ReleaseDate March 6th,
2026 Format Digital/CD Genre Technical Death Metal Country India
Virodh started out
as a lone wolf operation by Sourav Koer down in Assam, laying down all the
guitars and bass by himself. Eventually, the project recruited a full squad of
maniacs, pulling in Pranaw Chhetri to destroy the drums, Rudra Sharma to spit
the vocals, and Arun Nataranjan to pummel the bass. This expanded lineup unites
on "Harvest Of Desolation", injecting pure hostility into a framework
of Technical Death Metal.
The music operates with a filthy
old-school death metal stench clinging to the riffs. The guitars rip through
dissonant passages and twisted fretboard gymnastics. Everything crashes forward
with frantic speed, dropping down into punishing mid-tempo sections. The
strings tangle up in complicated fretwork, creating a constant tension running
from the opening seconds to the final chords.
Songs like "Swept In
Dismay" and "Kafkaesque" deploy rapid-fire drumming against
savage riffing. The lyrics dive straight into societal collapse, bureaucratic
rot, and financial ruin. "Great Depression" and "Dissolution Of
Karma" align strictly with these subjects, vomiting out cynical hostility
toward failing systems. The vocal delivery barks out these frustrations over
erratic time signatures.
The production keeps things
unrefined, making the instruments clash and grind against each other. The bass
lines rumble under the frantic guitar picking, anchoring the chaos. The execution
is fierce, and the playing is totally aggressive. Virodh unleashes a relentless
barrage of extreme noise.
"Harvest Of Desolation"
provides genuine technical extremity. The musicians tear through the tracks
with a singular violent goal. It gives you a proper dose of twisting death
metal without any unnecessary distractions halting the massacre.
Monachopsis are a
Leicester, UK based Melodic technical death metal band active since 2015.
Through steady releases and live work, they have shaped a style that blends
melody, technical detail and dark atmosphere without excess. "The Carcass
Choir" is their third EP and reflects a long period of writing, refining
and rebuilding, arriving as a focused snapshot of where the band stands now.
"The Carcass
Choir" unfolds under a bleak, almost sacred darkness, drawing heavily on
imagery of decay, memory and forgotten belief. The music supports this vision
with layered guitar work and carefully arranged structures that reveal more
detail as the EP progresses. Hooks are present early, but the songs are written
to reward repeat listens, with melodic threads weaving through harsher passages
and adding depth without excess decoration.
The songwriting leans
toward balance rather than extremes. Fast, intricate sections sit beside
slower, more expansive moments, allowing the material to develop naturally
across its runtime. Vocals shift between aggressive delivery and clearer
phrasing, keeping the lyrical themes understandable while maintaining
intensity. The Darkest Hour cover, "Love
As A Weapon", fits smoothly into the EP, reflecting the band’s roots and
translating the song into their own musical language without sounding
misplaced.
The updated versions
of "Scathed By Branches Of Malice" and "The God Project"
benefit from tighter execution and refined arrangements. These songs underline
how the band has evolved since earlier releases, with stronger cohesion and a
clearer identity. The production gives each element room to be heard,
highlighting the layered nature of the writing without blurring the edges.
Overall, "The
Carcass Choir" presents Monachopsis at
a solid creative point, offering an EP that is thoughtful, immersive and
carefully assembled. It may not surprise seasoned listeners of the genre, but
it delivers a consistent and engaging experience that reflects years of
development and persistence.
Sun Of The Suns emerged in 2021 with “Tiit”, an introduction that placed them among the
more adventurous names in modern extreme metal. The Italian band built their
identity on cosmic themes, heavy rhythmic patterns, and a futuristic sonic
palette. “Entanglement” continues that path with a much broader scope, shaped
by a strengthened lineup and a stronger narrative core. The production by Simone Mularoni keeps every element sharp and
readable, giving the album a steady pulse that suits its vast atmosphere.
The band leans into
cosmic existential aggression with determination, pairing brute force with
melodic lines that carry emotional weight without softening the impact. Luca Scarlatti delivers vocals that cut through
the mix with control, sometimes harsh and other times strained in a way that
matches the album’s tension. The guitar work from Marco
Righetti and Ludovico Cioffi moves
between heavy rhythmic stomps and spiraling leads that lift the songs into a
more otherworldly zone. Francesco Paoli’s
drumming brings a high technical level, fast enough to keep the energy strong
and precise enough to maintain order inside the chaos.
The writing takes a
journey through destruction, introspection, and cosmic isolation, and the band
approaches these ideas with a sense of scale that fits the theme. The shorter
tracks work as bursts of intensity, while the longer ones let the narrative expand.
The title track, “Entanglement”, unfolds like an entire story by itself,
climbing gradually into a massive section that ties together everything the
band explores throughout the album. Despite the celestial angle, the music
always stays grounded in aggression, offering plenty of moments that hit hard
without sacrificing atmosphere.
“Entanglement” shows Sun Of The Suns growing into their own identity.
The album brings modern death metal brutality with a cosmic twist, delivered
with seriousness and a commitment to world building. Every section feels
intentional and tightly shaped, always pushing the album forward without losing
focus. It is a strong continuation of their path and a clear sign that the band
aims high.
Rivers
Of Nihil, formed in
Reading, Pennsylvania, in 2008, have steadily developed a presence within the
progressive and technical death metal landscape through a discography that
includes albums such as "The Conscious Seed Of Light", "Monarchy",
"Where Owls Know My Name", and "The Work". With each
release, they have explored new musical directions, expanding their dynamic
without moving too far from their foundational sound. Across their touring
history and lineup adjustments, the band has retained a consistent identity
grounded in compositional density, atmosphere, and instrumental discipline.
"Rivers
Of Nihil," their fifth full-length, arrives during a period of change
within the band. Adam Biggs, a founding member, takes over lead vocals
in addition to bass duties, and Andy Thomas, known from Black Crown
Initiate, joins as guitarist and secondary vocalist. These changes do not
alter the foundation as much as they refine it. The songs present on this album move
with greater structural clarity, shaped by focused writing and a firm sense of
direction.
The album
spans ten tracks and just over fifty minutes, maintaining a careful balance
between direct impact and atmospheric contour. The compositions avoid excess,
even when venturing into extended arrangements, synth-driven passages, or
unexpected instrumentation like saxophone and banjo. There is a sense that each
section serves a clear purpose, whether driven by guitars, rhythm, or layered
vocals. The production work of Carson Slovak and Grant McFarland
delivers a wide, spacious sound where all elements occupy room without becoming
saturated.
Biggs handles the vocal range with
consistency and presence, while Thomas contributes a melodic
counterpoint that supports without overwhelming. Their vocal integration plays
a vital role in giving the music flexibility. Uttley’s contributions on
keys and programming are present but measured. The additional instrumentation—cello, saxophone, and other guest elements—is arranged to supplement rather
than decorate.
Across the
album, rhythmic complexity, melodic transitions, and tempo shifts are paced
carefully. The interplay between aggression and control maintains a steady
tension. Songs like "Criminals," "Water & Time," and
"House Of Light" feature hooks and recurring motifs that enhance
their memorability without compromising structure. The writing takes care not
to rely on extremes or sudden changes for dramatic effect. Even as certain
songs incorporate more accessible melodies or ambient textures, they remain consistent
with the surrounding material.
The
sequencing allows space for variation in mood without creating abrupt
contrasts. The closing track, "Rivers Of Nihil," offers a restrained
and conclusive tone without indulging in dramatic closure. Rather than
attempting to summarize, it settles into a final movement that maintains the
album's steady course.
This
self-titled work neither overstates its intentions nor retreats into safety. It
aligns with what the band has established previously while refining the
framework to accommodate new voices. The transitions are handled with
restraint, and the material feels fully formed without pushing duration or
thematic weight beyond its scope. "Rivers Of Nihil" moves with
precision and commitment, remaining true to the band’s evolving path without
relying on reinvention as a premise.
