This is the debut album from Turkish blackened death metal band Shrine of Denial.
On I, Moloch Shrine of Denial offer up 31 minutes of blackened death metal that delivers a mix of blunt force and arcane might. It’s a quality album that doesn’t outstay its welcome. Continue reading “Shrine of Denial – I, Moloch (Review)”
This is the second album from French death metallers Ad Vitam Infernal.
Le Ballet des Anges contains 33 minutes of old-school death metal brutality. If you like bands such as Morbid Angel, Immolation, Hate Eternal, and Deicide, then there’s a good chance you’ll like what Ad Vitam Infernal unleash on their new record. Continue reading “Ad Vitam Infernal – Le Ballet des Anges (Review)”
Brutally Deceased are from Czechia, play death metal, and this is their fourth album.
I thoroughly enjoyed 2010’s Dead Lovers’ Guide and 2016’s Satanic Corpse, so it’s been a long wait for the 29 minutes of new music that Chasms brings us. Continue reading “Brutally Deceased – Chasms (Review)”
This is the third album from US death metal band Construct of Lethe.
Construct of Lethe’s last album Exiler came out in 2018, and was a brutal affair of merciless death metal. The band have moved on since then, and A Kindness Dealt in Venom offers up a mix of death and black metal, with touches of doom, and further enriched by electronics, synths, and industrial elements. Its foundation is a death metal one, but it’s not limited to purely this genre. Continue reading “Construct of Lethe – A Kindness Dealt in Venom (Review)”
Coffin Curse are a death metal band from Chile and this is their second album.
The Continuous Nothing is the 43-minute follow up to 2020’s Ceased to Be, and builds upon that album’s solid foundations. Coffin Curse are easy to enjoy if you are a fan of 90s-influenced death metal. Continue reading “Coffin Curse – The Continuous Nothing (Review)”
This is the fifth album from Italian death metallers Hideous Divinity.
I do enjoy Hideous Divinity‘s brand of technical brutality. 2014’s Cobra Verde, 2017’s Adveniens, and 2021’s LV-426 were all solid slabs of death metal muscle and intricate aggression, so it’s with expectation that we turn to Unextinct and its 51 minutes of new material. Continue reading “Hideous Divinity – Unextinct (Review)”
This is the eleventh album from Blood Red Throne, a death metal band from Norway.
Containing 43 minutes of burly, crushing material, Blood Red Throne’s latest delivers an exemplar of classic death metal mastery. Nonagon feels both old-school and fresh, giving it a timeless vibe that I find much of the best death metal has. Continue reading “Blood Red Throne – Nonagon (Review)”
This is the second album from US death metallers Vitriol.
After enjoying Vitriol’s vicious assault live a few years ago I was left with the favourable impression of Hate Eternal/Nile-esque death metal fury, so I’m glad to be finally hearing one of their albums; it’s time to find out if these musical comparisons are appropriate or not. Continue reading “Vitriol – Suffer & Become (Review)”
This is the debut album from US solo death metal act Engulf.
Across 36 minutes The Dying Planet Weeps spans a range of influences, from the old-school to the new. The music of Engulf prioritises a non-standard song-based approach that combines sinuous riffs, expressive harsh vocals, and macabre darkness. Continue reading “Engulf – The Dying Planet Weeps (Review)”
Helfró are a black/death metal band from Iceland and this is their second album.
Following on from 2020’s enjoyable Helfró comes Tálgröf, which boasts 36 minutes of new material. Marginally shorter than its predecessor, despite having one track more, what does this mean for the Helfró of 2023? Continue reading “Helfró – Tálgröf (Review)”
Wonderbox Metal 