Release
Date March 27th, 2026 Format CD/LP Genre Grindcore, Deathgrind Metal Country USA
Melting
Rot crawled out
of the underground in 2017. They spit out two EPs and a three-way split in
short order. By 2021, they dropped their first full-length, "Blood
Delusions". After a brief silence, they crashed the "Cold Case
Files" compilation. Now, they return to cave in your skull with their
second full-length attack, "Infatuation With Premeditation".
This new assault brings 18 minutes
of total audio destruction across 11 tracks. It is PURE grindcore madness. You
get constant d-beats, crazy blast beats, and a massive guitar crunch. The
attack channels extreme sickness similar to Dead
Infection, Excruciating Terror, and the
2000s era of Regurgitate. The music punches
straight through the speakers with zero compromise and absolute hostility.
Every song on "Infatuation With
Premeditation" attacks with maximum ferocity. The band completely wrecks
everything in their path. Matt Harvey from Exhumed screams his guts out on "Morbid
Infatuation". His vocal presence adds extra violence to an already lethal
dose of grind. The entire album acts as a massive sledgehammer crushing your
bones.
This is a vicious dose of extreme
music for absolute maniacs. The guitars rip through the speakers, the drums
blast into oblivion, and the vocals sound completely diseased. It delivers the
kind of relentless audio punishment you want from a filthy grind release.
Melting Rot bring the absolute chaos, and "Infatuation With Premeditation"
demands maximum volume.
Release Date
30.01.2026 Format
12" Vinyl Genre Death Metal, Blackened
Death Metal Country: Peru
Evil
Damn hails from
the deeply entrenched Peruvian underground scene. These maniacs operate on
their own timeline, taking nearly two decades to follow up their initial demo
with their debut full-length, "Necronomicon," back in 2021. They do
not flood the market with constant releases, so a new drop usually signals they
have something hateful to spew. This time, they return with a shorter offering
to remind the world they still worship at the altar of death.
"Eons Of Horror" hits with
immediate aggression. The band leans harder into a blackened sound this time
around, trading some of the previous death metal crunch for sharper, colder
riffing. It sounds wicked. The speed is high, and the drumming beats the
listener into submission. You get twenty minutes of pure hostility that fits
right in with the South American tradition of extreme noise.
The musicianship is tight without
being nerdy. These guys play with serious hate. You can hear every instrument,
so the chaos never turns into unrecognizable static. The guitars possess a
biting tone that cuts through the mix. It is violent music made by maniacs who
live for this stuff. The energy levels stay pinned in the red for the entire
duration.
This release refuses to waste time.
It offers a quick blast of blasphemy that satisfies the itch for darkness. The
vocals are wretched and deep, matching the hellish atmosphere the instruments
create. It is a solid listen that delivers the specific brand of filth fans
expect from Hells Headbangers. Evil Damn upholds the standard of unholy metal.
Formed in Santiago in the mid-80s, Death Yell earned their reputation through pure
chaos and underground devotion. Their 1989 demo “Vengeance From Darkness” was
enough to turn them into a cult name, even as decades of silence followed. In
2017 they came back with “Descent Into Hell”, proving that time hadn’t softened
them. Eight years later, “Demons Of Lust” arrives to confirm that Death Yell is still one of South America’s most
vicious exports.
The album
opens the gates to a storm of old-school aggression. The production is sharp
without losing the raw hostility that defines their sound. The riffs are
steeped in the late ’80s underground, feral, violent, and drenched in sulfur.
The drumming pounds with precision and speed, while the vocals drip venom and
desecration. “The Parish” and “Offering To The Priest” hit with immediate
impact, combining relentless rhythm and macabre atmosphere. “Predatory
Preacher” continues the attack, while “Conjuring Asmodeus’ Seed” stands out for
its eerie use of organ that deepens the demonic tone. “Seal Of Confession” and
“Bastards Of God” further expand the infernal scenery with venomous energy and
relentless momentum.
Lyrically,
“Demons Of Lust” drags religion through the dirt, exposing hypocrisy and moral
decay in sacred spaces. Its imagery is vivid and malicious, focusing on
sacrilege, lust, and corruption. There’s a theatrical blasphemy that fits
perfectly with the band’s long history of defiance. The cover art and themes
complete the unholy vision, keeping Death Yell’s
identity intact. “Demons Of
Lust” sounds like the work of a band that never left the shadows but learned to
command them. It’s unfiltered, aggressive, and soaked in South American
darkness, a continuation of everything Death Yell once
promised. The flame still burns, and this time it burns brighter and more
obscenely than ever.
Perdition Temple has long been a staple of the American death metal underground. Formed
from the ashes of the legendary Angelcorpse by
guitarist and vocalist Gene Palubicki, the
band has carried forward that same spirit of violent precision and diabolic
intensity. Over the years, they’ve built a solid reputation for their
relentless approach, ferocious riffing, venomous vocals, and an unrelenting
assault that bridges the gap between the old Floridian school and the blackened
fury of their European counterparts. “Malign Apotheosis,” their fifth album,
arrives five years after “Sacraments Of Descension” and confirms that Perdition Temple remains masters of savage
extremity.
The album opens with a
blast of chaos that instantly reminds why this trio’s sound has always been so
distinct. The guitars roar with the same demonic energy that defined Palubicki’s past work, while the drumming pounds
with ruthless consistency, driving everything into a whirlwind of destruction.
The vocals cut through the storm like fire on steel, hateful and commanding,
giving every track an infernal identity. There’s no hesitation, no atmospheric
distraction, just death metal in its purest, most venomous form.
What makes “Malign
Apotheosis” so engaging is its balance between sheer violence and memorable
writing. The riffs don’t just swarm; they strike with measured aggression,
forming patterns that stick long after the chaos subsides. The leads are wild
but never careless, slicing through the mix with a deranged elegance. Even in
its most frantic moments, the album remains tight and cohesive, a testament to
the band’s chemistry. It’s the kind of death metal that rewards repeat listens,
not because it hides secrets, but because its impact grows stronger each time.
Production-wise, the
album has a raw, smoky quality that fits its savage intent. It’s less polished
than the previous releases, but that roughness gives it life. The sound is
ancient, almost conjuring in its intensity, evoking the days when death metal
was a threat. The mix brings every weapon to the front without softening the
brutality. It’s a dangerous, hostile environment, and that’s exactly how Perdition Temple thrives.
By the time “Fell
Sorcery” brings the album to its end, the listener has been through a storm of
blasphemy, fire, and chaos. “Malign Apotheosis” doesn’t wander or hesitate, it
attacks, devastates, and concludes, all with the same unwavering intent that
made Perdition Temple’s earlier work so
respected. It’s a triumph of pure death metal spirit, unleashed with feral
precision.
Formed in 1994, Abominator
is one of the earliest flag bearers of Australian black/death extremity.
The duo of Chris Volcano (vocals, drums) and
Andrew Undertaker (guitars) earned their
reputation through the '90s underground, releasing violent, chaotic, and
unforgiving works through labels like Necropolis and
Osmose. Their music has always carried a
kind of militaristic precision, balancing chaos with discipline, and “The Fire
Brethren” shows they’ve lost none of that edge.
After a
ten-year gap since “Evil Proclaimed,” Abominator sounds
like a machine that was dormant only to reawaken sharper. This album runs for
about 50 minutes of relentless, war-torn metal, mixing the early barbarism of
their demos with the sharpened aggression of their 2000s output. The
production, handled by Adam Calaitzis,
captures that volatile atmosphere; thick guitars, hammering drums, and a raw,
scorched tone that feels authentic to the band’s legacy.
“The
Templar’s Curse” opens the album in a storm of riffs and blast beats, setting a
furious pace that rarely drops. “Underworld Vociferations” and “Covens For
Azmodeus” continue this assault with fast, precise rhythm shifts and grim vocal
attacks that carry the same venom Abominator has
always delivered. Tracks like “Progenitors Of The Insurrection Of Satan”
stretch their sound into longer, ritualistic chaos, building layers of riffs
that churn like battle chants. “Desolation Epoch” and “Author Of All Calamity”
hit with more direct impact, while the closer “Sulphur From The Heavens” drags
the listener through apocalyptic fire, a grim march that ends the album with an
almost Bolt Thrower-like heaviness.
There’s a
consistency to “The Fire Brethren that sounds deliberate. The songs are
aggressive without being chaotic, brutal but disciplined. Every riff conveys
the intent of war metal’s old guard without drifting into disarray for the sake
of it. It’s the sound of veterans who know exactly what they want their music
to be, harsh, ritualistic, and steeped in the sulfurous atmosphere that has
always defined them.
Abominator return
not as relics of the past, it’s driven by the same violent pulse that kept
their sound alive since the '90s. Thirty years on, they continue to embody the
heart of Australian extremity, proving that some fires don’t fade with time, they
just burn deeper underground, waiting to erupt again, and “The Fire Brethren”
is that eruption.
Release
Date: 29 August 2025
Format: Double CD
Country: USA
Formed in 1985 in Virginia, Deceased are one of the longest-running American
death metal bands still active today. Fronted by drummer-turned-vocalist King Fowley, they were among the first bands to
sign with Relapse Records in the early ’90s,
releasing the influential “Luck Of The Corpse” in 1991. Over the decades, Deceased carved out a unique identity by blending
old-school death metal with thrash and heavy metal influences, often with a
storytelling approach steeped in horror, the supernatural, and dark fantasy.
Known for their unwavering dedication to metal regardless of trends, the band
has remained consistent for four decades, becoming cult legends in the
underground scene.
“March Of
The Cadavers – 40 Years Of Death Metal From The Grave” is more than a
retrospective—it is a two-and-a-half-hour monument to Deceased’s
legacy. Across 26 tracks, the collection retraces the band’s career from their
earliest demo days to their most recent work, giving a panoramic view of what
has kept them vital for four decades.
The first
disc covers the ‘90s and early 2000s, an era when Deceased
built their reputation as innovators of death metal with brains and
bite. Songs like “Fading Survival,” “The 13 Frightened Souls,” and “Fearless
Undead Machines” still feel vibrant, their mix of speed, atmosphere, and eerie
storytelling intact. “Supernatural Addiction” material also finds space here,
bridging the early ferocity with a more narrative-driven songwriting style.
The second
disc takes listeners deeper into the 2000s and beyond, bringing forward epics
such as “Skin Crawling Progress” and “Children Of The Morgue.” These tracks
stretch into longer formats without losing the punch that defined the band’s
beginnings. As a bonus for longtime fans, the inclusion of two brand-new
songs—“Dusted” and “Cure For The Grieving Widow”—proves the band’s creativity
is still active, while covers of Venom’s
“Lady Lust” and Black Sabbath’s “Die Young”
connect Deceased to the metal lineage they
proudly come from. To complete the circle, early demo cuts “Sick Thrash” and a
fresh re-recording of “March Of The Cadavers” bring the journey back to where
it all began.
Listening
from start to finish feels like leafing through a living scrapbook of American
death metal. The sequencing balances short, aggressive bursts with sprawling
tracks, ensuring that no single era dominates the story. King Fowley’s liner notes add historical weight,
giving fans and newcomers alike a sense of being guided through forty years of
dedication.
For
longtime followers, this is an essential collection—an anthology that not only
gathers the classics but also gifts new material. For newcomers, it functions
as a perfect entry point into Deceased’s
vast world. “March Of The Cadavers – 40 Years Of Death Metal From The Grave”
succeeds as both a celebration and an invitation, carrying the band’s spirit
forward into their fifth decade.
For two decades, Deathhammer
have stood as one of the most dangerous forces in extreme metal. Formed
in Norway by the duo Sadomancer and Sergeant Salsten, the band helped bring the
blackthrash movement into the modern underground with their wild and
uncompromising sound. Since their cult debut “Phantom Knights” in 2010, the
pair have carved their name into the scene with a string of releases that
balance the chaos of thrash, the darkness of black metal, and the steel heart
of traditional heavy metal. Classics like “Onward To The Pits” (2012) and “Evil
Power” (2015) turned them into a leading name for fans who want their metal
fast, raw, and merciless. Later albums such as “Chained To Hell” (2018) and “Electric
Warfare” (2022) proved that Deathhammer were
not slowing down, but instead charging even harder into their own wicked path.
Now, in
2025, they return with their sixth full-length, “Crimson Dawn”. True to its
blood-soaked title, this album is violent, furious, and proudly
larger-than-life. From the opening track “Abyssic Thunder” to the towering
closer “Into The Blackness Of Hell,” the album feels like an unrelenting storm.
Sadomancer and Salsten
recorded with new equipment this time, even switching roles on each
other’s songs, which gives the album a more dynamic strike without losing the
raw spirit Deathhammer is known for. The
guitars cut like jagged blades, the drumming is the most powerful they’ve
captured so far, and the overall sound is thick with venom and fire.
There are
moments of pure speed-driven savagery—like “Satan’s Sword” and “Die
Eternal”—that hit with reckless force, while tracks such as “Stygian Lust” and
the title cut “Crimson Dawn” bring out darker atmospheres with riffs that could
level mountains. Guest solos from Bowel Ripper of
Impugner and Arild
M. Torp add extra chaos, and longtime fans will notice how some riffs
dig back nearly 20 years into the duo’s arsenal. Still, the biggest strike
comes with “Into The Blackness Of Hell,” a near eight-minute epic that closes
the album with grandeur and total infernal destruction.
“Crimson
Dawn” is proof that Deathhammer remain
untamed after 20 years of raising hell. It’s everything their followers crave. Raw
aggression, evil energy, and songs that sound written to ignite a battlefield. Deathhammer have never played metal for the faint
of heart, and this album keeps them firmly on their throne.
Verdalack is a speed metal band from Tokyo,
Japan. The band was formed in 2022 by guitarist Vortex
after the disbandment of his earlier thrash metal project Assault Attack, which also included guitarist Vandal and vocalist Villain.
Instead of continuing down the same path, the members decided to shift
direction and fully embrace speed metal, drawing influence from mid-’80s heavy
and speed metal, U.S. power metal, and elements of Japanese hardcore punk.
After releasing a two-song demo in 2022, they quickly built a reputation in the
underground scene. With the addition of musicians from Significant
Point, Military Shadow, Bafomet, Disgunder,
and Another Dimension, the band solidified a
strong lineup that reflects the energy and creativity of Japan’s extreme music
community.
“Force From
The Grave” is Verdalack’s debut full-length
album, consisting of eight songs and lasting just over thirty minutes. It is a
compact release, packed with fast tempos, raw energy, and driving riffs that
embody the essence of speed metal. Songs like “Axehead,” “Heretic Flights,” and
“Desecrater” set the pace early on with relentless speed and straightforward
aggression. Tracks such as “Blood Eagle” and “Final Assault” add more weight
with longer structures, allowing melodic guitar leads and anthemic passages to
push the music further. The title track, “Force From The Grave,” stands as one
of the album’s most intense moments, combining high-velocity rhythms with
guitar harmonies that keep the momentum going. Shorter cuts like “Into The
Flames” and “Rites Of Hell” close the album with compact bursts of speed and
aggression, ensuring that the intensity remains consistent until the very end.
The overall
sound of the album feels driven by twin guitar leads, a strong rhythm section,
and vocals that match the intensity of the music. The mix captures both raw
heaviness and clarity, allowing the riffs and melodies to be heard clearly
without losing the raw underground feeling that defines the band’s approach.
“Force From
The Grave” reflects the spirit of underground Japanese metal while staying true
to its speed metal roots. Its directness, energy, and memorable guitar work
make it a powerful debut that sets Verdalack firmly
within the international metal scene. Fans of classic speed metal and the
intensity of Japan’s underground are likely to find it a thrilling listen from
start to finish.
Formed in
1993, Medieval Demon stands among the most
respected names in the Greek black metal scene. Their early years were marked
by underground releases that eventually led to their debut album,
"Demonolatria," in 1998. Following a long period of silence, they
returned in 2018 with "Medieval Necromancy," followed by
"Arcadian Witchcraft" in 2020 and "Black Coven" in 2022.
These albums marked a strong continuation of the band’s legacy and confirmed
their renewed activity. With their fifth full-length, "All Powers Of
Darkness," the band continues working with Hells
Headbangers, maintaining the same lineup for a third consecutive album: Lord Apollyon (drums, keyboards), Sirokous (vocals), Mutilator
(bass), and Chthonius (guitars).
"All
Powers Of Darkness" runs for a little over 50 minutes and presents eight
new compositions deeply rooted in the spirit of the old Greek black metal
scene. The band combines a dark and solemn atmosphere with heavy rhythms and
layered instrumentation, continuing their use of rich keyboard lines and
orchestral elements. The tone is ritualistic and often theatrical, supported by
the inclusion of timpani and other dramatic flourishes that add to the
ceremonial quality of the songs.
The use of
saxophone, something the band introduced in earlier works, returns here and
remains a subtle but eerie addition. The slower, mid-paced structure typical of
Greek black metal is present throughout, but the material still offers enough
variety to carry the listener through its duration. Guitar solos and leads are
more present than before, and they are used thoughtfully to enhance the
narrative of each track. The vocals are harsh, commanding, and consistent,
working in harmony with the rest of the instruments.
The
production favors an analog approach that brings a raw, atmospheric depth. Each
instrument has presence; the focus remains on the full picture, and this gives the album a unified sound that reflects
the band's vision. The lyrics and themes, as described by Lord Apollyon, draw from personal beliefs, ritual
practice, and the traditional language of black metal.
"All
Powers Of Darkness" carries on Medieval Demon’s
dedication to a specific sound and philosophy. The band does not waver from
their established style, but they continue to explore ways to enrich it through
arrangement and instrumentation. The result is an album that fits naturally
within their discography while offering subtle shifts that reward close
listening.
Haemorrhage, founded in Madrid in 1990, has remained one of the most enduring names in goregrind. Over the decades, the band built a dedicated following with a raw and aggressive take on medical-themed grindcore, drawing clear aesthetic and sonic lineage from early Carcass, but over time carving a distinct and recognizable sound of their own. Known for their grotesque stage presence and unwavering commitment to the style, Haemorrhage has never diverted from the path they chose in the early ‘90s. Albums like “Grume,” “Anatomical Inferno,” and “Hospital Carnage” helped define goregrind across generations, while their artwork, lyrical content, and production choices solidified their cult status. Despite lineup changes and lengthy gaps between releases, the band’s core ethos has never been compromised.
"Opera Medica" is the first batch of new material from Haemorrhage since their 2017 album, "We Are The Gore," and it arrives with no unnecessary embellishments. The EP consists of four new tracks and a Dismember cover, clocking in under 20 minutes. It is released by Hells Headbangers, a fitting home for a band that remains rooted in old-school extremity.
The sound is evidently in line with what the band has always done—groovy, grinding death metal with medically charged themes and gore-drenched vocals. The production is raw but coherent, and the performances are tight without sounding mechanical. Luisma’s guitar tone remains thick and cutting, and he continues to write riffs that serve both momentum and memorability. Dr. Obnoxious on drums is relentless and straightforward, keeping the pace aggressive but never erratic. The vocals of Lugubrious remain guttural and expressive without descending into parody, continuing to carry the band’s identity as much as the instrumentation.
Dismember cover, "Deathevokation," is a nod to one of death metal’s pillars, rendered in Haemorrhage’s distinct sound. It fits well with the rest of the material and doesn’t come off as filler. The rest of the EP is all new material that fits snugly within the band’s discography. The structure of the songs leans toward brevity, but they feel complete. The riffs are compact and to the point, with enough variation to distinguish one track from another.
"Opera Medica" doesn’t feel like a comeback or a reinvention—it feels like a continuation. There is no attempt to modernize, embellish, or pivot toward a new direction. This is Haemorrhage operating within their own parameters, doing what they know best. In that sense, the EP is consistent, focused, and satisfying for those who appreciate this style. It doesn't overstay its welcome, and it doesn’t dilute the essence that’s made the band last for over three decades.
Profanatica emerged from the filth and fury of
the early '90s American underground as one of the original black metal entities
from the U.S. Formed by Paul Ledney after the disintegration of
Incantation’s original lineup, the band quickly became infamous for their
debauched visual and lyrical extremity, as well as their raw, unrefined sound
that took early Bathory, Hellhammer, and Blasphemy to
grotesque new lows. After a turbulent history involving hiatuses and scattered
releases, Profanatica reemerged in the 2000s with a newfound momentum,
issuing a steady stream of full-lengths, splits, and EPs. Their work rarely
deviates from their chosen path of spiritual desecration but instead refines
it into something absolutely their own—grotesque, sacrilegious, primitive
black/death metal that refuses all trends and aesthetic modernization.
“Wreathed
In Dead Angels” is not a detour, rebirth, or deviation. It’s simply the next
blasphemous missive from Profanatica, and as expected, it sounds like a
scream from beneath the altar, caked in blood and layered in ash. The band’s
return to Hells Headbangers finds them more resolute than ever: six
tracks in twenty-two minutes, each one an invocation of decay, crucifixion, and
religious defilement.
From the
first seconds of “Hung In Golgatha,” the atmosphere is already stripped down to
the bone—decaying, brutal, and devoid of anything remotely ornamental. The
riffs aren’t sculpted—they’re hacked out of granite. The guitar tone sounds
less like an amp than a speaker tearing itself apart. Drums lurch and clatter
with barely restrained violence, still driven by Ledney’s definite timing
and attack: martial, archaic, and as bitterly unrelenting as ever.
Vocals are
vomited as always and serve more as a percussive assault than a narrative tool. But
it's the pacing and cohesion of the whole release that really speaks volumes.
“The Sixth Hour,” “Descent From The Cross,” and “The Entombment” flow with a
rotten majesty, as if the entire EP was composed in a single, wrath-filled
breath. The result isn’t hypnotic or immersive in the way of some atmospheric
black metal—it’s claustrophobic and violent. There's no drift, no ambiance, no
release.
The title
track, “Wreathed In Dead Angels,” is as grotesque and confrontational as the
cover art implies: a crawling, hideous dirge that moves like a bleeding wound
through darkness. “By Thine Agony” closes the EP on a grim and final note, not
with a crescendo or resolution, but with a full stop into a pit of filth.
There is no
pretense here. There is no drama. This is filth made flesh and sound—deeply
blasphemous, absolutely direct, and uncompromising. At a time when black metal
is too often sterilized or steeped in high concept, Profanatica remains
cruelly and authentically low, dragging their faithless sound through ash and
shit without looking up once.
After seven
years without a full-length assault, Brazil’s underground juggernaut Whipstriker
storms back with "Cry Of Extinction" through Hells Headbangers. Known
for their prolific output in the form of splits and raw underground demos, this
fifth album marks a more refined—though still firmly feral—iteration of Whipstriker’s
speed-driven, blackened heavy metal vision.
"Cry
Of Extinction" is faithful to the core of Whipstriker’s sound.
It’s still Motorcharged metalpunk in spirit, draped in the battle jackets of
"Welcome To Hell" and "Obsessed By Cruelty". Riffs buzz
like crude machinery, the bass growls low and loud, and the vocals from Whipstriker
himself—mainman and namesake—remain a throaty bark soaked in barbed wire.
But here’s
where the objectivity kicks in: this is not a radical reinvention. Nor is it
trying to be. While "Cry Of Extinction" introduces more structure,
melody, and even a tinge of traditional heavy metal poise—especially in the
slower, more atmospheric passages—these elements don’t significantly elevate
the songwriting beyond what’s already been laid down in their earlier albums
like "Crude Rock ‘N’ Roll" (2011) or "Merciless Artillery"
(2018).
The Destruction
cover, "Satan’s Vengeance", featuring Daniel Avenger (Nocturnal,
Front Beast), is a fitting homage, though it doesn’t stretch far beyond
imitation. It fits well in tone but doesn't necessarily enhance the narrative
or creative arc of the album.
Where
"Cry Of Extinction" does push forward is in production quality. It’s
slightly warmer, a bit more open in the midrange, and balances rawness with
clarity better than some previous records. The closing track, "Military
Scum", running around ten minutes, attempts an epic conclusion and shows
the band’s willingness to flirt with larger compositional ideas. However, the
execution—while competent—feels a touch overlong and lacks the punch needed to
truly justify its length.
"Cry
Of Extinction" is a solid entry in the Whipstriker catalog, a loyal
disciple of first-wave black/speed metal aesthetics. It's fast, loud, and raw,
as it should be. But while it shows some growth in dynamics and scope, it
doesn’t push hard enough to break new ground. Longtime fans will find plenty to
enjoy, while newcomers may find it a touch too genre-locked for broader appeal.
This is
underground metal done with conviction—but the same conviction limits it from
reaching beyond the already converted.
