This is the seventh album from Carnifex, a US death metal band.
2016’s Slow Death was a real treat for fans of modern death metal, blending catchy songwriting with blackened melody and orchestration to produce a really enjoyable collection of songs. Although it contained elements of deathcore, as does this new one, Carnifex aren’t really a deathcore band these days – they’re far too melodic and have too much else going on, much to their credit. Continue reading “Carnifex – World War X (Review)”
This is a split between two death metal bands from Chile.
Each band contribute three songs, and the entire split lasts 23 minutes. Even more importantly than this, however, is the split artwork – how metal is that? Fortunately the music is as impactful as the artwork. Continue reading “Porta Daemonium/Denying Nazarene – Emancifestation from Sinister Side – Split (Review)”
Contaminated and Kutabare are both Australian death metal bands and they have teamed up for this split.
This is a split between two bands that sew elements of grindcore into death metal’s rotting corpse. Continue reading “Contaminated/Kutabare – Death Sick/Funeral Erection – Split (Review)”
Gravefields are an international death metal band and this is their second album.
Previously known as Dirtyprotest, this band have now benefited from both a change of name and a change of sound. Whereas the band’s debut album – Hellstorm – was essentially a Swedish death metal affair, Embrace the Void is a wider-ranging beast. Continue reading “Gravefields – Embrace the Void (Review)”
This is the sixth album by Finnish death metal one-man band Desecresy.
I’ve enjoyed Chasmic Transcendence, Stoic Death, and The Mortal Horizon, so I felt it would be remiss of me to not check out Towards Nebulae. Continue reading “Desecresy – Towards Nebulae (Review)”
This is the fifth album from Australian death metal/deathcore band Thy Art Is Murder.
After the adrenaline-pumping deathcore of Holy War, and the deathcore-meets-death metal assault of Dear Desolation, (and their very enjoyable brief split with The Acacia Strain and Fit for an Autopsy), it’s safe to say that Thy Art Is Murder have a track record of delivering the goods. So, what does Human Target hold for us? Continue reading “Thy Art Is Murder – Human Target (Review)”
This is the debut album from Barús, a progressive death metal band from France.
Although we’ve met the mysterious entity that is Barús before on 2015’s self-titled EP, I’ve only just recently been privileged enough to listen to Drowned, despite it being released in 2018. Well, I’ve missed out, and I can’t help but feel that Drowned would have graced my end of year list for 2018. Continue reading “Barús – Drowned (Review)”
This is the debut album from Black Shroud, a blackened death metal band from the US.
Black Shroud play a black/death metal hybrid that focuses on muscular death metal backed up by blackened aspects that provide an extra layer of grimness and macabre atmosphere. This blurring of the black/death lines in Black Shroud’s capable hands makes for an enjoyable and satisfying listening experience. Continue reading “Black Shroud – Death Culture (Review)”
This is the third album from Canadian death metallers Tomb Mold.
2018’s Manor of Infinite Forms was a mutated delight, revelling in its exploration of what death metal was capable of when subjected to the right stressors. I wasn’t expected a new record quite so soon after their exemplary second one, but I’m certainly not complaining. Continue reading “Tomb Mold – Planetary Clairvoyance (Review)”
Rogga Johansson is a Swedish death metal legend and this is his second solo album.
Rogga Johansson is a man of many bands – listing groups like Paganizer, Down Among the Dead Men, and Echelon only scratches the surface. Not content with his many, many projects, he also has this eponymously named new album. As you would expect, it’s death metal, pure and undiluted. Continue reading “Rogga Johansson – Entrance to the Otherwhere (Review)”
Wonderbox Metal 