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Angry Metal Guy<a href="https://www.angrymetalguy.com/retromorphosis-psalmus-mortis-review/" rel="nofollow noopener" target="_blank">Retromorphosis – Psalmus Mortis Review</a>By SaundersWhen Sweden’s Spawn of Possession drew curtains on their distinguished career in 2017, it spelled the end of one of modern tech death’s finest acts. Bands across the globe flooded the scene in the intervening years, saturating the market to varying degrees of success. Emerging like fresh shoots from the earth in which Spawn of Possession were laid to rest, Retromorphosis features the gold plated pedigree of former Spawn of Possession mainstays Dennis Röndum (vocals), Jonas Bryssling (guitars) and Erlend Caspersen (bass), joining forces with another former SoP member and legendary shredder Christian Muenzner (Necrophagist, Obscura, Alkaloid), and classy, octopus-limbed drummer KC Howard (ex-Decrepit Birth, Odious Mortem). Boasting a bulletproof cast of esteemed metal musicians at their disposal, Retromorphosis appear hellbent on adding their own fresh perspective on the knotty tech death formula SoP made their own throughout their influential career. Debut album Psalmus Mortis naturally comes with lofty expectations and a line-up to salivate over.Right away, it’s difficult to completely separate Retromorphosis from the SoP legacy. Beyond the obviously strong band DNA comes the fact that Retromorphosis share many of the same musical and songwriting traits. That said, it does a disservice to purely pin them as Spawn of Possession 2.0. This new incarnation has some tricks up their collective sleeves, unleashing an intricately constructed storm of cyclonic riffs, technical wizardry, rapid-fire blasts, and complex drum patterns. Similarities aside, Psalmus Mortis contains its own mutated characteristics and is not simply a rehashing of recycled ideas. The songwriting is exciting and inspired. There’s a little more flashy pizzazz in the solo department and more pronounced use of keys and synths adds a touch of epic bombast and sinister atmosphere to otherwise meaty, twisty compositions. However, the technicality does not compromise memorable, song-based writing.Drenched in killer atmosphere and slow-building tension, opening instrumental “Obscure Exordium” crams loads of free-flowing ideas, orchestral touches, and good old-fashioned blasting into its short timeframe. The segue into the aggressive “Vanished” is smoothly executed, shifting gears from a brooding atmosphere to rugged, speedy attacks and whirlwind tempo shifts that define the track. Best absorbed in its entirety, the eight juggernauts boast dynamic variations, remarkable fluidity, and individual character. Robust, progressive-leaning shifts of “The Tree” navigates maze-like complexities through multiple moving parts, deftly maintaining fluency and memorability. Complex, thrashy, and aggressively riffy monster jams “Aunt Christie’s Will” and “Retromorphosis” represent ripping examples of the album’s strengths, exhibited through warped harmonies, lightspeed tempos, headbangable grooves, and grippingly infectious dual axework. “Machine” plunders and steamrolls through nine minutes of chugging riffage, brooding atmospheres, whip-smart tempo shifts, and proggy transitions, making every moment count. Only a couple of tracks fall marginally short of the overall pristine standards, though it’s a consistently gripping front-to-back listen.Whereas some tech death bands fall victim to overindulgence, resulting in the deathly elements becoming afterthoughts, Retromorphosis avoid this pitfall. Thunderous kicks, machine gunning blasts, Röndum’s impactful growls, and the malevolent, sick old school grooves erupting from the labyrinthine arrangements offer resoundingly beefy, aggressive oomph to proceedings. Freakishly skilled talents abound, the musicianship is next-level awesome. Bryssling and Muenzner are a formidable force in the tech realms, delivering a masterclass of staggering technical mindfuckery, bamboozling solos, and an array of striking harmonies, otherworldly melodies, and intricate, catchy tech death riffs. The underrated vox and spitfire growls of Röndum (ex-Visceral Bleeding) lend the album a brutal, old-school edge, while Howard and Caspersen refuse to be overshadowed. The former’s blisteringly intense performance is perfectly matched to the complexity and dynamics of the material. Casperson makes his presence felt at key moments, offering a notable melodic counterpoint and presence. The sharp, punchy sound is polished but contains ample warmth and heft, the breathable master a big plus.Featuring the bulk of the Incurso line-up, Psalmus Mortis is something of a spiritual successor, albeit a sleeker, polished counterpart. While it can’t quite match that modern classic, it’s an immense, dizzying tech-death debut of serious fucking proportions and exemplary musical chops. Retromorphosis more than live up to the dreaded supergroup tag. carrying on and reimagining the legacy of the legendary band in which they spawned. Retromorphosis raise the bar and put the tech death scene on notice in 2025. It’s an exciting prospect to see how Retromorphosis develops and evolves from here. All that’s missing is a Chalky guest spot.Rating: 4.0/5.0 DR: 9 | Format Reviewed: 320 kb/s mp3 Label: <a href="https://www.season-of-mist.com/" rel="nofollow noopener" target="_blank">Season of Mist</a> Websites: <a href="http://retromorphosisofficial.bandcamp.com" rel="nofollow noopener" target="_blank">retromorphosisofficial.bandcamp.com</a> | <a href="http://facebook.com/retromorphosis.swe" rel="nofollow noopener" target="_blank">facebook.com/retromorphosis.swe</a> Releases Worldwide: February 21st, 2025 MaddogThe 2012 release of Spawn of Possession’s <a href="https://spawnofpossession.bandcamp.com/album/incurso" rel="nofollow noopener" target="_blank">Incurso</a> is Sharpied into my memory. At the time, I had devoured Cabinet and dabbled in Noctambulant but was no expert. Then, a now-defunct <a href="https://www.heavyblogisheavy.com/2012/03/05/spawn-of-possession-incurso/" rel="nofollow noopener" target="_blank">review</a> on <a href="https://www.heavyblogisheavy.com/" rel="nofollow noopener" target="_blank">Heavy Blog is Heavy</a> awarded Incurso a perfect score, arguing that it was the greatest tech-death album ever. Flabbergasted, I gave Incurso a listen. Spawn of Possession’s swansong ratcheted up the band’s technicality while trimming the band’s “Jonas” count from three to one. New guitarist Christian Muenzner (ex-Necrophagist, ex-Obscura, every other band) decorated the album with gorgeous leads. Meanwhile, Erlend Caspersen’s hyperactive bass lines balanced wizardry with finesse followed up with <a href="https://www.youtube.com/watch?v=3PvGJn_MJhA" rel="nofollow noopener" target="_blank">the coolest bass playthrough</a> ever (“The Evangelist”). I grew to adore Spawn of Possession, and their subsequent fizzle-out was heartbreaking. Retromorphosis’ recent inception was equally thrilling. Retromorphosis’ debut Psalmus Mortis aims to resurrect SoP’s legacy and boasts four of the five members of the Incurso line-up. My expectations started out sky-high.BOOM, BANG boom, weedle-weedle skree, BOOM, BANG boom, weedle-weedle-weedle weedle-DOO, BOOM, WEE-bang-DLE-doo—yes, they’re back. Spawn of Possession’s signature sprawls across Psalmus Mortis, and the universe is better off for it. Guitarists Jonas Bryssling and Christian Muenzner offer neither a Viraemian noodle fest nor a monotony of has-been death metal. Rather, their hybrid approach is at once acrobatic, shamelessly melodic, and more riff-centric than Incurso. Retromorphosis’ neoclassical melodies flail and interweave, evoking Necrophagist while wielding both heft and beauty. On the other hand, Psalmus Mortis’ chunky riffs flirt with old-school death metal and even death-doom (“Obscure Exordium,” “Vanished”). Similarly, new drummer KC Howard (Odious Mortem, ex-Decrepit Birth) bludgeons his kit with both class and frenzy, guiding the music through bewildering rhythms. Dennis Röndum’s vocals take a manic Archspiresque approach without sacrificing clarity. Like Spawn of Possession, Retromorphosis uses backing synths and foreboding guitar melodies to set the scene. Landing between Noctambulant and Incurso, Psalmus Mortis’ style feels familiar but fresh.When Psalmus Mortis delivers, it’s a thrill. The album grabs the listener with both its technical gymnastics and its MMA maneuvers. The closer “Exalted Splendour” showcases trapezing Obscura-style leads that balance grandeur and fun, while “Vanished” remains headbangable even through its spastic rhythm changes. Even when Psalmus Mortis resorts to unrestrained noodling, it uses its melodic backbone to avoid getting soggy (“Retromorphosis”). Conversely, the straightforward six-note tremolo riff that underpins “Aunt Christie’s Will” is the record’s most memorable snippet, while the midsection of “Retromorphosis” is tinged with Immolation’s Unholy Cult. Still, Psalmus Mortis’ 42 minutes aren’t consistently engaging. This is partly because of bloat, like the sleepy first half of the nine-minute “Machine.” It’s partly because of a frustratingly muted bass presence from the phenomenal Caspersen. And it’s partly just because certain riffs lack power (“Never to Awake”). Psalmus Mortis is a strong outing, but it sometimes feels more like a purely intellectual exercise than an exciting ride.However, Incurso’s narrative quality remains Psalmus Mortis’ greatest asset. Psalmus Mortis feels like a collection of Poe stories. Retromorphosis’ smooth but dogged plot development defines “The Tree,” a tale of environmental neglect where the protagonist’s escalating missteps are accompanied by escalating musical urgency. Throughout the record, guitar melodies summon suffocating atmospheres, wrenching the mood from awe to terror and back again. Plot twists and masterful storytelling culminate in colossal climaxes, like the dramatic melody that accompanies the narrator’s revelation in “Retromorphosis.” Even as they evolve, Psalmus Mortis’ songs stay tethered to recognizable themes, like the main melody and lyrical refrain that anchor “Aunt Christie’s Will.” Psalmus Mortis’ narrative flow stands unmatched by any genre-mates other than Gorod and Spawn of Possession themselves.Psalmus Mortis isn’t a modern classic, but it’s better than we deserve. Spawn of Possession’s take on death metal has proven to be both immortal and peerless. Retromorphosis’ debut offers an unforeseen glimpse at a style that had seemingly faded into the realm of archaeology. Dips in quality and underuse of Caspersen’s bass prowess hold it back from excellence. But Psalmus Mortis’ blend of XXXXL death metal riffs, dizzying rhythms, and blistering technicality is highly combustible. Most of all, the record’s approach to storytelling stands apart. The last decade taught me that while Spawn of Possession hits hard at first, it improves with age. Come 2030, I may regret underrating this album. Rating: Very Good<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2025/" target="_blank">#2025</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/35/" target="_blank">#35</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/40/" target="_blank">#40</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/alkaloid/" target="_blank">#Alkaloid</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/archspire/" target="_blank">#Archspire</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/death-metal/" target="_blank">#DeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/decrepit-birth/" target="_blank">#DecrepitBirth</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/feb25/" target="_blank">#Feb25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/gorod/" target="_blank">#Gorod</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/immolation/" target="_blank">#Immolation</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/necrophagist/" target="_blank">#Necrophagist</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/obscura/" target="_blank">#Obscura</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/odious-mortem/" target="_blank">#OdiousMortem</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/psalmus-mortis/" target="_blank">#PsalmusMortis</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/retromorphosis/" target="_blank">#Retromorphosis</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/season-of-mist/" target="_blank">#SeasonOfMist</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/season-of-mist-records/" target="_blank">#SeasonOfMistRecords</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/spawn-of-possession/" target="_blank">#SpawnOfPossession</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/swedish-metal/" target="_blank">#SwedishMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/technical-death-metal/" target="_blank">#TechnicalDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/viraemia/" target="_blank">#Viraemia</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/visceral-bleeding/" target="_blank">#VisceralBleeding</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/fleshbore-painted-paradise-review/" rel="nofollow noopener" target="_blank">Fleshbore – Painted Paradise Review</a>By KenstrosityStarting the year off strong on the album art front, Indianapolis’ technical death metal quartet Fleshbore adorn their sophomore record Painted Paradise with an idyllic landscape—courtesy of one Mark Erskine—that lives up to its title. Naturally, I was drawn to this depiction, knowing full well that those tunes which lurk just beneath may strike a darker, nastier tone altogether. Then again, extreme metal can be a fickle beast, and the promo sump even more so. That leaves me no choice but to dive right in like Mary Poppins into a chalk mural in the asphalt. And away we go!If, like me, you play the game of “guess the sound by the artwork,” you might expect Fleshbore to align with technical death legends <a href="https://www.angrymetalguy.com/fallujah-empyrean-review/" rel="nofollow noopener" target="_blank">Fallujah</a>. Guess again, hotshot. There’s nothing remotely atmospheric about Fleshbore’s approach. Instead, both 2021’s Embers Gathering and this year’s upcoming Painted Paradise trudge the serrated, blood-soaked trenches scoured by now-defunct touchstones Necrophagist and Spawn of Possession. Modernized with a subtle melodic bent and machine gun bars reminiscent of <a href="https://www.angrymetalguy.com/archspire-bleed-the-future-review/" rel="nofollow noopener" target="_blank">Archspire</a>, and paired with a spewing vocal tone shared with acts like <a href="https://www.angrymetalguy.com/aethereus-leiden-review/" rel="nofollow noopener" target="_blank">Aethereus</a>, Fleshbore offer a sound that is at once deeply familiar to fans of the style and just barely distinct enough to start pulling away from the standard tech-death conglomerate.When Painted Paradise hits hardest, it punches far above its weight class. Starting strong with opener “Setting Sun,” Fleshbore make an impressive first impression with crushing, high-tech riffing, and shredding lead work. The Spawn of Possession influence is strong here, but Fleshbore’s particular application of melody effortlessly straddles the boundary from their uncompromising inspirations and something altogether bouncier and more playful. Re-upping its riff payload with mid-album highlights “Inadequate” and “The Ancient Knowledge,” and signing off on another one-two detonation between “Painted Paradise” and “Laplace’s Game,” Painted Paradise’s back half maintains a relentless momentum that pulls more of that darkness which brought definition to Fleshbore’s relative levity at the start back to the fore. In this way, Fleshbore integrated much-appreciated dynamics from a wider perspective than on a simple song-by-song basis. Consequently, Painted Paradise makes for a deeply engaging, cohesive experience when given intent focus.On the other hand, some of Fleshbore’s ambitious detailing threatens to derail that same experience. The initial source of this concern comes from the vocals. Embers Gathering offered plenty of rapid verse work that coalesced perfectly with the surrounding instrumentation. On Painted Paradise, attempts to push for an increased rate of lyrical fire result in a slight, but noticeable disconnect between the pacing of individual performances. Most clearly heard on earlier verses of “The World” and especially on the isolated, quasi-a-capella segments of “Target Fixation,” these vocal reaches cause palpable discomfort to these ears. I yearn for simpler lines that better support the songs themselves rather than requiring a vocalist to push the upper limits of their skill set. In other areas, less inspired riffing and cookie-cutter passages conspire to undermine Painted Paradise’s bid for tech-death domination. As examples, “Target Fixation” and “Wandering Twilight” offer plenty of quality portions that would easily satisfy the appetites of tech-death fans, but they lack the same impressive vivaciousness of Painted Paradise’s stronger cuts, thereby compromising listener immersion. Additionally, for those sensitive to production characteristics, Painted Paradise’s glossy finish and plastic snare tone might abrade the sensibilities of those wishing for a nastier palette to better complement Fleshbore’s vicious writing.Rating Painted Paradise posed an interesting challenge when it came time to finalize my assessment. Initially, I was so put off by the floundering, albeit admirable, attempt to match Archspire’s words-per-second speed that I couldn’t lock into the rest of the content presented. In time, that avoidant impulse subsided enough that I could appreciate the greater quality of Fleshbore’s latest work. When it comes down to it, Painted Paradise is a strong early entry into 2025’s tech death canon, sure to appeal to fans of the style and likely to attract new blood to the ranks. At the very least, it solidifies Fleshbore’s status as a band to watch. Rating: Good DR: 6 | Format Reviewed: 320 kb/s mp3 Label: <a href="https://tometal.com/" rel="nofollow noopener" target="_blank">Transcending Obscurity Records</a> Websites: <a href="http://fleshbore.bandcamp.com" rel="nofollow noopener" target="_blank">fleshbore.bandcamp.com</a> | <a href="http://facebook.com/fleshbore" rel="nofollow noopener" target="_blank">facebook.com/fleshbore</a> Releases Worldwide: January 24th, 2025<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2025/" target="_blank">#2025</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/30/" target="_blank">#30</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/aethereus/" target="_blank">#Aethereus</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/american-metal/" target="_blank">#AmericanMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/archspire/" target="_blank">#Archspire</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/death-metal/" target="_blank">#DeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/fleshbore/" target="_blank">#Fleshbore</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/jan25/" target="_blank">#Jan25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/necrophagist/" target="_blank">#Necrophagist</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/painted-paradise/" target="_blank">#PaintedParadise</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/spawn-of-possession/" target="_blank">#SpawnOfPossession</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/tech-death/" target="_blank">#TechDeath</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/technical-death-metal/" target="_blank">#TechnicalDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/transcending-obscurity-records/" target="_blank">#TranscendingObscurityRecords</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/stuck-in-the-filter-july-2024s-angry-misses/" rel="nofollow noopener" target="_blank">Stuck in the Filter: July 2024’s Angry Misses</a>By KenstrosityAfter the tight lineup we cobbled together for June, July provided a similarly lean yield for our team to offer the masses. It appears that my minions responsible for scraping the channels clean have become far too efficient! That said, what we did find might be our most valuable haul yet this year.And so, we persist. Always dedicated to bringing you the not-quite-best-but-also-still-good two months ago or so had to offer, we scour for little nuggets worth inspecting. What more could an Angry Metal Fan ask for? Kenstrosity’s Cataclysmic Critters <a href="https://awakeinprovidence.com/" rel="nofollow noopener" target="_blank">A Wake in Providence</a> // I Write to You, My Darling Decay [July 26th, 2024 – <a href="https://www.uniqueleader.com/" rel="nofollow noopener" target="_blank">Unique Leader Records</a>]Staten Island symphonic deathcore collective A Wake in Providence dropped a considerable payload back in 2022 entitled Eternity. Opulent and catastrophically heavy, Eternity bathed me in rich orchestration and legitimate riffs instead of stereotypical breakdowns and unending single-chord chugfests. Needless to say, I was enamored. Follow-up I Write to You, Darling Decay represents a deathcore equivalent to Fleshgod Apocalypse’s <a href="https://www.angrymetalguy.com/fleshgod-apocalypse-opera-review/" rel="nofollow noopener" target="_blank">Opera</a>, focusing more on lyrical storytelling and implementing vocal diversification as a vehicle for character development. Perhaps not quite as sophisticated— since those meatheaded, muscular chugs of the deathcore world still crop up here and there—I Write to You still offers major hooks and delectable detailing to keep my interest piqued through a full hour of new material (“Mournful Benediction,” “Agonofinis,” title track, “The Unbound,” and “Pareidolia”). Aside from those superficial qualities, I Write to You’s real selling point is album cohesion and overall fit and finish. Like a babbling brook across the smoothest bed of sand and soil, this record flows with a fluidity rarified in the genre (check out the awesome three-song transition between “Agonofris” and “In Whispers”). Combine that with a textured and multifaceted musical progression through a grief-stricken storyline, and you have a winning formula for an engaging record that earns its epic sound.<a href="https://cellandvoid.bandcamp.com/" rel="nofollow noopener" target="_blank">Cell</a> // Shattering the Rapture of the Primordial Abyss [July 12th, 2024 – Self Release]I first encountered Canadian black metallers Cell on a little Bandcamp stroll years ago, followed shortly by a breezy and brutal beach set just before 2020’s 70,000 Tons of Metal cruise. Nobody I knew had heard of them then, but I knew they had chops. With third album Shattering the Rapture of the Primordial Abyss, they’ve proven me right and then some. Combining icy Immortalisms with the chunky buzz of old school death, major bangers “Waking of the Blazing Night,” “The Plight of Council Skaljdrum,” “Drink the Sun,” “Unification of the Last Alliance,” and “Return of Tranquility through the Desolation of Truth” represent the sharpest, hookiest, and heaviest material Cell’s put down to date. Fury and fire characterize every riff, lead, and blast on Shattering the Rapture, but it’s the uncanny sense of groove that suddenly springs from Cell’s cells that takes this record within a stone’s throw of greatness. Tightening up the overlong fragments that bloat otherwise solid tracks like “Serenity in Darkness… Evermore” and closer “Carnage from the Sky” would go along way to throwing that stone past that threshold. Until then, rest assured that Rapture of the Primordial Abyss is a ripper, worthy of your time and your spine.<a href="https://dehumanaut.bandcamp.com/" rel="nofollow noopener" target="_blank">Dehumanaut</a> // Of Nightmares and Vice [July 17th, 2024 – Self Release]Just like Cell, Dehumanaut entered my rotation thanks to a serendipitous stroll through the Bandcamp ticker. Boasting a unique blend of death metal, thrash, and bluesy bar-crawl hard rock, these Brits offer something novel to the extreme metal catalog. With sophomore effort, Of Nightmares and Vice, Dehumanaut double down on the death and blues, evoking <a href="https://www.angrymetalguy.com/yer-metal-olde-entombed-left-hand-path/" rel="nofollow noopener" target="_blank">Entombed</a>‘s Wolverine Blues in spirit as much as in execution. With swinging tracks like “Shred this Reality,” “A Perilous Path,” “Battle Weary,” “Epiphanies,” and “Black City” deftly stepping between deathly riffs and danceable grooves, thrashier cuts such as “Reject the Knife,” “Nexus of Decline” and “A Truth Most Foul,” and “It Has a Name” feel even speedier and more rabid than usual. Aside from affording Of Nightmares and Vice oodles of dynamics in songwriting, this multifaceted and structured approach to genre-bending showcases Dehumanaut’s versatility as musicians. Everything they attempt here feels effortless and reflexive, making every transition between measure and phrase not just purposeful but also buttery-smooth (“Battle Weary”). If it weren’t for a bit of bloat across the board, oddly muffled mixing, and somewhat flat death metal growls, Of Nightmares and Vice would be in play among my top records of July. Even still, it comes close! Saunders’ Salacious Slams<a href="https://www.facebook.com/CephalotripsyOfficial/" rel="nofollow noopener" target="_blank">Cephalotripsy </a> // <a href="https://cephalotripsy.bandcamp.com/" rel="nofollow noopener" target="_blank">Epigenetic Neurogenesis</a> [July 13th, 2024 – <a href="https://cephalotripsy.bandcamp.com/album/epigenetic-neurogenesis" rel="nofollow noopener" target="_blank">Self-Release</a> ]Looking for something so stupidly heavy and obnoxiously brutal that listening could kill brain cells and incite a rampage? California’s underground warriors Cephalotripsy have you covered on long-awaited sophomore album, and follow-up to 2007’s cult and apparently well received debut, Uterovaginal Insertion of Extirpated Anomalies. Unfamiliar with their previous output, I stumbled across this latest endeavor through a trusted recommendation, fulfilling my fix for devastatingly brutal slam death. Epigenetic Neurogenesis takes no prisoners and delivers blow after blow of steamrolling, pugnacious brutal death. Brimming with inhuman, sewer dwelling vocal eruptions of Angel Ochoa (Abominable Putridity), hammering percussion, and an onslaught of ridiculously thick, heavy riffs, exhibiting the sharp, technical skills of veteran brutal death axe wielder and long-term member Andrés Guzman. The newer members form a pummeling rhythm section driving the guttural swarm. Weighing in at a tight and efficient 32 minutes, the beatdown is relentless, though concise enough to avoid an early burn out. The songwriting doesn’t reinvent the brutal slam death wheel. However, the tight execution, dynamic tempo shifts, and memorable riffcraft elevates the material. Viscous, cranium crushing riffs and utterly devastating slams frequently deployed adds further grunt, immense weight and memorability on a set of killer tunes, including extra chunky gems “Alpha Terrestrial Polymorph,” ” Lo Tech Non Entity,” and “Excision of Self.” Nasty, crushing stuff. Dear Hollow’s Disturbing Dump Silvaplana // <a href="https://silvaplana.bandcamp.com/album/sils-maria" rel="nofollow noopener" target="_blank">Sils Maria </a>| <a href="https://silvaplana.bandcamp.com/album/limbs-of-dionysus" rel="nofollow noopener" target="_blank">Limbs of Dionysus</a> [July 17th, 2024 – Self-Release]Although shrouded in mystery, Silvaplana is a solo project of Alex DeMaria of <a href="https://www.angrymetalguy.com/yellow-eyes-rare-field-ceiling-review/" rel="nofollow noopener" target="_blank">Yellow Eyes</a> and <a href="https://www.angrymetalguy.com/anicon-entropy-mantra-review/" rel="nofollow noopener" target="_blank">Anicon</a>. Blackened punishment paired with atmosphere have long been the aim, but Silvaplana’s duel release finds duality: both take influence from parent releases separately. Sils Maria takes on a hyper-atmospheric, classically influenced, and dark ambient approach across six tracks and forty-one minutes, blackened blastbeats and distant shrieks hidden behind thick swaths of ambiance, organ, and piano, a relatively gentle affair that recalls the wild yet placid sounds of Yellow Eyes’ latest. Meanwhile, the two-track and also forty-one minutes of Limbs of Dionysus feeds a ritualistic fire with a scathingly raw black attack, reverb-laden growls, moans, and shrieks colliding with relentless tremolo that continuously scale minor and diminished frostbitten mountaintops with reckless abandon. Both seem entirely disparate in context to one another, but smartly they are held together by the thin thread of melodic motifs. The organ that populates Sils Maria’s tracks “II,” “IV” and “VI” are recalled in the closing remarks of “I” in Limbs of Dionysus; the ominous organ trills of the former’s “III” are warped into a blackened beast in the latter’s “II.” As Limbs of Dionysus concludes, the feedback-laden plucking feeds right into the morphing plucking populating the beginning of Sils Maria – an ouroboros of the blackened arts. Silvaplana exists on both self-indulgent and decadent ends of the blackened spectrum with Sils Maria and Limbs of Dionysus, both baffling and tantalizing in their rawness and ambiance, and otherworldly in their collaboration. Dolphin Whisperer’s Inconspicuous Import<a href="https://www.facebook.com/p/Quasidiploid-100069571441927/" rel="nofollow noopener" target="_blank">Quasidiploid</a> // Deconstruction [July 1st, 2024 – <a href="https://www.amputatedvein.com/shop/cart.cgi?avr01=016044" rel="nofollow noopener" target="_blank">Amputated Vein Records</a>]Do you see that cover art? Yes, it’s some sort of countess of the undead summoning the skull-kind with a horn. Would you believe then that one of the features throughout Deconstruction is its inclusion of a female trumpet player to break up the tension of a relentless, brutal technical death metal? Oh yeah, she’s also the vocalist and possesses a vicious guttural bark, shrill and penetrating squeals and hisses (the vocal intro on “Disasters and Infection Routes” is a straight Dir en grey moment), and a higher register manic collapse that features at key moments. That’s all to say that the cover lands a bit on the nose, but, in turn, the carnival crazed whiplash of Quasidiploid swings between brutal <a href="https://www.angrymetalguy.com/cryptopsy-as-gomorrah-burns-review/" rel="nofollow noopener" target="_blank">Cryptopsy</a> riff smashing, Pat Martino jazz guitar pleasantries, Necrophagist sweep punishing, and Chuck Mangione brass crooning (“Overture”)—unhinged, unbothered, and anything but accessible. I would call it too unpolished, as Deconstruction strikes with a bit of a demo quality. But sometimes we have to ask ourselves whether what we hear is a questionably processed demo or an intentionally shredded Japanese master? In any case virtuosity reigns as provably human skin slammer Vomiken pushes a bass-loaded kick and a high-crunch kit to abusive and enthralling accelerations only to crash in on the spurt of a forlorn trumpet or flourish of a prancing guitar line (“Brutal Strafing,” “Massacre Fantasy”). Guitar lines weave about traditionally nimble sweeps to tricky meter riff crushes on a dime (“Melodies of Distorted Time and Space,” “Disasters…”). Tonal identities flip between <a href="https://www.angrymetalguy.com/nile-the-underworld-awaits-us-all-review/" rel="nofollow noopener" target="_blank">Nile</a>-istic, snaking melodies, flippant yet tasteful guitar heroics, and propulsive rhythm blasts whose only break is the close of a song. The definition of something olde, new, borrowed, and blue, Quasidiploid has come from far left field to provide a classics-inspired but funky fresh version of an extreme genre that thrives exactly on this kind of weird—a curiosity now, but with all the makings of something truly explosive to come. Mark Z.’s Musings<a href="https://www.facebook.com/200StabWounds/?eid=ARBzEfZwmKJ_MAFrLvTQdr10_TXxRAnHrddQRVrqDHMl8QhP3g6RtNZGqAwezHu04lLHarCWUER0q_m3&fref=tag" rel="nofollow noopener" target="_blank">200 Stab Wounds</a> // Manual Manic Procedures [June 28th, 2024 – <a href="https://www.metalblade.com/us/" rel="nofollow noopener" target="_blank">Metal Blade Records</a>]Following a rapid rise to fame during the first few months of the COVID-19 pandemic, Ohio death metal troupe 200 Stab Wounds thrust their <a href="https://www.angrymetalguy.com/200-stab-wounds-slave-to-the-scalpel-review/" rel="nofollow noopener" target="_blank">Slave to the Scalpel</a> debut onto the masses in 2021. While I was about as mixed on that one as Felagund was, their second album Manual Manic Procedures has proven these wounds cut far deeper than originally thought. The massive beefy chugs that the band have become known for are still here in full force, but now they’re paired with sharper hooks and a heightened sense of maturity. On Procedures, you’ll hear acoustic plucking, immense Bolt Thower riffing, grooves that will blow your guts out, and even some melodic death metal influence—and that’s just on the first song. The band also know when to give you a breather, be it a well-placed atmospheric instrumental (“Led to the Chamber / Liquefied”) or an extended ride on a great groovy riff (“Defiled Gestation”). With a monstrous guitar tone, plenty of killer moments, and a track flow that’s smoother than liquefied human remains sliding off a kitchen counter, these Cleveland boys have given us a record that truly feels like modern death metal coming into its own.<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/200-stab-wounds/" target="_blank">#200StabWounds</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2024/" target="_blank">#2024</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/a-wake-in-providence/" target="_blank">#AWakeInProvidence</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/abominable-putridity/" target="_blank">#AbominablePutridity</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/american-metal/" 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