Resurrected |Perpetual |Testimony Records

Release Date 10.04.2026
Format CD/LP/MC/Digital
Genre Death Metal
Country Germany

Resurrected hails from the Ruhr Area in Germany, a place defined by soot, ash, and the deafening noise of steel hammers. Just as the industrial sprawl of Birmingham forged Black Sabbath and Judas Priest, the Ruhr gave rise to Kreator, Sodom, and these brutal death metal veterans. Guitarist Thomas Granzow helped form the group in 1993, unleashing the "Darkside Of Reality" demo in 1994. They gained international traction with their 1998 debut "Raping Whores" and followed up with devastating releases like "Butchered In Excrement" and "Endless Sea Of Loss". Decades of touring across European festivals cemented their status as pioneers in their country.

Now dropping their eighth full-length album, "Perpetual" proves these guys have only grown more savage over time. The riffs tear through the speakers with total hostility, maintaining a pure old school death metal trajectory. Decades of stage experience transfer seamlessly into the songwriting. The drumming from Dennis Thiele constantly pulverizes, driving forward the aggression. Thomas Granzow and Christoph Zeller lock in with precise, destructive guitar work, shredding everything in their path.

Chris Mieves delivers guttural, resonant growls that shake the ground. His vocal delivery matches the relentless intensity of the musical assault. Marius Baron holds down the low end, ensuring the bass lines rumble like a massive industrial machine. The band even throws in a brutal rendition of "Infernal Desire", paying respect to Malevolent Creation. Jörg Uken at Soundlodge Studio handled the production, giving the mix massive volume and crushing low-end frequencies. The drums crack like a whip, and the guitars retain a terrifyingly heavy edge.

"Perpetual" feeds fans an immense dose of extreme brutality. Resurrected executes their craft with precision and total aggression. The songs strike like an avalanche of concrete and broken glass. Longtime followers will appreciate the sheer ferocity, and newcomers will get an immediate education in German death metal supremacy. The music crushes skulls entirely on its own merit, leaving absolute devastation in its wake.

Score: 8.0

https://spkr.store/collections/resurrected

https://www.facebook.com/testimonyrecords

https://www.instagram.com/testimony_records

https://resurrectedbrutality.bandcamp.com/album/perpetual

https://www.facebook.com/resurrected.brutaldeath

https://www.instagram.com/resurrected.brutaldeathmetal

Messticator |Total Mastery |Testimony Records

Release Date 13.03.2026
Format CD/LP/MC/Digital
Genre Death/Thrash Metal
Country Germany

Something filthy crawled out of the Hamburg harbor in 2019 when Messticator formed to spread their own brand of audio violence. They dropped their debut "Forthcoming Revelation" in 2022 and managed to land spots at major festivals like Wacken and Turock, proving they could hang with the heavyweights. After spitting out a Slayer cover EP to pay respects to the old gods, they returned to the studio with producer Timo Höcke. The lineup of Thomas Thede, Marvin Brühl, Maik Weinhardt, and Thorben "Tobbo" Lohmann is locked in and ready for war.

"Total Mastery" takes the foundation of their debut and injects it with pure steroids. The fusion of death and thrash metal here is volatile and dangerous. Where the first album knocked on the door, this one kicks it off the hinges. The guitar work shreds with precision while the drums provide a barrage of artillery fire. It is faster and angrier than their previous material. The production makes every riff sound like a chainsaw cutting through bone, ensuring the aggression translates perfectly to the speakers.

The energy remains high throughout the runtime. Tracks like "The Pitslayer" and "Mass Human Extinction" are absolute bangers that incite violence. The vocals are guttural and nasty, matching the hostility of the music. At over fifty minutes, the album is a massive serving of brutality, yet it manages to keep the adrenaline pumping. The artwork by Andreas Christanetoff captures the grim atmosphere perfectly. It is a relentless assault that demands headbanging until your spine gives out.

This album is a strong display of force. Messticator has sharpened their skills and delivered a collection of songs that rip. It is a skull-crushing listen for anyone who worships at the altar of heavy metal. They bring the noise and the fury in equal measure. This is a worthy purchase for any thrasher or death metal maniac looking to wreck their neck. Another kickass album for this years.

Score: 8.5

https://spkr.store/collections/messticator

https://www.facebook.com/testimonyrecords

https://www.instagram.com/testimony_records

https://messticator.bandcamp.com/album/total-mastery

https://www.facebook.com/messticator

https://www.instagram.com/messticator_metal

Slaughterday |Dread Emperor |Testimony Records

Release Date 13.02.2026
Format CD/LP/MC/Digital
Genre Death Metal
Country Germany

Slaughterday formed in the East Frisian city of Leer back in 2010. This heavy powerhouse comes with a pedigree that amounts to death metal nobility in the northwestern corner of their native country. The original and still remaining core duo consists of string-shredder Jens Finger, who served as the guitarist of Oldenburgian death metal legends Obscenity from 1994 until 2010, and is also the growler of new label mates Temple Of Dread. The other half of the duo is personified by vocalist and drummer Bernd Reiners, who has also lent his voice to Aurich based death thrashers BK 49 among other acts. Since their inception, they have released a string of well-received albums starting with "Nightmare Vortex" in 2013, followed by "Laws of the Occult", "Ancient Death Triumph", and "Tyrants of Doom". "Dread Emperor" marks their sixth full-length studio album.

"Dread Emperor" hits like a sledgehammer to the face immediately. Slaughterday proves once again why they are top dogs in the German scene, delivering a barrage of riffs that worship at the altar of the Florida greats. The sound is thick, gritty, and incredibly loud. Jens Finger churns out guitar lines that swing between doom-laden heaviness and high-speed aggression. The transition between the slow, crushing segments and the faster, chaotic parts keeps the energy up. It is pure death metal worship, fueled by distortion and adrenaline, catering to anyone who likes their music heavy and hostile.

One thing that makes this album rip is the songwriting. While plenty of bands can play fast, Slaughterday writes songs that actually stick in your brain. The choruses are catchy, and the haunting melodies layered over the rhythm section give the tracks a dark atmosphere. You can hear the experience in the way the duo structures the songs. They know when to let a riff ride and when to switch gears into a blast beat. Reiners’ vocals are deep and guttural, matching the cosmic horror themes perfectly.

Speaking of themes, the Lovecraftian vibe is strong here. The lyrics paint pictures of ancient monsters and cosmic terror, which fits the music like a glove. The production by Jörg Uken at Soundlodge is top-tier. The drums sound huge, and the guitar tone has enough filth to please the old school purists without sounding like it was recorded in a trash can. The artwork by Pär Olofsson is also sick, perfectly capturing the vibe of the music contained within.

If you are looking for a soundtrack to the apocalypse, this is it. "Dread Emperor" is a solid addition to the band's discography and a great start to the death metal year. It is aggressive, melodic in the right places, and heavy as hell. Slaughterday has delivered the goods once again. Crank it up and let the cosmic rot take over.

Score: 8.0

https://spkr.store/collections/slaughterday

https://www.facebook.com/testimonyrecords

https://www.instagram.com/testimony_records

https://www.slaughterday.de

https://www.facebook.com/slaughterdayofficial

https://www.instagram.com/slaughterdayofficial

Total Annihilation |Mountains Of Madness |Testimony Records

Release Date: 16.01.2026

Format: CD/LP/MC/Digital

Genre: Thrash Metal, Death Metal

Country: Switzerland

Total Annihilation was formed in Basel in 2006 with a clear aim, to create extreme metal rooted in aggression, speed and precision. Over the years, the band sharpened its identity through releases like “84”, “Extinction” and “…On Chains Of Doom”, while enduring several line up changes. Vocalist Daniel Altwegg remains the driving force, guiding the band through two decades of steady growth and constant live activity across Europe.

“Mountains Of Madness” arrives as the fourth full length and marks the band’s 20th anniversary year. The album is deeply tied to the cosmic horror world of H. P. Lovecraft, not as a decorative concept, but as a mirror held up to human destruction and moral decay. This thematic darkness runs through the entire album, turning the Lovecraftian imagery into a broader commentary on collapse, decay and self inflicted ruin.

Musically, the album expands on Total Annihilation’s established blend of thrash and death metal. The songs push high speed passages, heavy riff patterns and sharp rhythmic shifts, while melodic lines and harmonized sections add extra depth. The writing balances aggression with structure, allowing the songs to remain clear and memorable without losing intensity. The production supports this approach with a solid and powerful sound that keeps everything defined.

The vocal delivery stays harsh and commanding throughout, reinforcing the album’s hostile atmosphere. Lyrically, “Mountains Of Madness” channels anger and disgust toward violence, exploitation and environmental destruction. This gives the album a serious tone that fits well with its dark aesthetic and brutal musical direction, avoiding empty shock value in favor of substance driven extremity.

“Mountains Of Madness” stands as a strong chapter in Total Annihilation’s catalog, showing a band that has refined its sound through experience and persistence. It offers a focused and intense listen that aligns with its themes and anniversary status, delivering a complete and heavy statement without excess.

Score: 8.0

https://spkr.store/collections/total-annihilation

https://www.facebook.com/testimonyrecords

https://www.instagram.com/testimony_records

https://total-annihilation.bandcamp.com/album/mountains-of-madness

https://www.facebook.com/Total.Annihilation.thrash

https://www.instagram.com/total_annihilation_official

Bonginator | Retrodeath | Testimony Records

 

Release date: 24.10.2025

Formats: CD, LP, MC, Digital

Genre: Death Metal/Synthwave Fusion

Country: USA

Bonginator have come a long way since bursting into the underground with their cartoonish violence, weed-soaked lyrics, and intergalactic stoner fantasies. Formed in Massachusetts in 2021 by Erik Thorstenn, the band wasted no time in carving a name for themselves through relentless touring, tongue-in-cheek concepts, and a love for everything loud, gory, and absurd. Their debut EP The 1986 Doink City Massacre put them on the map, while The Intergalactic “Gorebong Of Deathpot” (2023) confirmed they weren’t a flash-in-the-pan gimmick. Now, only two years later, they return with “Retrodeath”, an album that amplifies their bizarre blend of old-school death metal and retro pop culture references.

From the start, “Retrodeath” makes it obvious that Bonginator is no ordinary death metal act. They lace their riffs with thick layers of synthwave atmospheres, the kind you’d expect from an ‘80s horror flick or arcade game soundtrack. Guest appearances by bands like Belushi Speed Ball, Fulci, and even saxophonist Tim Capello (yes, the same one from The Lost Boys) make this album feel like a celebration of absurdity. Songs such as “All Cops Are Biomechs” and “Pizza Time” embody the chaotic humor of Bonginator’s world, while “Intruder Organism” channels cinematic sci-fi horror with heavy riffs that crash straight into digital textures.

The album’s running time, just over 46 minutes, balances traditional brutality with tongue-in-cheek weirdness. Death metal purists might struggle with the constant intrusion of synths, cartoonish samples, and odd humor, yet that is exactly the point of Bonginator’s identity. They thrive on breaking up the blastbeats with sounds of alien invasions, arcade alarms, and exaggerated vocal deliveries. It doesn’t always land with the same punch, but when it works, it creates an unmistakable atmosphere that is hard not to grin at.

“Retrodeath” is not made to be consumed like a standard death metal record. It is more like an audio comic book, a technicolor explosion where chainsaw riffs fight pixelated monsters. Bonginator may not aim for perfection, but they aim for entertainment, and in that department they succeed. This is an album that will divide listeners, but for those who get on board with the madness, it delivers exactly what it promises.

The cover artwork by Dan Goldsworthy ties the package together, presenting Bonginator as more than just a band. They are building their own warped universe of aliens, bongs, and VHS-era aesthetics. “Retrodeath” may not hit every mark, yet it proves that Bonginator is firmly committed to their strange mission of making death metal fun, colorful, and unashamedly weird.

Score: 7.5

http://lnk.spkr.media/bonginator-retrodeath

https://www.facebook.com/testimonyrecords

https://www.instagram.com/testimony_records

https://testimonyrecords.bandcamp.com

https://www.facebook.com/bonginatorMA

https://www.instagram.com/bonginator.ma

New World Depression | Abysmal Void | Testimony Records

 

    Formed in Münsterland, Germany, in 2005, New World Depression began their journey with a death’n’roll approach on their debut EP “The Last Step Of Evolution” before gradually moving into old school death metal territory. Drawing influence from heavyweights such as Asphyx, Bolt Thrower, and Obituary, the band built their reputation within the underground scene. Across the years, they have released six albums and two EPs, always remaining dedicated to a crushing, groove-driven style of death metal. Despite staying in DIY circles for a long time, their persistence earned them spots at festivals and shows alongside names like Asphyx, Lik, Sinister, Tankard, Uada, and Vader.

With “Descent” in 2020 and “Interment Of Sins” in 2023, the band embraced professional production and label support, which opened the next chapter of their career. Now, with their seventh full-length “Abysmal Void”, New World Depression deliver their darkest and most punishing vision yet, a continuation of the themes of destruction and downfall explored on their previous releases.

“Abysmal Void” is a death metal album that deals with humanity’s ugliest sides—greed, war, delusion, and decay. Across ten songs, New World Depression transform these ideas into a sonic storm that feels both crushing and relentless. The music is firmly rooted in old school death metal, but the album also adds more atmosphere, weight, and dynamics than before, making it a step forward in depth and impact.

The riffs are thick and punishing, driven by a clear sense of groove that never let’s go. The drumming is heavy and forceful, giving each song a strong backbone, while the bass adds a dark layer beneath the storm of guitars. Vocals roar with authority and power, perfectly fitting the hostile themes. The production, shaped at Soundlodge Studio by Jörg Uken, gives the album a sharp punch while keeping the atmosphere grim and suffocating. They are a combination of Bolt Thrower in music with Asphyx on vocals.

At just under 42 minutes, the album moves with purpose and intensity, creating a dense wall of sound that still allows space for shifts in rhythm and feeling. Each track feels like a new chapter in a story of collapse, making the album not only heavy but also coherent as a whole experience. The cover artwork by Juan Castellano mirrors the music perfectly, presenting a hellish landscape of chaos and ruin that reflects the themes and sound of “Abysmal Void.”

For long-time fans of New World Depression, this album delivers everything they might expect and more. For new listeners, it offers a direct and crushing introduction to a veteran band that has been refining their craft for two decades.

Score: 7.8

http://lnk.spkr.media/newworlddepression-abysmal

https://www.facebook.com/testimonyrecords

https://www.instagram.com/testimony_records

https://newworlddepression.bandcamp.com/album/abysmal-void

https://www.facebook.com/newworlddepression

https://www.instagram.com/newworlddepressionband

Nightbearer | Defiance | Testimony Records

 

    Nightbearer is a melodic death metal band from Paderborn, Germany. Formed in 2017 by vocalist Michael Torka and guitarist Dominik Hellmuth, the band was initially a studio project driven by their passion for 1990s death metal. Their debut EP, “Stories From Beyond” (2018), caught early attention and laid the foundation for their transformation into a full band. The lineup later expanded to include rhythm guitarist Tristan Schubert, bassist Florian Böhmfeld, and drummer Manuel Lüke.

Their first full-length album, “Tales Of Sorcery And Death” (2019), drew from literary influences, a theme they further developed in “Ghosts Of A Darkness To Come” (2022), which explored Robert Jordan’s fantasy world. Over time, the band gained traction on festival stages across Germany. Now, with their third album, “Defiance,” Nightbearer draw inspiration from Sir Philip Pullman’s acclaimed “His Dark Materials” trilogy and bring a refined sense of mood and heaviness to their style.

With “Defiance,” Nightbearer stays rooted in the classic melodic death metal spirit while offering something that feels more layered and immersive. The band remains loyal to their buzzing guitar tone, but there’s more happening underneath the surface. A darker atmosphere runs through the album, shaped by the storylines and themes they’ve chosen to focus on.

“Defiance” feels like a cohesive experience, not just a collection of songs. The track order supports this flow. Songs like “His Dark Materials,” “One Church Over All,” and “Republic Of Heaven” clearly take inspiration from the literary source material, weaving it into their musical identity without sounding forced or theatrical.

There’s a strong feeling of unity across the ten tracks. Nothing feels out of place, and everything flows well from start to finish. The production keeps things balanced, with clear instruments and vocals that fit the music's tone. Each band member plays with confidence, and the full 46 minutes move forward without dragging or losing energy.

Nightbearer has clearly paid attention to the details. The interplay between the lead and rhythm guitar parts adds color to the tracks, and the vocals, while harsh, are consistent and intelligible. Lyrically, the album keeps its focus clear but doesn’t lean too heavily into direct storytelling, leaving enough room for the listener’s imagination.

The overall sound brings to mind Swedish bands like early At The Gates or Dismember, but with a more narrative-driven backbone. Nightbearer’s decision to focus on themes of resistance and individual thought fits naturally with the aggressive tone of their music, creating a powerful contrast between message and medium.

“Defiance” doesn’t feel rushed or stretched. Each song has its place and purpose, and by the time the final track, “Republic Of Heaven,” ends, there’s a sense of completion. Nightbearer may not be aiming for massive surprises, but their control over the material and consistency of delivery makes this one of their most complete works to date.

 “Defiance” is a strong and thoughtfully constructed album that builds on Nightbearer’s established identity while adding new dimensions. Its atmosphere, pacing, and conceptual grounding help it stand out among recent melodic death metal releases. Fans of both classic and modern takes on the genre will find plenty to appreciate.

Score: 8.2

Azure Emote | Cryptic Aura | Testimony Records

 

    Azure Emote is an avant-garde death metal band from the United States, founded in 2003 by Mike Hrubovcak, known for his work in Monstrosity and Vile, alongside guitarist Ryan Moll (Total Fucking Destruction). The project was conceived as a personal, experimental outlet unconstrained by the traditional structures of extreme metal. Over time, Azure Emote evolved into a multi-dimensional entity combining elements of progressive death, industrial, doom, blackened metal, and orchestral components—often using violins, electronic textures, and contrasting vocal styles to create immersive sonic experiences.

The band’s discography began with “Chronicles Of An Aging Mammal” (2007), followed by “The Gravity Of Impermanence” (2013) and “The Third Perspective” (2020), each increasing in depth and scope. The group has always remained focused on expressing personal upheaval and existential anxiety through complex musical forms, rather than seeking genre affiliation. After years of intermittent activity due to the members' involvement in other bands, 2025 sees the arrival of their fourth full-length album, “Cryptic Aura”, via Testimony Records.

“Cryptic Aura” is a harrowing and dynamic offering. Running at just over 42 minutes, it is rich in detail and packed with volatile moods. The music moves between swirling chaos and calculated structure, blending dense layers of progressive death metal with industrial percussion, synthesizer treatments, and the mournful textures of strings and ambient elements. The arrangements are unpredictable, sometimes cinematic, sometimes frenzied, and often morph mid-track into vastly different soundscapes.

The performances across the album are vigorous and diverse. Mike Hrubovcak’s vocals remain wide-ranging, from guttural death growls to shrieking expressions of torment. His keyboard work also provides an essential atmospheric layer that ties together the dissonant and melodic aspects. Ryan Moll’s guitars cut through the compositions with intricate riffing and calculated disarray. Mike Heller's drumming is relentless and tightly integrated into the rhythmic shifts of each track. The low-end presence from Kelly Conlon brings weight and contrast to the more frenetic passages.

Guest contributions are well-chosen and tastefully integrated. The album opener features solos by James Murphy, Andy La Rocque, and Bob Davodian, each adding character without breaking the cohesion. Pete Johansen's violins contribute to the album’s bleak, symphonic undercurrents, while Anna Murphy’s clean vocals serve as a spectral presence in key moments without softening the brutality.

The production is layered and dense, allowing for multiple listening experiences. There is a deliberate intensity to the mix, which avoids artificial clarity in favor of depth and complexity. The album artwork—created by Hrubovcak himself—mirrors the musical themes of transformation and disintegration.

Rather than adhering to a consistent formula, “Cryptic Aura” presents an array of moods that feel deliberately fragmented, as if reflecting emotional collapse through musical language. This gives the album a disjointed, unsettling character, but one that feels deliberate and thematically aligned with its subject matter.

“Cryptic Aura” is an immersive and aggressive work, unrelenting in its ambition to conjure discomfort through elaborate arrangements and layered sound design. It’s not an accessible album, nor does it seek to be. But for those who step into its world, it offers a rewarding and harrowing descent into a singular creative vision.

Score: 8.0

Antropomorphia | Devoid Of Light | Testimony Records

 

AntropomorphiA emerged from Tilburg, Netherlands, in 1990 and quickly established themselves as one of the more blasphemous and bludgeoning forces in the underground death metal scene. Their 1992 demo "Bowel Mutilation" and the following "Necromantic Love Songs" EP (1993) solidified a cult following. Although not consistently active in the early 2000s, they roared back into relevance with a string of increasingly unrelenting albums: "Pure," "Evangelivm Nekromantia," "Rites Ov Perversion," "Sermon Ov Wrath," and "Merciless Savagery." With each release, AntropomorphiA refined their sound, adding elements of black metal to their brutal death metal foundation, and their reputation grew through live appearances across key European festivals.

"Devoid Of Light," their first full-length in six years, is a suffocating, feral assault on the senses. Built over a long, staggered period, its gestation has resulted in a bleak and caustic collection of tracks. There is a cold, slow-burning anger woven throughout the album’s pacing, reflecting a band not interested in speed for its own sake but in the weight of atmosphere.

The material leans heavily into somber, brooding dissonance as much as it does into relentless blast and churn. Tracks like "The Withering Stench Of Hope" and "Cancerous Bane" carry with them a sense of ritual decay, while "In The Shade Of The Devil's Horns" and "Ash Drapes The Earth" grind forward with menacing tension, carrying the cold gleam of blackened tonal shifts. AntropomorphiA employs a tight rhythmic control that avoids chaos in favor of a more deliberate, suffocating momentum.

Vocally and lyrically, the album moves between pure vitriol and bleak introspection. The production favors abrasion over precision, enhancing the grim weight of each track. The guitar tone remains thick, distorted, and grimy, with the bass often coiled underneath like a second layer of rot. Drums vary from mid-tempo stomps to sudden hammering sections, giving the tracks an unpredictable dynamic without losing cohesion.

"Devoid Of Light" doesn’t seek drama or technical flair. It moves with a persistent force, never letting light in. The cumulative effect is one of unrelenting bleakness and inner corrosion—a deliberately heavy and joyless descent.

Score: 8.0

Leper Colony | Those Of The Morbid | Testimony Records

 

Leper Colony is an international death metal collaboration founded by two long-standing figures of the genre: Marc Grewe, the German vocalist known for his crucial role in Morgoth, Insidious Disease, and Asinhell; and prolific Swedish guitarist and bassist Rogga Johansson, whose decades of work with bands like Paganizer, Ribspreader, and Revolting have made him one of the most productive songwriters in Scandinavian death metal. The band was originally formed in 2020, driven by mutual respect and shared dedication to the raw, aggressive, and riff-heavy foundations of early death metal. Their self-titled debut in 2023 was recorded with Jon Skäre (from Consumption) on drums and Kjetil Lyngahug (also of Paganizer) on lead guitar.

By 2025, Leper Colony underwent a lineup shift, welcoming Håkan Stuvemark from Wombbath as the new lead guitarist and Jon Rudin from Monstrous and Dead Sun on drums. This second album, “Those Of The Morbid,” continues the band’s approach of unrelenting classic death metal, performed by seasoned veterans without concern for trends or modern stylization.

 “Those Of The Morbid” is a tightly compressed slab of old-school death metal that wears its blood-soaked influences on its skin. The album runs just over 35 minutes, relying on fast, grooving riffs and direct songwriting that emphasizes punch over excess. The material sticks close to traditional death metal structures—compact track lengths, chugging verses, short but searing solos, and snarling vocals that remain intelligible enough to preserve a visceral storytelling quality.

Marc Grewe’s vocals remain a defining feature. His barked delivery doesn’t rely on technical acrobatics or layers of effects but delivers every line with grit and force. Rogga Johansson’s rhythm guitars churn with the no-frills purpose of early ’90s Swedish and American death metal, while Håkan Stuvemark's lead work is used sparingly to accent the aggression rather than distract from it.

Drums, now handled by Jon Rudin, are performed with precision and weight. The production serves the music appropriately—dry enough to maintain aggression, but with just enough clarity to let the details surface. It does not aim for excess atmosphere or studio sheen. Each track pushes forward with purpose, offering variations in tempo and riffing style while maintaining the same core personality throughout.

“Those Of The Morbid” is an album for listeners who are well-versed in the genre and still crave the sound of death metal made without pretense. It isn’t complicated, and it doesn’t try to be. Instead, it delivers a fully formed batch of songs written by experienced musicians who know how to keep things sharp, concise, and impactful without sacrificing identity.

Score: 7.7

Deserted Fear | Veins Of Fire | Testimony Records

 

Founded in Eisenberg, Germany, in 2007, Deserted Fear quickly rose through the ranks of the European death metal scene with a powerful blend of aggression, melody, and tight execution. The core trio of Manuel "Mahne" Glatter (vocals, guitar), Fabian Hildebrandt (guitar), and Simon Mengs (drums) has remained consistent since the beginning, building a body of work that earned the respect of both purists and modern death metal fans alike. Their debut, "My Empire" (2012), produced by Dan Swanö, delivered a heavy-hitting mix of Scandinavian-style riffing and German precision, immediately putting the band on the map. Over the years, albums like "Kingdom Of Worms," "Dead Shores Rising," and "Doomsday" further developed their sound—expanding the melodic range while keeping the heaviness intact.

Deserted Fear is known not only for their studio output but also for an intense live presence, having toured with titans such as Obituary, Morbid Angel, and At The Gates, and played key slots at major festivals across Europe. They’ve proven themselves as one of the most enduring and forward-driving names in modern German death metal.

"Veins Of Fire," the sixth album by Deserted Fear, solidifies the band’s standing while subtly moving their style forward. The sound remains grounded in traditional death metal, but the production and arrangements suggest a further evolution in songwriting and vision. The riffs are cutting, memorable, and methodically structured. Harmonies are richer and more strategically used, often counterbalancing the dense wall of distortion with sharp leads or melodic phrasing that avoids sentimentality.

The drumming by Simon Mengs feels more varied and confident than ever—fast where it needs to be but never locked into monotonous patterns. Fabian Hildebrandt’s guitar work carries a strong sense of control without losing intensity, while Mahne Glatter continues to deliver guttural vocals with depth and conviction, occasionally expanding into slightly more expressive phrasing without compromising the harsh tone fans expect.

The themes across "Veins Of Fire" reflect urgency and inner turmoil, but also defiance and persistence. The tone is neither nihilistic nor blindly optimistic; it walks the line between the bleakness of current global unrest and the individual’s instinct to survive and resist. The lyrics never become overly complex or abstract, but they are clear and resonant. There is a sense of maturity in how the band handles topical weight without sounding moralistic or self-important.

Production, handled by Fabian Hildebrandt at Eisensound Studio, is powerful and articulate. Every instrument is audible and well-positioned in the mix, but without falling into the trap of over-compression or excessive polish. There’s still grit and heaviness where needed. The cover artwork by Roberto Toderico, depicting a flaming wreath of intertwined veins, serpents, and anatomical motifs, aligns perfectly with the tone of the album—intense, physical, and uncompromising.

"Veins Of Fire" doesn’t attempt radical reinvention. Instead, it affirms that Deserted Fear knows exactly who they are and what they do best. The band has refined their strengths and cut away anything unnecessary, resulting in an album that hits with clarity, energy, and sincerity.

Score: 8.0

Scalpture | Landkrieg | Testimony Records

 

On “Landkrieg”, Scalpture continue to pursue a specific vision: historically themed, no-frills death metal with a strong conceptual backbone. The focus on the Thirty Years' War (that devastated the German lands from 1618 until 1648) lends the album a deeper thematic cohesion than typical entries in the war-metal niche. Musically, this fourth full-length is executed with clarity and consistency—sharp riffs, muscular production, and precise performances all serving a style grounded in traditional death metal influences.

The band’s approach avoids modern experimentation or genre fusion, instead favoring a sound rooted in the aesthetics of 1990s death metal, with a slightly sharpened edge due to contemporary production values. The songwriting is focused, tightly arranged, and deliberately aggressive, but with occasional dynamic shifts that prevent monotony. The lyrical treatment avoids sensationalism, and the historically informed themes offer a level of seriousness not always found in war-themed extreme metal.

There is no reinvention here—“Landkrieg” is not aiming to innovate but to refine. It delivers exactly what it sets out to: concept-driven, militarized death metal executed with purpose and discipline. While it doesn't significantly elevate the genre, it reinforces Scalpture's place as one of Germany’s more focused and reliable death metal acts.

Score: 7.5/10