These UK filthy death metal merchants released two prior albums and some EPs. Really quality death metal, and when looking at the label, you should know this will be gnarly. Cryptworm conjure up the filth ala Undergang, Rottrevore, early Carcass / Autopsy, and Demilich. The same three fellas return: Tibor Hanyi – Bass, Guitars, Vocals, Joss Farrington – Bass, Jamie Wintle – Drums. I have really enjoyed all their other releases, but by the third album, we do want to see maybe an album taking it to the next level, and that is exactly what Infectious Pathological Waste does. I mean, look at the album cover, yet another gore-drenched cover, and this fits the song titles to a T.

Eight songs in 35 minutes, and “Gallons of Molten Hominal Goo” opens the album. I actually ordered several gallons of this on the Amazon dark web. It comes in several different variants, like vinyl. The splattergasm olive green is the best. As soon as the drum rolls erupt and the putrid, clogged sewer pipe Demilich/Undergang-inspired vox explode, it is clearly evident that some production adjustments were made. There is more bottom end on this sucker, and while the Cryptworm sound remains intact, it sounds a bit more crushing. I love their guitar tone, and when the galloping starts at the 1.45 section, it is pure classic 1990. The song meanders into a quick blast, then to a slow moment, and more galloping. If this song does not conjure up the brown note within you, then nothing will except some YobaGoya (watch The League TV show, for that reference).

“Drowning in Purulent Excrementia” goes right into a massive blast beat with filthy vocals. The power comes when the band slows down, and those vocals take over, so filthy and filled with carbuncles. The song gets into a gallop, then more blasting. The guitar tone is dense yet discernible and does not sound like a mess. The blasting, at the 2.30 section, is excellent, and the snare sound is perfect. It cuts through without any high-pop sounds. I know our editor in chief will enjoy this drum tone.

The title track has a nice hoppy opening before the isolated guitar riff takes us to a terrific galloping moment and then some double pounding. The song returns to the beginning, opening with a hoppy slow moment. This part is actually quite happy-sounding, then the faster sections take over, with the plopped-out, stench-filled vocals. These slower moments, incorporated, will definitely start some circle pits. I want the band to film their circle pits during these moments, and if in the UK, the fans better be eating some fish and chips while slamming into each other. There are slower and doomier pathways to this song, and true heaviness is what this band is made of.

“Encephalic Feast” ends the album with a badass isolated guitar riff opening things up. The rest of the music joins in, as well as the vocals. This slow, dirgy, and quicksand-like pace gets even filthier with the vocal cackles and growls. I feel as if I am sinking in quicksand, not because the song is boring, but because this section is so damn dense. The song picks up the pace and some cool cymbal hits over the fast moments, then back into the slower pace with a killer growl. The song trails off in the doomy heavy fashion, as it opened, and is an excellent way to end the album.

Cryptworm has released their finest album, and Infectious Pathological Waste has it going on. From a better production, killer artwork, heavy and catchy death metal, and most of all, fun. The band has fun with the lyrics and song titles, and I enjoy seeing that in the industry. As of now, this is the filthiest, stinkiest, death metal album of 2026, and I am loving every minute of this stench fest. Driller Killer and no filler.

Egregious Defilement is their brand spanking first EP, and let me tell you what: IT’S FUCKING GREAT! I probably didn’t need the all caps, but goddammit, this album sticks to your eardrums like an angry barnacle and refuses to let go. Humble, constant reader, you need this album in your life.

First track is deadly, and Decrepit Altar rip into “The Festering Depths” like a starving animal. This ungodly 8:21-minute beast crawls on all fours. This song is a slow and precise beating, bone-breaking riffs, and earthshaking bass rhythms come together to slowly drown you in the mire. There are 3 China cymbal tings and then boom! They hit full speed midway through before they slow it down for the remainder of the song.

Decrepit Altar might as well be playing severed limbs instead of instruments because Egregious Defilement harkens back to those early Incantation albums; Onwards to Golgatha and Mortal Throne of Nazarene quickly come to mind. The oppressive feeling of foreboding menace is palpable as they go into “Beckoning of the Moss Ridden Tombs”. It’s a short track with a 5:06-minute runtime. It is not just a splash of grease on bare skin, the song lets that fucking grease sizzle and burn until the flesh falls from the bone.

“Fields of Flayed Skin” pours on the filth even more. I don’t know where this album was recorded, but it resonates into the gore-soaked walls of oblivion. The way Egregious Defilement hits those Death/ Doom bullet points is amazing, and I can picture a live setting bathed in green light with twenty-eight fog machines suffocating the gathered masses.

This is one of those albums that commanded me to write about it toot-sweet, and so that’s what I have done. Decrepit Altar is for the fans of Incantation, Winter, Sedimentu,m and Tribunal. Pick this one up with fireproof gloves, folks. It is burning hot and will melt your fingers.

Aldrig i livet was their last full-length released during the height of crappy COVID and was an excellent album and this ep starts with “Død”.  Oh yeah, before I go further, Undergang sings in their native Danish language, but Dave sings so damn low….if he was singing in English I doubt you’d be able to pick out the lyrics.

His vocals are more like another instrument and the song starts with a nice mid-paced gallop before a higher yelp growl and then once the song slows down Dave’s filthy and vomitrocious vocals come in and they’re still sick AF, the song picks up the speed, but that 1:15 part, the slower gallop calls to mind “Slaughterhouse” from Mortician-christ ‘o mighty, so damn heavy and Dave sounds more gurgly than ever before – this is a huge plus in my book.  There are some dual filth double-tracked vocals towards the end of the song – brootal!!!

“Mælkehvid og gennemsigtigt” is up next and try saying that song 5x in a row in a drinking contest and you’ll sure to be wasted in less than five minutes.  The song picks up the pace right off the jump with the crazy drum rolls, which repeat again and that 1-minute mark is the super Holy Shit slow down……crawls……..like…..a…lurking….snake ready to devour you.  It’s dense and the doom-death moment is ungodly.  Taking cues from classic Autopsy and Asphyx and even a little Winter-that is how slow and sludgy this moment is.  It is killer and my favorite moment on the ep.  The song picks up the pace and those dual-layered vocals come back towards the end of the song.

“Livløs i en pøl af egne udskillelser” at five minutes is the longest song on the EP…beginning slow, with the isolated guitar riff, then drums, then back to the isolated guitar then into the quicker galloping speed.  The guitars are supremely heavy and all you Rottrevore fans are foaming at the mouth, I am sure.  This galloping speed works perfectly and the rhythm section is on fire and the growls and drums right before the 2.40 moment are so killer-crank this up loud..it’s a bit chaotic but works extraordinarily well.  The song gets into a lumbering crawl with some nice scorching razor guitar solos, piped in louder in the mix to pipe your head clean off those ragtag shoulders of yours…the solos go on for along time and then gets into more noisy sounding feedback laden elements.

“Misfarvning af liget” starts so sludgy and heavy and you know this has the perfect speed to open a live show with.  A circle pit would erupt quickly at this speed and the song picks up slightly..The 49-second is kind of like an homage to early Carcass’ “Ruptured in Purulence”.  You will know it once you hear it.  The song title of “Misfarvning af liget” roughly translates to discoloration of the corpse..ha, ha, ha.  I love it.  The song is disgusting and is putrid and those early Carcass nods are terrific- not to be missed and glad to see Undergang giving an homage to one of the originators of gore/grind.

The rest of De syv stadier af fordærv is excellent and even though the EP is 21 minutes, it provides the listener with many new tunes and if the band wants to take another year or two off before releasing the next album, they have this ep as the perfect stop-gap release before the next full-length.

Also; the band, unfortunately, had to cancel their recent US tour, so hopefully they get that sorted out and return to these parts in 2024.  I imagine they will be wanting to release the album that year and their long-term partnership with the studio in California, Earhammer Studios, I would assume would continue.  Regardless, support Undergang, this is a great, filthy, disgusting and sickening array of songs!

Hailing from Quebec, and active since 2018, the four-piece released two demos and two split albums before spawning Suppuration Morphogenesiaque. Sedimentum plays with a cavernous production, guitars, and bass churn in the stygian miasma, creating an Incantation-influenced sound; murky and sinister. I must make the comparison to Incantation; this is not a bad thing I promise you, because it is the sound that Onward to Golgotha and Mortal Throne of Nazarene made famous.

This isn’t just a blast-laden slab of Death Metal, as track two “Excrétions Basaltiques” demonstrates with a slow, churning atmosphere. Sedimentum knows how to pace an album with the title track bouncing between gut-churning slowness and brutal savagery. I could even make a comparison to Last Days of Humanity and Blasphemy and not be worried about repercussions. This is bear attack brutality.

“Nécromasse”, “Supplice” and “Un Grotesque Panorama” fill out the remainder of the album with “Supplice” being an anti-Christian burner and “Un Grotesque Panorama” being the end sludge that comes from industrial waste depositories. In the end, I have listened to this release constantly, as far as debut albums go this is a fucking killer and I cannot recommend it enough. Show these guys some love and you won’t be disappointed.

Meaning ‘rot’, ‘rotting’ or ‘putrefaction’ in their mother tongue, Rothadás fulfill that moniker with an appropriate murk and filth, though missing that overdone nauseating, discordant element. These guys focus on one thing- riffs; slow to mid-paced, muddy, swampy riffs that lurch and ooze with slimy, visceral glee, sitting astride that doom/death line with heft and foreboding menace. They don’t play around too much with atmospherics or moods however they do occasionally veer off into a slightly more urgent death metal romp here and there, keeping things from being a pure doom sprawl, even with just 5 songs in the 43 minute run time.

The production is hefty but not too slimy or sickly, delivering just the right amount of rotten must without veering too much into that familiar, moist, Autopsy miasma. The vocals are a perfect mix of deep cavernous bellows and skeletal shrieks that imbue the desired tomb-y, sepulchral stench the overall timbre the duo is going for. And the 5 tracks all deliver dense rumbles of an incredibly satisfying nature, notably, a personal favorite, “Sírkő”, heaving “Krypta, ,  and massive, steady lope of 12 minute closer “Temető”, which might have the most death metal expulsions of the album, but ends on a mammoth-sized lumber.

Kopár hant​.​.​. az alvilág felé has been the perfect respite from my usual fares so far in 2021, and certainly a lesser known, less high profile doom/death(or is it death/doom?) release from a pretty stout dou who know what they are all about.