony. And when they meet, these two sounds crash into each other like storm fronts, creating something beautiful and terrible to behold, simultaneously brutal and thoughtful, grindy and melodic, atmospheric and immediate. I fuckin’ love this shit.
Next up on my befolkened death metal bucketlist: the Olmecs! 4.0/5.0
Dear Hollow: What’s great about Kalaveraztekah is their ability to channel their heritage into an homage to the Mexica that sounds ancient, cosmic, and brutal. Featuring a blend not unlike the formidable shaman-themed Hell:on, the lethal fusion of cutthroat death metal and folk instruments offers balance: wild guitar solos, haunting flutes, terrifying death whistles, and ritualistic drums shine amid the no-frills Sulphur Aeon-esque riffs. While similarities to other Mexico-based Aztec- or Mayan-themed groups are unavoidable, Pre-Hispanic folk instrumentation is not mere novelty like it is for Ocelotl or Eunoë, nor is it an atmospheric saturation of bloody sacrifice in the manner of Aztlan or Cemican – rather, Kalaveraztekah uses ritualistic and ceremonial elements to amplify the cyclical cosmic grandiosity of the Five Suns in an album of both creation and devastation. Nikan Axkan offers riffs galore (“Tlazolteotl,” “Xiuhtekuhtli Weweteotl”), haunting overtures with spoken word that recall sacrificial ecstasy and the vast rotting realms of the gods (“Yowaltecuhtli,” “Illwikatl Meztli”), and just enough techy flavors of soaring intensity and dissonant menace to warrant diversity and complexity (“Xolotl Axolotl,” “Xiuhmolpili”). While the album is a tad overlong at nearly fifty minutes, Kalaveraztekah’s approach straddles the line between violently visceral and gloriously colossal – truly “el amanecer del nuevo sol” indeed. 4.0/5.0
Iceberg: I love it when an album requires me to do some research to unwrap its mysteries. Before I came across Nikan Axlan I had precious little knowledge of Aztec mythology. But now, thanks to Aguascalientes natives Kalaveraztekah, I can confidently tell my Xolotls from my Axolotls. Kalaveraztekah’s sonic template skews more groove than death metal, but the inclusion of a host of traditional instruments keeps the music refreshing and thoroughly unnerving. The tribal drums and wind instruments maintain a constant otherworldly atmosphere, and the extraneous vocal additions are excellent (the frantic spoken word of “Yowaltekuhtli” and the Wilhelm screams of “Xolotl Axolotl”). Kalaveraztekah aren’t content to sit in any one corner with their instruments either. The trebly blues tone of “Yowaltekuhtli” feels ripped from a Los Lonely Boys album, and the sweeping neoclassical riff that forms the backbone of “Xiuhmolpilli” screams symphodeath BOMBAST.5 The biggest drawback for me here is that in leaning so far into the groove metal style, the BPM goes stale in its mid-paced swagger. Given everything else that Kalaveraztekah unleashes on Nikan Axkan, I’m left wondering what this band would sound like if they really stepped on the gas and hit that NOS button (although the opening riff of “Wewekyotl” gets pretty damn close). That quibble aside, Nikan Axkan is a compelling and replayable record, and a great trip into the dark, bizarre world of Aztec mythology. I highly recommend this album for those looking for some tasty groove metal with a bit of strange on the side. 3.5/5.0
Alekhines Gun: Move over Tzompantli, there’s a new band in town. Channeling the instrumental flourishes of Nechochwen filtered through something adjacent to The Zenith Passage in production,6 Kalaveraztekah have presented a slab of agave scented folky melodic death so meticulously constructed and well produced that I’m actually stunned it’s an independent release. From the triumphant flourishes dotting the leads in “Yowaltekuhtli” to the thunderous tribal percussion-laced breakdowns in “Xiuhtekuhtli Weweteotl”, Nikan Axkan never wants for a variety of gripping moments. A sense of propulsion flows through the album, rendering the occasional interludes atmospheric rather than momentum-killing. Songs like “Xolotl Axolotl” feature heaps of skronk and tawngy tech only to instantly be offset by indigenous instruments and melodic atmospherics in equal measure. True, each individual track feels a bit long in the tooth and seem as though they could benefit from some editing, and I wish the bottom end didn’t sound so artificial. Nevertheless, every time I found myself thinking such thoughts I was suddenly blown away by some excellent new riff or lovely melody from wood instruments or percussion, slotting neatly into the album’s reasonable runtime. Nikan Axhan is an album with a remarkably matured and well-executed vision, and has been a gripping, engaging listen with each spin. Support this album. 3.5/5.0
Thyme: Most bands continually seek ways to bring originality into their work. For Aguascalientes, Mexico, five-piece death metal outfit Kalaveraztekah, that originality comes in the form of heaving helpings of Mesoamerican folk instrumentation, expertly woven into the deathly fabric of their sophomore album Nikan Azkan. Right off the bat, I felt transported to the middle of a Mexican rainforest as tribal drums and folkish guitar lines cede their delicate grip to Behemoth-like death riffs and a hellish vocal attack that rivals Nergal’s (“Nikan Axkan (El Aquí y El Ahora)”). When Nikan Azkan isn’t channeling Demigod levels of viciousness, its hybrid form of folk death conjures Roots-era Sepultura with sludgily dirty riffs, primitive death chants, and a plethora of indigenous instruments ranging from ocarinas to Aztec death whistles (“Xiuhtekuhtli Weweteotl (El Fuego Ancestral),” “Wewekoyotl (El Coyote Viejo)”). Kalaveraztekah brings loads of atmosphere to Nikan Axkan, especially on “Yowaltekuhtli (Un Sueño En La Oscuridad),” with its haunting instrumentation—the guitar work is top notch here—and the desperate, breathless pleas of the narrator conjuring tons of dramatic tension. On repeated spins, the magic within Nikan Axkan continues to unravel. While the meshing of Kalaveraztekah’s death metal—standard as it may be—with its folk-forward instrumentation tends to blur tracks together, enjoyment didn’t dissipate the more I listened. Fans of what Tzompantli are doing would be hard-pressed to miss this, and I suggest they don’t. 3.0/5.0
#AngryMetalGuySUnsignedBandRodeo #AngryMetalGuySUnsignedBandRodeo2025 #Aztec #Behemoth #Crypta #DeathMetal #FolkMetal #GrooveMetal #HellOn #IndependentRelease #Kalaveraztekah #LosLonelyBoys #May25 #MexicanMetal #MorbidAngel #Nechochwen #NikanAxkan #ProgressiveDeathMetal #Review #Reviews #SelfRelease #Sepultura #SulphurAeon #Tzompantli #Vomitory
Wombbath – Beyond the Abyss Review
By Alekhines Gun
Swedish death is metal for crackheads; a tired, well trodden sound, with fanatics and devout followers always finding room for “just one more” illustration of the genre. It’s almost impossible to find a review of any modern album that doesn’t inevitably cite Dismember and Entombed as touchstones and reference points, crafting the illusion that there’s nothing left to offer from such established and boundary-setting aural paintings. Fortunately, a few bands carry the Swedeath torch with pride, and chief amongst them is Wombbath. Certified OG’s of the 90s heyday, they’ve had a major renaissance after reuniting back in 2013, set apart by genre experimentation and straight excellence of songcraft. Our beloved Holdeneye has sung their praises on several occasions, but with his attention focused elsewhere, I’ve leapt at the chance to get that mani-pedi that only the Swedes know how to provide. I hope you brought shampoo…
As is Swedeath tradition, the first thing to expect is the generally expected. The guitar tones still buzz with a familiarity like a warm blanket, HM-2 tones carrying out riffy assaults that seem pulled straight from the 90s while feeling refreshingly modern and immediate. Tracks like “Beyond the Abyss” and “Symphony of Dread” flow from Vomitory-infused bounce to the most melodic of At the Gates pomp, with theatricality and violence walking hand in hand. Wombbath exceed at stylistic song craft, slicing and dicing their way from chorus to solo to city leveling chug in equal measure where the aural excess never dominates the excellence of composition. A great track order allows Beyond the Abyss to carry the listener on an aural journey, from the pit ripper of an opening to the doom-laced plodding closer with ebbs and flows of speed, weight, and engagement without ever allowing fatigue or boredom to set in.
While familiarity is part and parcel with the subgenre, Wombbath continue to paint with the most vibrant of colors. Many songs come with violin flourishes and interludes, provided by guitarist Thomas von Wachenfeldt. While not quite going the way of Ne Obliviscaris, such flourishes permeate the album, letting the doomy flow of “Consumed by Fire” or the atmospheric laden “Deep Hunger” shine with sparkle and personality. Beyond the Abyss isn’t content to merely cause heads to bang off torsos or trigger air guitar-related arthritis, though both symptoms are to be found in ample measure. Bells, synths, choirs, a smattering of clean vocals, all frosting and sprinkles on a very deathly cupcake manage to set this release apart with its own character and flavor beyond being “merely” more Swedish death, and all without a dose of gimmickries or inauthentic utilization to be found.
The only downside to such a uniformly well-composed album is the peculiar lack of lethality in tone. Wombbath trade stock in the required chainsaw guitars, but these chords rev with that of an electric-powered rather than gasoline fueled machine. This causes otherwise excellent moments to pass by with less than their deserved impact, with moments like “Faces of Tragedy” – sporting a stank face inducing chuggathon worthy of modern Cannibal Corpse – suffering the most. Swedeath this aggressive and artistic is a rare treat, and when I find it, I want my speakers to tremble in terror. Instead, the tone sounds more akin to the most recent Frozen Soul, where excellent riffs give way to a more gentle presentation when a dose of bloodthirst is warranted. Fortunately, this complaint is abetted as the album progresses, but it still feels like a lost opportunity to give such fantastic riffs the last push they need to make a modern-day classic.
Wombbath continue their streak of excellence in execution with nary a clinker or dud to be found. Feral might be more violent and Lik more immediate and Grave more atmospheric, but Beyond the Abyss stands ready to remind any and all that, in the words of our Angry Overlord, at the end of the day death metal still rules the roost. Trimming down the album length to a reasonable runtime1 and keeping the tonal palate refreshed and vibrant with instrumental diversity has paid major dividends, cementing the band as modern-day forerunners of a founding father genre. If you’re still counting down the years till the hopeful and hypothetical new Dismember album, or if your affections for the genre have run stale in a world filled with Entombed clones, Wombbath are here to remind the world that the genre is still filled with vibrancy and potential. Hop on in! The womb water’s fine…..
Rating: 3.5/5
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Pulverized Records
Websites: pulverised.bandcamp.com/album/beyond-the-abyss | facebook.com/wombbathofficial
Releases Worldwide: March 14th, 2025
#2025 #35 #AtTheGates #BeyondTheAbyss #CannibalCorpse #DeathMetal #Dismember #Entombed #Feral #FrozenSoul #Grave #LIK #Mar25 #NeObliviscaris #PulverizedRecords #Review #Reviews #SwedishDeathMetal #Vomitory #Wombbath
Amputate – Abysmal Ascent Review
By Steel Druhm
Written By: Nameless_N00b_85
The indiscernible line between inspiration and imitation plagues writers, musicians, and artists of all stripes. While the Wormeds and Ulcerates of the world continue to ask what it means to be death metal in a modern context, entire scenes have sprung forth to celebrate the sound of the olde and trve, with the name of the game being “bigger and better” rather than raw in innovation. Swiss band Amputate finds themselves in the latter camp, poised to uncork a letter to the old school in the form of third album Abysmal Ascent. Their sophomore made its way through these very halls, with Doom et Al describing their efforts as “recycled.” This description poses an ironic challenge to this reviewer as we dive in to see whether Amputate has forged something with their own identity. Or, whether I must strive to not copy and paste my great predecessor’s review and be done with it.
The biggest improvement Abysmal Ascent offers is the production. In an about-face from the overly clean and blandly polished Dawn of Annihilation, Amputate have opted for an older, more direct approach. All guitars are recorded straight from their amps, and vocals have minimal effects, making the entire project sound pleasingly raw and organic, like a discount Vomitory or Gorement. This helps Amputate’s more chunky moments where their HM-2 flags fly highest (“Abysmal Ascent”, “Sepulcro”), with vocalist Tom Kuzmic doing his best “We have Erik Rundqvist (Vomitory) at home” approach. His growls, never going beyond competent in their extremity, are clearly piped straight from voice to recording, adding a layer of appreciability in their organic presentation. The DR of 7 allows bouncy, harmonized leads to shine (“Cavernous Temple of the Absurd”) as well as add thunk to the occasional bass solo (“Malevolent Manifestation”). Everything is catchy, deliberately designed, and inoffensive.
Inoffensive, however, best summarizes the whole of Abysmal Ascent. Amputate stretches a reasonable runtime of 39 minutes into a bland sheet of beige-colored audio that seems never-ending in its haze of riffs. The solos are enjoyable, melodic, and well-executed, and also enter the ears and leave the mind as soon as the song concludes (“Extractive Monolith”, “I Am Genocide”). It is telling that instrumental “Hybrid Organism” is the most interesting song on the album—not because of any weakness of the vocals, but because it forces Amputate to stretch their songwriting wings just a little bit. Otherwise, their insistence to adhere to the spirit of OSDM is their undoing, as each song sounds carefully constructed to sound like a facet of greater bands before them. From the crowd-friendly chorus of “I Am Genocide” to the last gasp of energy in sub-two minute closer “Perpetuum,” all of Abysmal Ascent gives off “good local band energy.” You’re sure they’re destined for big things one day, but also ready for them to get off the stage.
This is disappointing because the members of Amputate are no slouches in their individual performances. Nuno Santos and Kuzmic do plenty of tinkering, working with 12/4 time signatures (“Malevolent Manifestation”), speedy tech-adjacent licks (“Sepulcro”,) and good old-fashioned Swedeath sustained chords (“Abysmal Ascent”, “Extractive Monolith”). It is in these slower moments that the band has the smallest whiff of an identity, as the heavier chords allow solos and leads to have a tad more impact. These moments are fleeting, however, and even the most memorable of these—for my money, the chorus of the title track—washes away in the hustle and bustle of blandness by whatever track follows. Abysmal Ascent is an album of excellent ingredients, deliberately concocted into a fine-sounding tribute to better bands before them. And not one of the generous number of listens I’ve given this album has unearthed anything approaching memorability, identity, or repeat play value.
Ultimately, Abysmal Ascent is an etch-a-sketch of an album, each song shaking and erasing the one preceding it, leaving the listener empty and unmoved. It’s clear that Amputate has ambition and passion; what they don’t have are the riffs. They lack the ball-crushing groove of Gatecreeper, the sinister atmosphere of Frozen Soul, the rabid bloodthirst of Vomitory, or the unique melody of Tomb Mold. Instead, they slot neatly in with the Entrailses and the Beheadeds of the world—bland and offensively inoffensive, nothing more. An album with a filthier production, a greater emphasis on songwriting, and developing a sense of identity for themselves would do wonders for their admitted performance capabilities, but discerning lovers of the old school should look elsewhere.
Rating: 2.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Massacre Records
Website: facebook.com/amputateofficial
Releases Worldwide: October 11th, 2024
#20 #2024 #AbysmalAscent #Amputate #Beheaded #DeathMetal #Entrails #Gorement #MassacreRecords #Oct24 #Review #Reviews #SwissMetal #Vomitory
Severe Torture – Torn from the Jaws of Death Review
By Steel Druhm
Anyone remember Severe Torture? These Dutch fiends were swimming in the filth of the death metal scene through the early 2000s releasing grisly products like Misanthropic Carnage and Fall of the Despised. Their sound fell somewhere between Cannibal Corpse and Suffocation and though they weren’t genre leaders, they always brought the war hammer to the party. I reviewed their 2010 Slaughtered opus in my early days as an AMGer and found it entertaining if a bit standard issue. They called it a day after that and didn’t release anything again until a short EP in 2022. That inspired the band to come back in force and now we get Torn from the Jaws of Death. With the same lineup from 2010 save for a new drummer, these death vets are well-rested and it shows. This is high-octane, all gas no brakes death metal full of aggression and anti-religious animosity, but the years have taught the band how to season their atrocities in the abyss, adding melodic tricks and slightly proggy treats to keep things fresh. Basically, it’s a war hammer with blinking Christmas lights and a nice leatherbound handle. JOY!
With nary a second wasted on a moody intro, the wiolence lands fast on opener “The Death of Everything,” which is blasting, merciless murder music with a strong Deicide vibe bouncing off Morbid Angel influences at the speed of the typical Deeds of Flesh output. It won’t impress with innovation, but the writing is sharp and it will beat you into absolute shit-pulp. The riffs are skin-flaying and Dennis Schreurs sounds a lot like prime Glen Benton. The inspired melodic guitar work is a win and the heavy grooves are ass-pasting. The punishment continues on equally blasting “Marked by Blood and Darkness” and the big clangy bass presence is offset well by razor-sharp riffing. The proggy edge seeps in on “Hogtied in Rope” and rather than denuding the brutality, it makes it more engaging, offering twists, turns, and a Vomitory-esque vibe.
The title track introduced a blackened edge alongside Morbid Angel-flavored slithery riffwork, adding a grandiose vibe to the ugliness. The album improves as it unfolds, with later cuts like “Christ Immersion” and ” Putrid Remains” pushing the sound and style outward without losing the essential ferocity. The former is a very Deicide-esque sounding cut but better than anything those Christ bashers have released in decades, and the latter sounds like vintage Floridian death infected by a Vader virus. Nothing here approaches filler and every song is a righteous clubbing. That said, by the back half there’s a sense that the songs bleed into one another due to the similarity of the blasting pace. With the album running 38-plus minutes and the songs slotted in the 3-5 minute window, Severe Torture ensure that it flies by in a flash and never overstays its welcome. It ends before I expect it to every time, which is a good sign.
The main attraction is the inspired guitar work by Thijs van Laarhoven and Marvin Vriesde. These chaps back up a truck overflowing with nasty riffs and dump them all over your lawn to fester. Good luck cleaning them up too, because they stick (and stink). As good as the riffage is, the melodic moments really shine amid the shitstorm. They show restraint in just how much melody they allow into the meatgrinder and their relative paucity makes sure they stand out and enhance the spew stew. Marvin Vriesde has developed as a death metal vocalist. In the old days, I found him one-note and monotonous but here he spreads his wings and sounds more versatile yet appropriately grotesque. Yes, he often sounds like Glen Benton, but early 90s Glen, so it works. The backline is very talented, with Patrick Boleij’s basswork audible and impressive and new kit man Damiën Kerpentier putting on an insane display of speed and endurance.
Torn from the Jaws of Death is a flamethrower of a death metal album suitable for the soundtrack of a Mad Max movie. It’s unrelentingly heavy but has enough technical flair and smart writing to keep you locked into the death rapture. The time away did Severe Torture a world of good, and I’m surprised just how vicious these olde dogs sound. I recommend a loud, angry spin and then a trip back through their past misdeeds of evil. MOAR Torture!
Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Season of Mist
Websites: severetorture.com | severetorture.bandcamp.com | facebook.com/severetorture
Releases Worldwide: June 7th, 2024
#2024 #35 #DeathMetal #Deicide #DutchMetal #Jun23 #MorbidAngel #Review #Reviews #SeasonOfMistRecords #SevereTorture #Slaughtered #TornFromTheJawsOfDeath #Vader #Vomitory
#TheMetalDogArticleList
#BrooklynVegan
Sodom playing first NYC show in 18 years with Whiplash & Hirax & other rare US dates
The German thrash legends are playing the Maryland and California Deathfests and they also have MDF-presented shows in NYC and Chicago.
#Sodom #NYCshow #18years #Whiplash #Hirax #StressAngel #BrooklynMonarch #MarylandDeathfest #MDFpreFest #CaliforniaDeathfest #ChicagoShow #Dismember #Vomitory #Undergang #MorpheusDescends
Dismember playing debut album in NYC after Maryland Deathfest (w/ Vomitory, Undergang & more)
https://www.brooklynvegan.com/dismember-playing-debut-album-in-nyc-after-maryland-deathfest-w-vomitory-undergang-more/
#brooklynvegan_category_music #Heavy_Metal #Music #tour_dates #California_Deathfest #Dismember #Malignancy #Maryland_Deathfest #Morpheus_Descends #Undergang #vomitory
Morta Skuld – Creation Undone Review
By Steel Druhm
Wisconsin’s Morta Skuld have been dragging their nasty cave knuckles for so long, even their fingerprints have worn off. In existence on and off since 1990, these old school warriors have been a fairly reliable if not super prolific source of no-frills, beefbrained death metal. Their early works exuded an oily, swampy charm with a sound ripped from the classic Necrophagia and Obituary deathbooks. Later albums like Wounds Deeper Than Time and 2020s Suffer for Nothing were much more furious, pummeling affairs, with elements of Vader, Malevolent Creation, and Jungle Rot in their flavor profile. The latter was an especially fragrant tomb raid with a collection of riffy, groove-heavy numbers that won the Steel ov Approval though we never gave it a proper review. 2024 sees them returning with the same lineup and overall approach for 7th full-length, Creation Undone and that’s a solid plan in my humble opinion. Can this platter earn Morta Skuld a bigger beak with which to climb the death metal pecking order?
The band do a lot of things right this time out. The album is a concise 44 minutes and songs all sit in a tight 3-5 minute window. Opener “We Rise We Fall” sets the template for what most of the album delivers —bruising, thrashy death with a nasty attitude and a big bat. As the riffs cascade, lock into heavy grooves and pulp your melon, you may be reminded of the salad days of Malevolent Creation. Some of the riffs venture into Morbid Angel territory and Dave Gregor’s death roars have a vague similarity to David Vincent. This is death metal for the old-school set and it’s effective and endearingly thuggish. Quality brutality keeps coming with the extra heavy crushitude of “The End of Reason,” and the romp and curb stomp of “Painful Conflict” smacks of recent Vomitory, which is a good thing indeed.
Track after track showcases Morta Skuld in the best possible light, leading with their strengths while hiding any glaring shortcomings. Later album cuts like “Perfect Prey” and “Soul Piercing Sorrow” bring the hammers to the poser hammering festival, with faint whiffs of Suffocation cropping up here and there to choke the weak. It isn’t until penultimate cut “Oblivion” that their steady hand starts to slip. It’s not even that the song is all that bad. It’s just less on point and skull-shaking than its peer group and it drags on too long. Closer “By Design” is better, but its doomy plod eventually sends my attention span on a beer run despite the Azagthoth-adjacent riffage. The combination of these lesser tracks causes Creation Undone to end on its backfoot rather than attacking with raging wiolence. Drop these two numbers and the album jumps from good to very good quite easily.
Creation Undone benefits greatly from the rock-solid riffery by Dave Gregor and Scott Willecke. Gregor’s been there since the beginning, and newer axe Willecke is a great counterpoint. Most tracks are fueled by pile-driving, bone-crushing leads and powerful grooves that will shake you around like a Dollar Store scarecrow. I can listen to the first 8 tracks and find any number of beefy chugs and phat grooves I appreciate and applaud. They aren’t doing anything the least bit new or innovative, just smoking your ass with vintage death tropes done well and heavily. Meanwhile, Gregor roars at you like a roid-raging psycho and former Jungle Rot skinsman Eric House takes you to the house with a brutal rampage behind the kit. And that makes sense because some of this stuff isn’t all that removed from what those long-running death groove cretins do.
Morta Skuld may never pull themselves up into the upper echelons of the death metal scene, but if they keep churning out stuff like this, I’ll happily consume it in mass quantities and ask for MOAR. Creation Undone pushes no envelopes, gives nothing back to the academic community, and provides no public service of any kind save kicking ass. The high points are quite high and only a few slips toward the end keep this from a better rating. Never let the perfect be the enemy of the good, so give this an obnoxiously loud sample. Rib-cracking fun lurks within.
Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Peaceville
Website: facebook.com/mortaskuld
Releases Worldwide: February 23rd, 2024
#2024 #30 #AmericanMetal #CreationUndone #DeathMetal #Feb24 #JungleRot #MalevolentCreation #MorbidAngel #MortaSkuld #PeacevilleRecords #Review #Reviews #Vader #Vomitory
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