The band stays intact with this album, with Anatoly on bass, Efim on drums, Vyacheslav on guitars, and Ivan behind the vox. In the promo, bassist Anatoly (Katalepsy) singled me out to review their newest offering, so I had to jump at the chance to review the album. The new album cover is pretty neat and I think it is a better album design than their debut album. With this album, we get eight songs in 45 minutes.

“Beneath Unhallowed Ground” opens with a bunch of growly and berating vocals, with the music slowly coming together to start building up. This opening goes on for a while with those shouted vocals, and it’s a bit much, since the vocals are way too loud in the mix, although they are very good. The music still retains the old-school Morbid Angel/Brutality flair as a blast beat enters into the picture. Anatoly’s bass still retains the bite and pluckiness that was present on the Katalepsy albums. He has a great bass guitar sound. The blast is ferocious, with some dual-layered vocals, at times. The stomp groove at the 3.25 section features prominent bass work and I do love the sound of the snare drum. Vocals are angry and vicious, just a bit too loud in the mix.

“Condemned to Eden Below” has an excellent rhythm section early on, and it shoots right into the blast beat, then slows down to a mid-paced crunch fest. If you’re not swigging back pints of vodka and slamming, during this part, you need to go back to bed. There are some bendy guitar riffs and then a nice groove section which is sure to get a pit going. The pinch harmonics are tight and it’s always good to hear them well-placed in a song. The tempo shifts are tremendous and there is a guitar solo, that fits in well. Some of the bendy riffage has an Immolation flair. Yet another good song.

“Forever Unsaved”, with some of the spoken-word moments early on, takes on a rap approach. Hearing Ivan, with his thick Russian accent, is an interesting style. Maybe on the third album we will get this style fully realized on a song. For now, it is inserted to have a tough-guy sound to it. So watch out! This song is surprisingly melodic with some progressive and off-kilter time changes. The song sounds rather complicated to play, and there is a squealing guitar in the middle of the song. There are moments where I do not know if I should headbang, throw up my horns or just relax, like I am reading a book near the fire. This song is all over the place. It’s pretty cool, especially the bass solos towards the end of the song; damn, he is fast.

“None Shall Be” ends the album with more of a brooding and heavy buildup. This beginning is slower and quite excellent. There are more atmospherics, taking us on a dreamscape path, before that mid-paced stomp drives home the message. The blasts and progressive/serene moments all tie together with Ivan’s excellent and varied vocals. What a great song to end the album.

Sermon Under Mound is a damn fine death metal album from Gravegod. It beats their debut with song structure, and I quite enjoy the variety of tempos the band tosses in. The musicianship is spot on, with Anatoly’s bass work having the best bass guitar sound on a death metal album for 2026. The band knows when to blast and to utilize it to their advantage and not overdo it. Sure, the vocals are a bit too loud in the mix, but outside of that, everything sounds good. Crank this sucker up, Nostrovia!

There has been a bit of a shift in some of the writing, with the band incorporating more technical and progressive moments. For one, the band opens with “Guillotine Horizon”, with an acoustic opening moment. A far cry from what I was expecting. It does not last long as the brutal blasts and pinch harmonics come in, with the musical landscape taking on more of a tech approach. Tyler’s vocals are excellent, with his varying brutal tones as the brutality bludgeons us. The 2.07 section is technical with the guitar solo. The song shifts to a brutal beatdown slam and then clean vocals. What the hell? Fans of this brutal band better be open to new ideas. For me, these new influences are enhancements to the band’s overall sound. And the mastering from Alan Douches makes this the best Torturous Inception has ever sounded.

“Do What You Will Then Die” is up next, showcasing the progressive and technical aspects the band is throwing at us. Then the brutal blasts and Tyler’s filthy vocals take over to slap us from one side of the pit to the other. Some polyrhythms are tossed in with the start and stop oft-kilter drumming. The brutality flourishes with the blasts, the technical moments, the slow grooving slams, and moodier moments. The blasting and technical aspects do take on more of what Job For A Cowboy is doing nowadays.

“Crushed by the Weight of Hubris” has a great opening gallop, taking me back to 1991. The song rolls into a blast, slows down with aggressive vocals and gutturals. There is some dual layering of the vocal tones, and it takes on a Glen Benton – Deicide vibe. The song slows down with softer vocals and more atmosphere, to the death metal. Killer blasts ignite, then the song slows down, with quite a badass guitar riff. Yet another winner of a song.

“I Am What Remains” ends the album, and I think this is more of a realized version of what we may come to hear from the band in the future. Technical, slower moments, but no less heavy. Clean vocals over the blasts, with influences from The Faceless and Fallujah, the band is incorporating a lot more into their cache. There is plenty of brutality and squealing guitars alongside the progressive and technical nature of this song. This song is the band’s most mature and creative song to date. I will go further by saying this is one of the best songs they have written.

Life’s Worth, even at a brief 27 minutes, is the step forward Torturous Inception needed to take in order to separate from all the brutal slam bands in the Northeast section of the States. The music is more intricate and creative, and while I love all their past material, this is the band’s greatest achievement. This is forward-thinking, and I must say the clean vocal moments work exceedingly well during the parts they are inserted. The band is on fire vocally and musically, creating some complicated song structures. Amazing album, fellas!!

With a very similar color palette, on the cover, like their last release, these newer cover designs, I feel, are a good look for the band. Shows some maturity, and these three songs, at least a few of them, will be in their upcoming tour setlist, with Hatebreed, for sure. Brad Fincher – drums, Ruben Rosas – vocals, Dave Spencer – bass all welcome to the fold, Marvin Ruiz, on guitars. Marvin is no lightweight when it comes to guitar work, as he is the guitarist for another brutal Texas death metal band – Stabbing! Marvin has now been with Devourment for a few short years and has the Devourment, slamtastic guitar sound down!

The title track opens with a film clip, which I think is the movie Evil Dead. Once the music hits, Brad gets into a monster blast beat, and Ruben’s vocals sound sooo vomitrocious. I love the filth. Clogged sewer pipe stylized brutality. There is an early slam, then right into a monster blast beat, equipped with 90’s era brutal pinch harmonics. I really enjoy Marvin putting in those harmonics, as it ties together some of the earlier material of Devourment. The mid-paced moments with the double bass will collapse chest cavities all over.. Once the slower slam hits at the 2.48 mark, this will level pits, on their tour. This is a most excellent song, and those sharp harmonics, towards the end of the song, will eviscerate your flesh, right off your skeleton.

“Mortiferous Dependency” has monstrous blasts and then creeping slams, and the moment at the 30-second slam will level your neighborhood. I know. I saw your neighborhood and it looks like shit after this EP was blasted. The slam gets even slower and is just monstrous. The mid-paced moments are so bludgeoning that it may cause you to start punching holes in things. I wrecked a few houses while listening to this EP. One of the finest songs Devourment has written.

“Advanced Stage Decomposition” is crucial in the beginning, with vocals getting zoomed right in. This monstrous opening slam could cause a ruckus at the local five and dime, so keep your stereo at an acceptable volume. The slam at the 1.10 section is the Holy Shit moment. You know, with the quick buildup, it is about to hit. And son…does it ever hit. It’s so heavy it may cause the brown note in you. Brad tosses in a nice blast with a few tasty drum fills, as well. The 2.20 slam is yet another crushing wave of brutality!!

Geez! Pious Impiety is one helluva brutal slam release from Devourment. The three songs are so strong that they should rotate them all in and out of their sets on their upcoming shows. These songs are tight, played with precision, are brutal, and the slams hit and keep on hitting. There is no let up on this release. You have no time to catch your breath and that is what Devourment wanted to do. Especially with all these younger whipper snapper slam bands putting out release after release after release. But the masters have returned to basically say, F You all, we are here and we will continue to slay nonstop. Literally, a breathtaking display of how brutal slam should be written and produced!

Mastering the Disease is the band’s fourth album, and Stephen Reichelt once again joins in on bass guitar. We also get guest vocals from James Lee (Face of Oblivion/Pathology) on the song “Blood Prints” and Danny Lawson (Usurper) for “Pupils of Insularity”. The band was looking for a drummer who could capture Paul’s latest and greatest vision, and for this album, enter none other than Marco Pitruzzella (Six Feet Under, Anomalous, Sleep Terror, ex-Vile, ex-The Faceless, ex-Brain Drill). Marco had a good ‘ole rock n rolling fun time recording the newest Six Feet Under. Now was he able to let loose like his gravity blasting bad ass self-did with Brain Drill? No. Did Paul unleash the beast that is Marco, on this latest album? You bet your ass he did!

“Swelling Revulsion” starts things off with a little feedback, then with some maniacal start and stop drumming and Paul screaming his head off. All nice and fun until the 34-second moment. Gravity blasts, gravity blasts, gravity blasts. I will go on record as saying these are the fastest gravities I have ever heard. Faster than Brain Drill. Faster than Origin and faster than Rings of Saturn. Out of control. I was just mentioning to Paul recently that gravity blasts have gone away, and I was happy to hear them return. I just was not prepared for this onslaught. Towards the end of the song, it’s nice to hear some bass guitar strumming, which is heard throughout the release.

The title track is next. Beginning soft and quiet until the maniacal drumming returns. Fast, Faster, Fastest, than onto inhuman capabilities. More of the isolated drumming around the 1.15 mark, where it’s a fast double pounding method, is mixed in perfectly as the guitars take a back seat. Ferocious. The song slows down, and bass guitar plucking is ever-present, as the guitars take on a dissonance, not unlike that of Ulcerate. Paul has played around with dissonance before, with elements containing some later era Brutal Truth with discordant riffage and noises. The slow moments take on an almost drone-like, doomy sound. The speed returns with some weird-ass guitar soloing with terrific alternating vocals. The gravity blasting returns, and even I get tired from all the air drumming I am doing during the speedy parts.

“The Gnashing of False Teeth” has a damn good bass guitar intro and this moment resembles Godflesh. Yeah, Paul, I picked that out fast. Paul is a huge Godlfesh fan, like me. Think of Godflesh doing their doomy, depressive, discordant moments. That is what we have going on here. This is a good breather and you can feel Marco is like, Paul, come on bruh, let me loose again. The doomy drone effect erupts into a gravity blast around the 2.25 section and I swear they are even faster than the previous gravities and they go on for quite some time. Some ethereal, behind-the-scenes types of screaming than growls coming in. The abrupt speed of so slow to ungodly lightning speed, is so much fun!

“Depersonalized Realization” gets into some double pounding speed early on and varying degrees of vocalizations. The slow doomy dissonance is ever present and there are a lot of nods to Carbonized on this album. Just weird spastic blasting, weird noises, non-linear chords being strummed. This song is another example of the weirdness that is inside Gillis’ musical brain. The album, as a whole, is akin to watching the weird ass movie and one of my faves, Being John Malkovitch.

Mastering the Disease is an inhumanely creative and experimental journey into grind, doom, industrial, death metal and technical death metal. Morgue Supplier is not an easy band to just headbang to. It’s like thinking man’s metal. Paul pushes the boundaries and definitely getting Marco has been a huge advantage in this album. There are a few production, mastering issues. Songs will end with several seconds of silence before a song begins or a song will take several seconds to begin, when it’s just silence.

The production is good, however, there is no real bottom end, therefore this is very trebly sounding. The album cover is most excellent and goes wonderfully with this over-the-top sounding album. Because I listen to a lot of weird shit I really dig this album. I commend Paul for pushing the boundaries of extreme metal and also experimenting even more on his craft. This album will force you to consider, what is extreme? Utterly monstrous!!

That is a damn fine display of brutal slam death metal. Ricky Hill is the newest member, joining last year, on guitar with guitarist Stu Hine, taking on vocals now. Richard Lynn on bass remains intact, and Mitch Rider is back on drums. They Rot Beneath Our Floor has a very violent yet colorful album cover and 10 songs in 36 minutes.

“Prelude to Your Dismemberment” is a creepy 90-second intro, setting the stage for the brutality about to bludgeon us into oblivion. “Keep Festering” comes blasting in with filthy gutturals and a brutality which continues their onslaught, from the debut. The snare drum sound has that pop sound to it, sounds very similar to Visceral Throne. The song is prime brutality with slam after slam after slam. The ending slam part has a bit of Despised Icon to it, especially in the guttural department. An excellent song.

The title track erupts with a gravity blast, then abruptly shifts to a mid-paced heavy tempo, then back into the Brain Drill type of gravity blast. Then back into this hoppy slam, where you will just want to pick up trucks and launch them over your lawn. The 1.40 section has a godly growl that is putrid and ready to maul you to death. The abrupt shifts from gravity blast to slams, I must say, is not something I have heard a slam band do. It’s one thing to go from blast to slam or vice versa. But the gravity blasting, while chaotic, is super cool to hear. Not many bands do that kind of blasting anymore. This song is supercharged in brutality and execution!!

“Complete Bowel Extraction” is not something you ever wanna hear is going to happen to you. The brutality begins, and we hear a sound clip of a knife being sharpened, then off to the races with crucial slams. The slam at the two-minute timestamp is supremely devastating. The slam takes a turn for the slower, where you can really feel the caveman knuckle-dragging brutality take hold of you. Then this slam gets even more brutal at the 3.10 timestamp. So friggin’ heavy I thought my jaw was about to fall off.

The production is really good on They Rot Beneath Our Floor. Despite the chaotic moments of gravity blasts, the guitars never lose their power, which is a huge plus. Engorgement is not doing anything original in this genre of brutal death metal; however, how they write and create slam is a huge bonus. Riffs are memorable and the music is ultra brutal. I expect nothing less from Steve and Comatose Music. This is a super fun album.

Much of the time, the Indonesian death metal albums are super short, and this follows the format, with Anatomy of Gorelust clocking in at a wee over 26 minutes. Look at the brutal album cover and you will know what you’re getting into.

“Blood Climax” starts with an excellent isolated guitar riff, from Bintang, which goes right into a blast beat. Gus Donald has a decent set of pipes, more mid-ranged, without the usual gutturals that these bands put on display. The song slows down with a killer groove and more bap, bap, bap, blasting. The snare tone is that high pop sound, and it is loud in this mix. The double bass, from Rama, is super-fast and also super-triggered. The slowdown at the 1.15 timestamp is exceptional. It quickly goes into a mid-paced moment, with more blasting and pinch harmonics. High velocity brutal death metal.

“Labia Dismemberment” is up next, and this is not what the doctor ordered for your kid. Vicious blasts, all over the place, and the mid-ranged vocals are decent. I just wish he would get into more of the guttural tones, which is what is called for in this style. He does let out a real cool growl, with a mid-paced slow down, then back to blasting like a mofo. I must point out that the guitar tone is most excellent on this album.

The next song, “Perverse Anatomy”, opens with a sound clip, which goes into a monster little roll and blast. A tad faster, and we are talking gravity blast territory. I do like some more of the mid-paced moments thrown in, but it’s then off to the blast races, where the velocity is there, and the true power comes in with the mid-paced and slower moments. The 1.25 slow down is crucial, and that guitar tone cuts through like butter. We get some pinch harmonics all over this sucker, and the mid-paced sections are cool, but brief.

I was just over a friend’s house, and I was served a “Placenta Cannibal Feast”. Let me tell you, while enjoyable, I would have added some pepper and Cajun seasonings, maybe tossed some veggies in with that bad boy. This track gets into the blasting very quickly and has a slower moment, which is awesome, than a double pounding section, then a mid-paced moment, with pinch harmonics. I feel this song should have stayed the course in these tempos. If you guessed the band could not stay in that groove for a few seconds and wanted to blast like a mofo, then you, dear reader, get a trophy.

“Impaled with Lust” ends the album and opens with a blast. The mid-paced section is lethal, and that guitar tone, being able to breathe is excellent, then back to the blast. This goes on for three minutes, same formula as the eight prior songs.

Multiwomb is a pretty good brutal death metal band, and Anatomy of Gorelust is a decent first album. The band would have more staying power by tossing gutturals into the mix, as well as allowing for those slower moments to extend more. Some well-placed gutturals over lengthier, slower, and mid-paced moments would crush the weak. The production is good, it’s loud, with an incessant and at times, irritating snare pop. Overall, a good start, and fellas, let those slower moments breathe more-that is your strongest element.

Why is this important to mention, you ask?! Well, because this debut is one of my favorite brutal death metal debut albums, I have reviewed, in quite some time. Sure, the band hails from the Midwest and is rounded out by John Elston – bass, Colin Foster vox/guitars, and Kevin Baum on drums, and like all Midwest death metal bands, this is a winner. One of the main reasons I love this album immensely is that there is quite a gnarly mix and influence of New Jersey’s, and my personal favorite, Mortal Decay, on this sucker!!

With 10 songs and a run time of over 50 minutes, this is a long album for this style of death metal, imo, but let’s get to “Confined to Anguish”, which opens the album. First, there is an acoustic opening moment that erupts with the music and Colin Foster laying waste with an insanely excellent growl. The gutturals and style further cement him as having Johnny Paoline, from Mortal Decay, as his biggest vocal influence. I mean, Colin’s vocals take me back to Grisly Aftermath, Brutalizing Creations, and Dawn of Misery in 0.0 seconds. But it’s also how the music is played with the sharp squealing pinch harmonics, off-kilter guitars, having a discordant bend to them. These are some complex rhythms, which Mortal Decay is known for. They created that style, imo. The song gets into mid-paced brutality, and the instruments all sound amazing. The double bass drum sound is punishing.

I love tongue-in-cheek songs, and I was lucky enough to avoid the “Boiled at Birth” family ceremony, or else I would not be here writing this review. This song has a great 90’s flair with the death metal speed, and Colin is owning the vocal elements on this. The mix of drum speeds and swirling guitar solos comes to a halt, with the song slowing down with some fantastic gutturals, and then the song speeds up with a blast. There is a terrific growl over the blast, and then the song slows down, and an Ahh growl is let out, ala Mr. Paoline. I swear, if you had told me Johnny sang on this, I would have said Yes, I know. The meandering, doomy, and evil slowdown and pinch harmonics take me back to 1994. The song gets moodier with atmosphere, ethereal solos, then the 4.10 timestamp with the vocal setup and jumpiness to the music coming in, made me punch holes in the walls.

“Slugs of Decadence” is not a side dish at Ruth’s Chris, but a brutal song indeed it is. The song begins with some brutality, then slows down with pinch harmonics and ultra-heavy guitar work. Good audible bass guitar, to follow along, and doomy and emotive. An isolated riff comes in, then a good growl to signify the time change, and this is a most excellent headbanging spot. The title track brings forth some neat guitar harmonies as the slower moments erupt and bring forth some striking heaviness with excellent guitar riffing. This section is deliciously evil and crafted by madmen. The speed is there, and some double-pounding drums with excellent double bass over this section. Then back into the mid-paced moment with some wild guitar soloing happening all around the listener. Yet another great song.

Outside of maybe some of the songs needing to be streamlined a bit, The Last Suppuration is a fantastic slobberknocker of a debut album from Protrusion. I again mention the awesome Mortal Decay influences throughout this album, yet the band still sounds fresh in a number of ways. They get into atmospherics and some ethereal moments. I appreciate that they know when to blast and how to corral it and mix it with their mid-paced moments, and slower, moodier sections.

All of this combines to create a memorable album with excellent songs. Count me impressed. This will rip your head right off and then take your head and batter your lifeless body into oblivion. Absolutely Killer!!

“In Contempt of Night” starts things off with a bap bap bap drum hit and right into the blasting madness, and Dakota has one set of hellaciously vomitrocious vocals – I love it. There is a pretty early breakdown that goes into the blasting and Joe’s bass plucking; the dude rules and is prominent in the mix. It’s one of the things that makes albums, with prominent good bass work, something I go back to a lot. With today’s technology and digital era, quite honestly, with this genre of death metal, you cannot tell it’s drum programming. Because I can name at least 10 bands playing this death metal style with a human drummer, and it sounds computerized, so there.

“Oblivion Dwelling” is monstrously fast, with killer guitar harmonies, and these moments remind me of the last and best Spawn of Possession album – “Incurso”. So fast, techy, a bit noodley, but not overly noodley, and the breakdowns with ‘Hey I’m not from South Dakota’ Rivera, gurgles. Super guttural with the unholy breakdowns on this song. I should also mention it is not uncommon for tech death metal to have super long songs, and Delirious Compulsion thankfully does not follow that rule. This style of brutal death metal is best served in shorter increments, and in doing so, the songs punch harder. The band name song erupts outta the starting gates with blasts and scorching pinch harmonics, and with monstrous and well-designed programmed drumming. The brutal bass plucking, guttural breakdown, at the minute mark, is perfectly timed. If you are not swinging or 2-stepping during this moment, than wipe the Taco Bell off your face and get to steppin!!

The title track and best song on the album Erratum of Dysphoria, ends the album with a killer mid-paced opening with pinch harmonics, then more blasting, bass plucking, gurgles, then right into a ferocious guttural. There is a bit of jumpiness to the groove section, alongside the pinch harmonics. There are more blasts, gravity blasts, and pummeling beats. Suffice it to say, they ended the album the way this style of music should tie up such an album

Delirious Compulsion is putting the brutal tech death metal scene on notice with Erratum Of Dysphoria. Well played, tight mix and production, noodly, but super brutal, and check out the eye-catching album cover. With all those colors and such, it’s gonna look bomb on merch. It’s been said that if you do not get this, then Dakota will do the classic South Dakota karate chop, decapitating your pathetic head off your now useless shoulders!! Buy or Die!!!

I totally blame my fellow scribes for my newfound love for Deathcore/Slam and all things BROOTLE. So naturally, when I hit play on Subjected to a Partying, I wasn’t too surprised to hear such spastic bursts of bile-gurgling vocals and squeals that would make a sow horny as fuck. I thought Gutalax’s vocals were crazy… Jesus fucking Christ!

“Parisian Bed Bug” comes lurching out of the barn like a crack-smoking Sasquatch; full of samples and enough knuckle-dragging riffs to shake a stick at. Plus, they sample David Vincent, so that’s pretty cool. Also, that’s a nasty snare sound, you’ve got there, Mr. Martin Gazur, this guy is a fucking beast behind the kit.

Track numero dos is the sexy as fuck “Thirst Trap”. It’s so nuts, and they probably had a blast recording this EP. “High Tariff Behavior “ has this otherworldly, badass riff slap dab in the middle of the goddamn song, and an absolutely ridiculous level of brutal shenanigans is being gotten up to here.

Final song (not really) is “Improper Use of a Speculum” it’s a no-holds-barred fist to the kidneys. I love this song… You know what else I love? Remixes. Yessir, you read that right. That’s because tracks 5-9 are remixes of the first four songs. Clever lads, very clever. The good news is that these remixes absolutely do not suck.

“Thirst Trap (Kmac2021 remix)” sounds like what would happen if you threw a Casio keyboard and a cat into a dryer. It’s unrelenting and Drum and Bass-y as fuck! Yeah, these are Techno remixes. Pick your jaw up off the floor when you’re listening to “Low IQ Behaviour (Frontier remix)” and lower your voice when you mention the “High Tariff Overture (Ritual remix)” because its ominous shadow will overpower you quicker than you can say vaporized weed.

Finally, there are two live tracks, “High Tariff Behaviour (Live in Glasgow 2025)” and “Human Slime (Live in Glasgow 2025)”. Maybe you were there, maybe you weren’t; so if you weren’t, then you know now what your friends that were there are talking about.

I’ll be checking into their back catalog, that’s for certain. Party Cannon and this splatter-ific EP called Subjected to a Partying have awakened a warm and fuzzy feeling at the base of my brain. I’m fine, really.

If you like this sort of thing, then you probably like Gutalax, Dead and Dripping, Sanguisugabogg, and Internal Bleeding. So, get off your ass, go to the bathroom, and order this one while taking a satisfying shit. Oh, and if I didn’t mention the ridiculously killer cover art, I should rip my eyes out for not doing so. Do yourself, your neighbors, and the world a favor by picking this up; you’ll be glad you did.

There is, of course, Sanguisugabogg, but also  Blood Incantation, Frozen Soul, Baest, Hideous Divinity, and others. And now making the jump from Comatose Music after their 2022 debut, Extirpated Mortal Process, comes Texas-based, female-fronted brutal death metal bruisers, Stabbing, and their second effort, Eon of Obscenity.

Make no bones, this is clearly a band signed to cash in on the success of recent ‘caveman death metal’ like  Sanguisugabogg, as well as bands like Tribal Gaze, Cryptworm, Corpse Pile, Tomb Mold, and such. A bit slammy, a bit old school death metal-ish, and lots of groove – and then throw in fucking blast furnace of a vocalist in Bridgett Lynch (she’s up there with Crystal Rose from Ominous Ruin as far as sheer guttural nastiness, and has a solid ‘blegh’ game to boot), you check all the boxes of what might move units in early 2026.

But Stabbing doesn’t simply check all the boxes; they have some merit and laurels of their own, as Eon of Obscurity delivers some top-notch, pit-moving stuff that fans of Devourment, Disgorge Suffocation (whose Ricky Myers makes a guest appreance on “Nauseating Composition”) Dying Fetus, Internal Bleeding, as well as all the bands I mentioned already, should really fucking enjoy.

It’s got a thick, meaty production, those slightly tippy tappy slam snare drums, sewer belch, brutal death metal vocals, and an emphasis on huge groovy, slams, and punch harmonic blast beats. All delivered in small, short stabs, as the album’s 11 songs lurch by in a brisk, but brutal 30 minutes.

Whether it is the short opener “Rotting Eternal”, “Masticate the Subdued”, “Eon of Obscenity”, “Nauseating Composition”, “Sonoluminescent Hemoglobinopathy”, “Their Melted Remains”, or the over four-minute, sprawling epic penultimate track “Symphony of Absurdity”, the album has the potential to put Stabbing on a Sanguisugabogg-like blow up as far as big tours and exposure. And it’s well deserved.

Much has transpired since the last album. Guitarist Mikkel Sørensen hired a whole new band. Jimmy Christensen on bass, Jon Arent – guitars, Lasse Kristensen – drums, and Alexander Kristensen on vox. This is the perfect release to reintroduce this band to the masses.

“Psychosomatic Desynchronization” opens with a slight intro, transitioning into a double-pounding speed. The groove erupts with pig filthy clogged sewer-pipe stylized vocals. The groove is excellent and the double pounding returns with pig squeals and some spliced in shouted sound byte. The varying tempo shifts are great, especially the groove at the 2.44 section with another clever sound bite, signaling the listener about this slam. This is about as heavy as a slam can get. Brutal.

“Suspended from a Single Strand of Sanity” has too many S’s in the title, but starts off with killer and pig squeal vocals all over, blast beats, and then this mid-paced groove, which is ass-kicking. Another shouted part, these moments remind me of their label mates, PeelingFlesh. I could actually see Guttural Slug bringing in that gangsta style hip/hop flair, to a greater degree, on the next release. A variety of wonderful burps and growls all over the place, and the slam at the 2.54 timestamp is how you end a song. This is a huge pit moment. You know, in a live setting, I would play this song and immediately play this title track right after it.

The title track directly opens with a pit-heaving slam. I think it would be nifty to have a song end with the brutal slam and then the start of the next song with a brutal slam, in a live environment, just as the songs are tracked on this EP. It works to the benefit of the band and is super killer. There are plenty of pig snorts, squeals, and fart like vocals on this. “Mind to the Millstone” is just shy of three minutes, but no less brutal than the rest of the songs. Lots of guttural vocals and super heavy riffs. I mean, you get the point at this juncture of what to expect.

Guttural Slug is not reinventing the brutal slam genre, and Ulcers in the Flesh of Thought EP is not unlike anything you have heard, thus far, in this genre. Originality?!, I mean, there is none, and when I listen to this style of death metal, I already know that going in. It’s like when I read reviews for Godzilla movies, and there is so much negativity about how it’s not real, or that was impossible in the movie??? I am like ‘hey dummies, it’s a movie about made-up monsters obliterating everything, so you leave your brain at the door, and enjoy the movie and effects’.

It’s the same with this style of death metal. I leave my brain at the door. I want to be bludgeoned into submission and just want knuckle-dragging slams so I can curl heavier weights at the gym. Pretty simple. Nice slamming brutality on this ep!

“Transference” opens the album as a brief instrumental, and honestly, this slam instrumental is all about the groove, but there are some blasting and awesome pinch harmonics. Because of the Holy Shit moment right from the beginning, with the isolated guitar riff, they need to open their live shows with this. The groove erupting after the riff is so catchy and memorable. Thankfully, it repeats a few more times during the tune. This is the perfect primer for the crowd.

“Enslavement for the Obedient, Agony for the Wayward” is right after, and Scott’s vocals are as putrid and filthy as ever. At least we can hear a bunch of words as he does enunciate well. The guitar tone is excellent, and the massive pinch harmonics bring this sucker right into 1995 east coast NY/NJ east coast territory brutal slam death metal. One of the many things I enjoy about Dysentery is the catchy song structures and slams. There are so many bands playing slam, now, whether it’s deathcore or brutal slam death metal bands, from across the globe. However, while I love many of the bands, not many can write catchy slam after catchy slam. The riffs on this album are the driving force that will get your blood pumping.

“Exhausted Bliss of Self Loathing” is an awesome song title. The music backs it up with the gutturals, massive blasting, and pinch harmonics right out of the starting gates. If you are not two-stepping at the 50-second timestamp slam, then I will make you write “I am parking the car at Harvard Yard” 550 times. This slam is a monster. It gets into deadlier territory at the 2.11 mark, as it slightly slows down with a gruff growl from Scott. The song trails off like this, and this is another new song in need of being played live. The slams, on this song, will have the pits causing sinkholes all over.

“Ascend This Harrowing Dream”, ends the album and is the longest song at a lengthy 4.24. All joking aside, after the brutal blasts, the song gets right into a beefy slam, with terrific gutturals and growls. There is a nice mid-paced headbanging sesh, after the groove, then back into the killer groove, then getting slower with vomitrocious deep vocals. This is another example of an excellent new song, screaming to be played live. The beatdown moments continue with pinch harmonics, slower slams, deep vocals, and then trailing off. The end of a most excellent album.

The only thing, negligible, you would say, is the album cover. It’s kind of tough to make out with the colors and the band logo, also in the same colors as the album art. Maybe it’s a Monet-inspired death metal album cover? Honestly, I don’t know what the hell is going on with the album cover. Now the music and songs on Dejection Chrysalis are crushing. Brutal, slams are excellently crafted, and above all else, ultra-catchy. That opening riff, on the album, I hum all the time, and then find myself punching holes in walls. Dysentery – you have been away far too long. This album is a bruiser!!

Their earlier efforts had more hardcore shouting vocals, mixed with the death metal brutality. I feel it was on their fifth album, Annihilation of Mankind, in 2018, that they really hit their stride. This would also mark the time they debuted their new band logo on an album. The 5-piece has remained intact for these last few albums with: Lukas Swiaczny – Vocals, Martin Grupe – Drums, Lukas Kaminski – Bass, Leonard Willi – Guitars (lead), and Szymon Skiba -Guitars. The band always has super colorful album cover designs, and their style of post-apocalyptic brutality, science fiction etc.. continues on this album.

Survival Protocol is 9 songs in 35 minutes, which is the perfect amount of time for this over-the-top brutality. “Existence Erased” begins with some science fiction sounds before the music gets going. The beginning style sounds like the deathcore band Distant. Crushing groove, with stop and start djent style death metal. The blast beat erupts after, before getting back into that djent death metal style, stop and start groove. Vocals are putrid and filthy. Then we get this break in the music, with flamenco guitars, and I was like, ‘am I now listening to Impureza?’ This moment really caught me off guard, before the bludgeoning heaviness returns. We are treated to a fairly decent technical guitar solo, that slides into an isolated bass guitar section before the pit-inducing groove opens. Hey, some pig squeal vocals and pinch harmonics carry this sucker all the way to the song ending. This is the perfect opener for a live concert, as well as showcasing all the styles the band is bringing together. Deathcore, brutal death metal, djent, technical death metal, and some flamenco style. Stillbirth is a weird, brutal band that combines these styles seamlessly.

“Trapped in Darkness” is a perfect example of brutal technical death metal with a few nods to Decrepit Birth with fast technical riffing. The blasting on this song is tight AF, with some solid drum rolls and double pounding drums that will shatter your chest cavity. The 3.20 timestamp is a slow and melodic moment that adds a pinch harmonic or two, before the mid-paced moment comes in, then blast to end the song. This song has the Stillbirth sound to it, but is very different than the album opener.

“Throne of Bones” is next and is also more varied. Opening up with some Soulfly-inspired tribal drumming with some heavy start and stop slamming, before the blast beat gets things underway. Pinch harmonics are sharply played and are well placed. There is a nice Holy Shit moment with the isolated guitar riff at the 2.35 marker. Then music comes in, with the Soulfly drums, a well-placed growl, and then right into a deathcore beatdown. This may be my favorite section on the album. This part I enjoy repeating several times, especially since those Soulfly drums repeat throughout this section.

The title track is all over the place with technical and progressive madness, with the bass guitar really up in the mix. Sounding like moments Sadus would do on their first three albums. The bass plucking sounds great, and double pounding madness, then blasts, pig squeals and technical guitar riffing. Pinch harmonics rear their heads over the blast beats, then a monster slow down, with pit heaving heaviness, erupts.

Survival Protocol is a most excellent album and showcases the various musical styles from Stillbirth. The band can craft memorable songs, even with all these various styles thrown at us. The production is loud, crisp, and heavy. When certain moments need to be piped in louder, such as bass plucking, guitar solos, or growls, they are there to enhance and never overpower the rest of the mix. Stillbirth are the perfect band to listen to at the gym. Heavy, brutal, and keeps the adrenaline pumping. Excellent album!

“Shogun of Sorrow” starts with a little guitar opening sequence, where it sounds like the opening of a System of a Down album, then the brutal, smashing drums take us out of that mindset. Heller’s drums are maniacal with the plethora of drum rolls, and the guitars are sharp, the band coming across as that band Pillory, from a few years back. The technical wizardry is dizzying. Vocals range from higher rasps, gutturals, and some dual-layering of the vocals as well. The song is over before you can blink your eye, but there is a lot going on. “Impure Vessel” is one fine example of this. At under a minute, this song crams in some classic Cynic and Pestilence, with the jazzy death metal fusion. I’m like, ‘how did they just do that and make it memorable too?’

“Wounded Landscape”, at 2.36, is one of the longest songs on this album. Starting with technical and jazziness and a very cool hoppy, jumpy groove, before getting into the faster gallop, with some poly-rhythmic drumming, simply astonishing. These drum rolls may be the tightest drum rolls on any album for 2025. The band shifts its gears to gravity blasting before settling down with a variety of science-fiction related sound effects. This song blasts you into space, then just leaves you there to suffer.

“Godtopsy” was one of the first songs released, before the release of this album. Dynamic blasting, with a lot of speedy riffing and a variety of different vocal styles. The drumming gets into more of that jazzy poly-rhythmic style, seen on Cynic’s last several albums, which were jazz fusion, post-rock, with some of the best drumming ever on albums. Some of the sounds, at times, have a Rings of Saturn tone, with the video game beeps, blips, and especially in some of the drum sounds. This song is insane with the drumming; breathtaking is one word that comes to mind. Dizzying guitar solos over the blasts, then a calm, serene landscape is created. The ending atmospheric elements are soothing, which is what is needed after all that prior chaos.

Endbryo is a terrifically fun technical death metal album from Defigurement. This is a tough type of music to play live, meaning the crowd will have their mouths open at the musicianship. To get into this music live can be rather tough. These songs whip by so quickly, and before you know it, another new song hits. Maybe the band will not tour, I have no idea, but I really dig this album. Maybe fewer songs next time could help with the staying power of this, lasting longer.

The album cover is as colorful as the music. Along with the technical death metal style, the progressive jazz-fusion and atmospheric moments are all tied together nicely. I am looking forward to more of their creations!

I did not mention all the current and past bands these cats are in, but rest assured, they know brutal death metal. As a bit of an observation, you may be one of those folks who are upset that the letter I is missing from a lot of death metal song titles. If you are that person, well, I have glorious news for you. This ten-song digital promo (bonus song is an instrumental version of the song “The Internecine Incarnation”) has seven songs where the letter I is either the first, second, or third letter of the main song title. And the album name even begins with an I. What on earth is Vulnificus trying to accomplish? I am surprised the band name is not Iulnificus.

All random observations aside, Inclination opens with “Bacterial Backlash” with its slow atmospheric instrumentation before the tremendous double bass comes in and the double pounding madness starts with Eston’s frog-like gutturals, which are pretty damn terrific. I like that the band does not go right into a blast beat. The groove comes in, and the guitar tone is pretty damn heavy, and plenty of growls during this moment. Excellent drum fills and then some higher type of vocal tones, then back into that double pounding beat equipped with killer pinch harmonics. The song then gets into a slower moment with Eston letting out a perfect low growl. There’s even some guitar soloing happening towards the end of the track. When opening with a song that is over six minutes in length, playing brutal death metal, you’d better keep it interesting, and that is what the band does.

“Insurmountable Insurrection” starts with a killer double bass, then into the double pounding. The middle of the song has an outstanding rhythm section during the slower portion. It’s heavy and will get a pit started in a jiffy! “The Internecine Incarnation” has a killer isolated bass intro, then the song gets right into a blast beat, sounding very old school Suffocation-like, think the first two albums for reference. Eston really goes quite low on this number as he is intent on out-bullfrogging the bull frogs in the local pond. More pinch harmonics slice and dice their way through the listener’s ears as they are sharp and hit the mark perfectly. The blasting, at the end, showcases the band on fire with all the instruments sounding awesome.

“Inexplicably Beguiled” is another brutal song with the double pounding to open things up before the mid-paced thunderous section ignites. Various vocal tones abound, and some cool signature time changes swirl about. Excellent growls, sharp pinch harmonics, and the double pounding drums seem to be the band’s signature go-to speed, and it works. Very catchy. Very headbang worthy. The slower portion, towards the end, with the growls, is terrific, as the song trails off with the double-pounding momentum.

Inclination is just what the doctor ordered for you when it comes to brutal death metal. The music is played well, and there are plenty of tempo shifts ensuring the songs do not become monotonous. The production is great, and all the instruments and vocals are heard; nothing is getting drowned out. Vulnificus is putting the brutal death metal scene on notice with this debut album. Excellent brutality.

Corpse Pile combines heavy hardcore beat down moments, but make no mistake, this is death metal through and through. In the Beginning… is their new EP and the band has yet to release a full-length album, having put out splits, EPs etc.. So hopefully that is something they are looking into. I had already been a fan of the band’s material when the singer Jason Frazier contacted me, wanting me to review the EP. At that point, there was no release date, therefor,e I have had this EP for months. This Texas band, has a bright future, let me tell you, as they have already been getting the nods in the underground. 6 songs in like 14 minutes, and well, let’s get to the review.

“Genesis of Suffering” get things underway after a spoken, I mean yelling word clip. If you’re not a fan of the ‘Bogg snare drum pop, you will not be a fan of this one either. The guitars are so damn heavy and dense, and Jason is letting loose with his gutturals and some higher screams. Alex Covarrubias hits those drums hard and Landry Arredondo/ Cody Webb provide the heaving guitar heaviness while Davis Pryse Snyder provides the bass guitar. The 1.46 section is a huge nod to my alma mata with the massive Internal Bleeding slam riff, which also resembles a little of Suffo’s “Liege of Inveracity” big slam riff. Killer opening number.

“Kicked in Cadaver” has a plethora of blast beats and slams. After the blast, a killer slam part hits, which is ferociously heavy. This moment will cause car windows to be blasted out from miles away – I know – I tried!! That slam at the 1.40 section is crucial in every way possible. There will be all fist-fighting during this slam.

“Fed to the Starved” was the initial single released, and I can hear why. Opening with a monumental slam that is hellbent to pile-drive your pathetic body into the ground over and over and over again. The band shifts into double pounding, quick-paced moments before sliding back into a slam, with some deep vocals, ala Dying Fetus’s John, and pinch harmonics that will boomerang your ears off your head. This has heavy slam after heavy slam after heavy slam.

“For Flesh and All”, ends the EP and is the longest song on this EP at 2:54. Nice little Hellraiser clip starts things off, then into fast parts and slams. Definitely some Creeping Death vibes on this song, especially with the mid-paced moments with fast double bass, then pounding hardcore slams. The 1.52 part with the drums and isolated bass guitar signifies a Holy Shit slam is erupting soon, and that is what happens, and BOOM, you’re crapping on the floor. This is a killer song.

If you love the above-mentioned bands, especially the Long Island, NY 90’s death metal bands, you will worship this Corpse Pile ep, In the Beginning…

Well played, super catchy slams, short ep to hit repeat all damn day. Corpse Pile is here and is intent on creating slam pits across the world. Damn good stuff, fellas!

Phew. No wonder they are ready to Settle all Scores with album number 7.

And they certainly do Settle All Scores on this album. It delivers everything you’d expect from these Long Island legends. Even with more member turnover, as vocalist Steve Worley of Sacrifical Slaughter replaces Joe Marchese, and bassist Ryan Giordano (ex- Escuela Grind and ex-Flesh Tomb) replaces Shaun Kennedy. The core trio of original member Chris Pervelis (guitars), as well as Kyle Eddy (drums) and Chris McCarthy (guitar/backing vocals), keep things familiar as they did on the last two efforts, blending hardcore 2-stepping grooves and slamming death metal into an immediately recognizable stew of East Coast Death Metal gabagool.

As with pretty much all their releases, the emphasis is on pit-moving grooves and breakdowns that will induce immediate neck snappage. Worley brings a little gruffer death metal vocals than the prior guys, even if still backed by McCarthy’s more hardcore shouts.

At a brisk 30 minutes or so, the album gets right to it with “Intangible Pact” and never lets up, with a palpable anger present in each track from the growl-along chorus of “Settle All Scores”, personal “Crown of Insignificance”, burly standout “Prophet of Deceit”, stomping “Enforced Compliance” (which even has a rare solo), hugely groovy “Glorify the Oppressor” and moodier, more varied album closer “Deliberate Desecration”.

It’s hardly a game-changer, and each song sounds pretty similar, but you know what you are walking into when you hit play on an IB album. And it’s clear that modern bands like Sanguisugabogg, etc were and are still heavily influenced by IB.

The only downside I’m going to gripe about is the production, mainly the bottom end. The guitars sound amazing, crisp and deadly sharp. But the drums and bass are just not there. And this type of music commands a heftier lower end to make those grooves and 2 steps fucking shatter glass and wreck speakers. “Prophet of Deceit” should have. It just doesn’t.

And as with Corrupting Influence and Imperium, some pals show up to help out, as Skinless’s Sherwood Webber, former IB vocalist Joe Marchese, and of course, OG IB growler Frank Rini appear, with the latter providing a super massive and ridiculously long album-ending growl on “Deliberate Desecration”.

I have reviewed all of Sanguisugabogg’s prior releases, so it would make sense that I reviewed their latest album, Hideous Aftermath. I predicted years ago the band was going to blow the F up, and that is precisely what has happened – I am Nostradamus. With their incessant worldwide touring, huge social media presence as well, and the band remaining intact and honing their live shows, this album will push the band even further.

One of the things very noticeable is in many ways, this album is more straightforward death metal, and while the grooves and chunky slams are ever present, they have shifted away from the slamminess, in certain respects. This album has a tremendous amount of vocal guests to boot, and also sees the band experimenting with some industrial parts. There is a lot to absorb on this release, as this is about a 48-minute-long album, their last one at 45 minutes, seeing the band shift from their previous shorter efforts to longer songs. Again, it’s a lot of beef with quite a meaty production.

“Rotted Entanglement” starts things off, and honestly, the band could not have picked a better opening song. Some bands get it right, some do not, with opening songs. The ‘Bogg literally come out swinging, going straight into vicious blast beat territory. Around the 1.40 section, an ever-crucial slam hits with Devin laying waste with a perfectly timed growl. This part had me punching holes in random houses throughout the day. This moment is godly, no other way to put it, and Cody has improved even more so on the drums. His double bass work and drum rolls are super creative. More of the beefy chunkiness that is Sanguisugabogg’s m.o. starts at the 4.02 Holy Shit moment. Drew has the isolated guitar riff timed perfectly, as he plays it not too fast and not too slow, and boom right into the slam with Ced’s bass guitar helping to keep the brown note alive. Devin growls like his life depends on it, and this chunky part stays in place until the end. Absolutely terrific song and a great opening live tune, as well.

“Felony Abuse of a Corpse” has to be one of the very best song titles I have heard in some time, and one of the things I do notice on this album is very similar Cannibal Corpse-inspired lyrics. This song even has some off-kilter moments with a bit of poly-rhythms happening. This groovy song gets groovier and groovier, which will be an utter bloodbath pit session at a show. At the 4.23 Holy Shit part, we are greeted with Damonteal Harris, from PeelingFlesh, with those ultra-low putrid gutturals. Perfect ending to yet another wild song.

Let’s skip to “Repulsive Demise”. This was a single, prior to the album release. The day before the song was released, on video, the band made some cryptic social media posts about looking out for the song the next day and their love for Godflesh or something to that effect. Welp, the band merged the two of industrial and death metal perfectly on this song. With a strong early Godflesh/Pitch Shifter song. There are perfectly timed industrial sounds, a little drum sampling happening, as well as vocal effects. All of this is wrapped up in a slow, sludgy heaviness, as this song moves like a sloth ready to roll over everything in its path. There is also a darkness and creepiness to this song, and believe it or not, this is my favorite song on the album. I was a huge fan of the early industrial death movement in the late 80’s/early 90’,s and to hear Sanguisugabogg craft a song like this – well, this better not be the last time they do this on an album. If they decide to play this live, the sound guy, better work with the band to ensure all these industrial moments are created live, to give the full experience in a live setting.

“Erotic Beheading” is up next with a killer opening groove section that is sludgy with ham-fisted heaviness before the band erupts into one of the fastest blast beat moments the band has ever written. There’s also a plethora of juicy growls on this sucker. The rest of the songs are great, with “Abhorrent Contraception” having guest vocals from Defeated Sanity’s Josh Welshman. His gutturals erupt towards the end of the song, where some kick ass pinch harmonics are placed perfectly.

Hideous Aftermath sports an interesting album design. Calling to mind some sort of witchcraft and or ceremony totem. The CD digipak is well designed with cool pictures and horror illustrations as well as lyrics. I swear those liner notes are small AF. I had my readers on and still could barely make them out.

With Sanguisugabogg offering up some new treats, such as the industrial death metal moments, it is a breath of fresh air to see the band continuing to expand and hone their craft with each release. This album will sell by the bucketloads, the band will be touring all over the universe with this one, and the accolades the band receives are well-deserved and earned. They put in the work, they tour, and write killer death metal music. Crushing!!!!

“Worldwide Grave” opens immediately and is ferocious before the blast gets going, with vocalist Stefano Borciani having a strong Frank Mullen style. Think Suffo’s Despise the Sun ep. Therefore, I am a huge fan of this dude’s vocal style. The tech proficiency really comes through around the 1.50 mark. Listen to those guitars. Then we are greeted with vintage pinch harmonics as this mid-paced monstrous moment bludgeons us. This song has a multitude of tempo shifts and is not just blast, blast, blast, unlike many of their countrymen playing brutal death metal. Demiurgon is way more interesting to listen to.

I must point out that Umberto Poncina – bass, Riccardo Valenti – drums, and Emanuele Ottani/ Dani Benincasa – guitars have been slogging together on all the releases; therefore, this band is a well-oiled machine when crafting their albums. “The Era of Defiance” erupts out of the starting gates with a vicious blast, and hot damn, those drum rolls were going so fast my circadian rhythm was thrown off. The mid-paced part at the 1.10 section is ruthless, as is the blast section right after this. The production is so on point. The drums do not drown out the music, as is the case with many Italian brutal death metal bands, where the drums get more love in the mix than the instruments. So when Demiurgon is blasting away, those guitars are just as prevalent and biting with how sharp and heavy they sound. This song kills, especially with the strong Suffo influence. However, towards the end, check out some of that Origin blasting. Gets into the gravity blasting range – this is lightning blasting.

“Flashforward to the End” is a fun song title. Would it not have been better suited to actually be the last song on the album? The opening rhythm section is massive with the riffing and bass. The drums are spectacular, and this instrumental moment is terrific. Then it’s off to the races, as they say, with the blasting that will ruin your pants in 0.0 seconds. The drum work is so damn impressive on this song and the entire album. The fills and rolls are creative, as are his beats. One of the more tasty blast-beating drummers out there. The tempo shifts are relentless, and the mid-paced moments break up the chaos a lot.

The rest of Miasmatic Deathless Chamber goes along, similar to what I mentioned above. Album closer “Apoptosi” is slower, with more mid-paced and crunchy slow moments, and as an album closer, it works. The song crushes, as does this album. In terms of sheer brutality, out of the active bands in the Italian death metal scene, Demiurgon are the best, imo. They possess the skills to craft memorable songs, which are not just a million BPM’s, as well as ensuring the production on their albums is not muddied. I really love their last album, The Oblivious Lure, released in 2019, however, Miasmatic Deathless Chamber erupts as their finest album. New label, best album…hmm, is there a connection, perhaps? This album is fire!!

I have reviewed their last several releases, and hot on the heels of The G Code debut album, last September, they return with the PF Radio 2 EP. The band has been on some hot tours over the past year, and that will continue into 2026. As I have previously stated, in prior reviews, I cannot get enough of this band with their urban hip hop/rap influence embedded into their brutal slam death metal. This ep is no exception.

10 songs with intros/outros. After the intro, “Redacted” erupts with a mid-paced groove equipped with filthy gutturals, hip hop spoken word vocals, and a plethora of well-placed growls. Some cool samples inserte,d and that minute marker slam gets even slower at the 1.30 time stamp. It will be non-stop karate kicks in the pit, so you may wanna stand in the back or risk getting a busted nose. The song is super short and flows right into “Channel Zero”. Opening with a sound sample, this mutha effer slides ride into a monster slam and check out the guitar tone!!! Oofa, it’s amazing, as are the pinch harmonics. Well-placed hip hop vocals signify this sucker is about to go atom bomb with a slam. PeelingFlesh delivers a monstrous slam that will lop heads off by the bucketloads. This song gets even slower with the slam and guitar sounds. More ass-kicking growls, pinch harmonics, and a bludgeoning slamtastic section putting veterans of this style on notice. If you’re not going to have a bombastic production and/or have heaving and monstrous slams alongside some original components, then the newer bands will leave you all in the dust. So reinvent yourselves or something, ‘cause these newer slam bands are owning the scene now!

“Holdin” features Jason Frazier of Corpse Pile and CC from Algor Mortis. After a bluesy hip hop opening section, that isolated guitar riff and growl go right into a slow section, and not a blast, like I thought. More hip hop slang coming our way, then the 1.15 slam groove just moves houses off city blocks far and wide. The hopping slam gets slower, and the guest spots are stupendous by more up-and-coming stars in the scene. Phase shifter effects ignite, prior to an even more vicious slam. There really is no rest for the wicked (RIP OZZY), as the songs continue to slaughter us one by one.

“D.V.P.B.” has a nifty urban intro and then the guitar riff says hello…WHOMP WHOMP WHOMP….as the excruciatingly heavy AF mid-paced slam disrupts the flow of gravity…… JFC, this moment is killer.

PF Radio 2 ep is yet another homerun of a release from PeelingFlesh, who are just shredding the competition. Their rise in popularity and getting great tours is well deserved. Alongside other newcomers like Corpse Pile and BodyBox, PeelingFlesh has it going on!! Heavy, creative, slammy, catchy and extremely fun!!!

This compilation puts together four of some of the most gut-wrenching brutal death metal bands today. The first seven songs are from the multi-state brutal experimental slam death metal band, Dripping. In case you were asleep, earlier this year Devin Swank, from Sanguisugabogg, joined, and he goes the extra guttural mile on these tracks, more on that later. The next three songs are from Texas’ Sect of Execration, the next five are from Fisted, also from Texas, and lastly, multi-state/international act Brutal Torment rounds things out with the final five songs, driving those nails into the proverbial coffin. Let’s get to the individual acts pronto.

In 2002, Dripping released their only album – Disintegration of Thought Patterns During a Synthetic Mind Traveling Bliss. Brutal, weird, experimental with enough slams to knock the fillings outta your mouth. The band reformed in 2023, and then in 2025, they released the Archaic Scriptures of Epistemology EP, a few new songs, and some live stuff. Then my pal Devin Swank comes in to take the vocal reins. Devin has quite a diverse range of brutal vocals. From his main band Sanguisugabogg, to his other bands like Bludgeoned by Deformity, to Earthburner, and now Dripping, his styles vary. Very impressive. With Dripping, the band always had clogged sewer pipe filthy lower than whale shit gutturals, and dark lord almighty, he nails it. “Laminectomy (Alien)” opens with a slow slam and various sounds, then that ripping blast with super low gutturals and screams. The band has not missed a beat, and this is so brutal, yet also melodic, like in the past. We are treated to some cool, out-of-nowhere melodic guitar solos, then boom right into a blast with filthy and vomitrocious vocals. There’s a ton of tracks left on this comp, yet I’ve already destroyed a few city blocks by now. “Paradigm of Obscurity” has a movie/show clip before the slam and the maniacal, deep, and high type of vocals. This slam is crucial. Dripping also does “Kingdom of Cruelty” (Dehumanized cover), rather well, just making it a tad filthier. Add in some 808 bass bomb drops on a bunch of these songs, and winner, winner, chicken dinner. Dripping is back and stronger than ever. Awesome brutality.

Sect of Execration has a prior EP/split to their resume and a little ditty of a demo, but that was years ago. The band reformed last year, and here are some new tunes. “The Beast” is a really fast song with powerful, throaty guttural vocals. Expect Texas steak-sized slams, and they come in at the right time, after brutal blasts. There is some rather swell guitar riffing on this song. Believe it or not the vocals are actually heavier than the music. This song is intense and ripped a few heads off at the local five and dime after I played it. “Baptized Through Blasphemy” is exactly what would happen to you if you were born into the occult, and the opening slow slam is monumental. Vocals burp and snort their way through this track, with double-pounding blast-beat drums. This is the best song from the band on here, since they utilize a multitude of tempo shifts to their credit.

Fisted has a way of murdering your soul, yet smiling at you in the process. Fun to point out, bassist Joe Mortimer happens to be in one billion bands. Yes, you read that correctly. One billion, from here all the way to Istanbul. Fisted enjoys some humor with their song titles, and “Yeast Feast” is something the band eats before practicing, from my understanding. Lower those headphones ‘cause the mix on these songs is much louder than the Sect.. ones. This song gets out of the starting gates with blasts on top of blasts. There is no rest at all. Vocals run the gamut of screams, growls, snorts, and filthy gutturals. Real fun song. “Backyard Anal Slip in Slide” is currently out of stock at Target and Amazon, based on the release of this comp. More vicious blasts with very creative bass guitar plucking madness. This is a terrific song.

Brutal Torment rounds out this comp, and “Lizard Brain Vendetta” has a real old-school sound. Definitely early 90’s brutal death metal. Big Suffocation influence, when they were less tech and more straightforward brutal AF death metal. Some wacky harmonics will slice and dice your lips clean off your pathetic mug. “Behold Judas” has tremendous drum rolls that are extraordinarily fast. Wicked brutality and groove slams, and you wonder why this band has the name they do. As far as brutal death metal goes, there definitely is some thought going into the guitar riffs. Kinda catchy, and I really like the parts on this song.

Limb Splitter III Compilation is a fantastic compilation to introduce you to four of the most brutal death metal bands in the scene today. While they do not have anything resembling lengthy discographies, please support them and Ossuary Industries. Without the newer bands, the scene will not thrive. Without labels/distros, like Brian’s, the scene will not grow. Support underground brutality from the bands and labels. This comp is not for the faint-hearted. Top-notch choke slamming brutality!!!!.

The title track is a minute long intro, building up to “Assault of Severed Genitalia”. The opening riff on this song is one of the best openers of any death metal album this year. John Mayer unleashing a plethora of vomitrocious type of gutturals. He sounds like a bear. This beatdown slam is beyond lethal and has a better production, in the guitar department, than their last full-length Repugnant. The up and down heaving heaviness of this slam, equipped with the mid-paced double bass drums, is ferocious. Michael Chamberland certainly understands slam death metal riffage and it’s nice that Alexandre Brochu’s bass guitar is prevalent and JP Bouchard drums like a machine. Yes, things are triggered to make the drums sound perfect, but that is the way of productions for brutal death metal folks.. Around the 3.40 timestamp, a heaving, slower slam erupts, which gets even slower towards the end of the song. They have to open their live sets now with this song. That opening riff, I swear, there will be pits starting, even as soon as that isolated guitar riff opens.

The last thing anyone needs to have is a “Maggot Filled Colonoscopy”, however NGB wrote a song all about it. So instead of the Dr. finding 30-year-old crayons and coins in your colon, they find maggots. That’s pretty nasty. This song has that deliberate pacing of monstrous slams, and the 1.20 part even has a tinge of hardcore to it. Blast beats erupt and faster pacing with the bear-like gutturals entering the picture, and the sea of heaviness is something to hear. I urge you to crank this bad boy on a great system that has a sub to truly hear the various sounds. We have pinch harmonics, and this guitar tone is insane. There’s fuzz to the guitars, but it’s all discernible. This is not a jumbled mess of a mix. Everything is crisp, yet heavy.

“Knuckle Deep Convulsions” erupts with blast beats and the cymbals are in yo face on this song! The slow down at the 32 second moment is punctuated by an isolated guitar riff to signify the Holy Shit slam is right around the corner from the grocery store. This slam erupts and then slows down further. I can imagine a crowd just walloping one another in the head during this moment. There are a variety of guttural tones being belched out. The faster pace ignites, and then a mid-paced moment with a triggered as fuck (TAF), double bass pattern. The hoping slam comes in with 90s-style NYDM pinch harmonics, which are sharp. The mid-paced slam continues onward and then downward as it closes out the song.

Brute is exactly what it is supposed to be from NecroticGoreBeast. They wear their influences on their sleeves and only want to create brutal, memorable slams. There are many catchy moments on this EP, and this is so fuc**ing heavy it will cause sinkholes all over the planet. Brutal and fun!

Here is the second effort from his solo project Cytolysis (a medical term for cell disintegration), and I went into this blind, as I have not heard the prior effort, Portraits of Malevolence. But I can’t imagine there is a drastic shift from his debut to this.

While this is certainly in the unsurprising, Comatose Records/brutal death metal wheelhouse, but like the recent Cordyceps, this has a nice groove, lumbering vibe as opposed to 100% blasting, though there is plenty, as well as a little bit of brutal melody.

Imagine Pathology with a little simpler groove as tracks like “Surge of Cruelty”, “Tribal Savagery”, “Tortured Flesh”, “Mark of the Demons”, and “Innocence is Raped” show amid the standard pinch harmonic filled, broodle death metal Comatose assault. I daresay, they might even be ‘catchy’.

Now, admittedly, he’s not the greatest vocalist; his growls and screams aren’t quite as powerful as his peers in the genre, but as expected, the drumming is top-notch, as the bass/guitar work is par for the genre.

But I can’t say I’m going to be clamoring to listen to this once the review is written. It’s solid, and at times surprisingly restrained, especially for a Comatose release, but there have been some impressive brutal/slam/tech death releases in 2025, and Cytolysis, just isn’t quite up there with them.

Main man and founder, Rafael Gonzalez has put together a full band after releasing the debut as a duo with bassist Robert Jarman, who is no longer a part of the band. And with members and live performers from bands like Incinerate, Godless Throne, and Noctambulist, the output is far more varied and enjoyable than the debut, which I found a bit dull.

Playing the form of brutal death metal normally released by Comatose (I actually had to check and see who the label was), Hell Inside, seems to lean a little more into the slams and slower beatdown sounds, and the slightly beefier, less clicky, lower end, production, now handled by the band, allows those moments to hit. I mean nothing on the debut hits as hard as say “I Am Hate”, “Diseased Mind”,  “Murder All”, “I am the Plague”, or “Regret”.  And honestly, nothing about the debut grabbed me, but I sure am giving Hell Inside a lot of listening time.

Of course, plenty of the material is still those blasting, Suffocation-y pinch harmonics (“I Am Hate”, “Suffocating”, “Flock of Sheep”, aptly named, furious closer “Obliterate”), that filled the debut, and are still well done. As with the debut, there are even a few short atmospheric lead-ins and fade-outs. That all said, Cordyceps just hits much harder when they slow it down.

Amid all the deathcore, every so often, Unique Leader drops a brutal death metal album just to remind us of their roots, and Hell Inside is a perfect example of that.

“Fermented Drippings” opens the album with a spoken word/movie clip then right into a blast beat with the snare drum super loud and poppy. Our wonderful editor, Erik, will not be a fan of this sound. It is loud AF. The double bass is pummeling all in its path. The new vocalist Johnny is the standard guttural style of vocals, however there is nothing resembling a word or syllable. If the band writes lyrics for the album, I would consider it a moot point if the booklet has them printed, I can’t make out a single word. It’s a brutal song, but damn, there needs to be some enunciation in all of this.

“Excoriated Integumental Sludge Altar” is up next and Shane is doing some crazy blasting, sounds like into the gravity blasting range. The stop and start moments are cool, and the riffs are heavy; they’re just a bit tough to make out. A lot of fuzz on those guitars which is cool but at times the production I find is kinda wack. It’s very bass heavy sounding with everything so it does help if you can adjust your sound preferences and make the album sound more trebly, dropping some of that bass. The muddiness then goes away a bunch and the album is better to listen to. There is a pretty crucial slam though, on this song that will get all the Texas pits swarming in unison.

The title track blasts like a mofo outta the starting gates, the song structure sounding a bit off, sloppy in places. The 1.45 slam is nice; however I truly wish that snare sound was not so grating, it’s a lot to handle. Some slower groove passages help make this song a bit more memorable. “Infatuated with Homicide” ends the album, similar to how it starts with the spoken word clips then the pop pop snare cuts through. I like how it comes in the beginning, then right into a nice groovy mid paced slam around the 1.15 timestamp. That is a heavy moment indeed. More blasting and the riffs over the double pounding moments are pretty well done. The slam at the 3 minute mark is crucial, nice riffing. The vocals are so monotone, and no offense, but he sounds like a bear throughout the recording and nothing separating him from a lot of the pack playing this style of death metal.

Headless Cum Dumpster is an uneven second album from Kill Everything. The production is off in places, certain parts come across as a bit sloppy and I already mentioned my dislike of the drum sound (not the drum playing) and the vocals are average at best. Kill Everything can do a lot better, especially since they released that destructive debut years ago. Come on guys pull it together for the next album!