Beheaded – Għadam Review

By Dear Hollow

I’m not sure which is worse: to release terrible or forgettable albums. Unfortunately for Maltese death metal outfit Beheaded, it has been the latter for the vast majority of their career. Always releasing competent material but nothing that sticks, their tenure within these hallowed halls has been rife with mediocrity, both 2017’s Beast Incarnate and 2019’s Only Death Can Save You lauded acknowledged for sounding like brutal death metal by the inimitable Kronos – the definition of “mixed” territory. Even 1998 highlight Perpetual Mockery has been covered up by the sands of time. This is precisely why Għadam is such a monumental release for this death metal stalwarts.

For Għadam, Beheaded becomes “il-kittieb” of their own horror – both lyrically and musically. Nearly forsaking all brutal tendencies without sacrificing its bite, the quintet focuses instead on channeling its heritage. The songs are entirely in Maltese, each track named after and capturing the storytelling of local horror writer Anton Grasso:1 the songs grapple with folk horror, local struggles, and the supernatural, and reflect the nation’s troubled history with religion and Christianity. For the first time in Beheaded’s history, it feels as though the band is writing their own music rather than regurgitating what brutal death ought to sound like. While the album is imperfect, Għadam is a motion from a band previously stuck in the muck of their own habits to rise from the dead and make the future bright again.

While elements of Beheaded’s brutal death peak through periodically, Għadam is remarkably atmospheric and dread-inducing. Drawing from Maltese folk music, the melodies here give an otherworldly flare, conjuring horrors both tangible and surreal. While the opening title track and the concluding instrumental “Irmied” feature harp guitar that sets the tone for a more focused and streamlined affair, the meat of Għadam is ominous, dense, and foreboding. From dirging riffs layered with doomed menace and vicious vocals (title track, “Iħirsa”), the kickass guitar work amplified by wild solos (“Iljieli bla qamar,” “Jidħaq il-lejl”), or the blackened tremolo and subtle synths that add a whole new dimension of intensity (“B’niket inħabbru l-mewt,” “Ix-xjaten ta’ moħħi”), riffy motifs and haunted leads are streamlined and consistent across the board. Cleans are used sparingly, but utilize a mournful mumble that adds to the desolation of the atmosphere. Ultimately, Beheaded feels reborn into a sound that feels very much theirs, despite newfound comparisons to God Dethroned, Belphegor, and Angelcorpse.

Given highlights and individual song identity, the structure of Għadam feels more intentional than Beheaded has offered before. Most notably, the track “Il-kittieb” serves as a centerpiece not only for being the fifth track in the nine-track album, but as a sonic eye of the storm; while it utilizes the same tricks as its surrounding tracks, they are weaponized in a slow-building crescendo whose climax serves as the most satisfying moment of the album. Intertwined dissonant leads and ethereal solos collide in a 6/8 timing that feels like a waltz through hell. Even last full song “Jidħaq il-lejl” feels like a culmination of the two tracks preceding it, a riffy and ominous trek through dark territory. This structure makes it easy to forget the weak links, such as the frenetic and anchorless (“Xtrajt l-infern”) or the forgettable (“B’niket inħabbru l-mewt,” “Iħirsa”). The spoken word passages scattered throughout are also hit or miss.

Beheaded has forsaken their long-time forgettable signature in favor of something that ironically suits them better. Għadam is imperfect in its experimentation, but is surprisingly realized regardless, a consistent thread of viciousness and menace woven into all its movements gives exposure to its homeland, a culture tragically neglected in the annals of history. While “Maltese death metal” would have traditionally conjured images of brutal death’s relentless pummeling in Beheaded or Abysmal Torment, Għadam’s sinister and atmospheric approach to blackened death metal tinged with local dark lore and haunting melodics, even if imperfect, sets Beheaded out onto a new and unforgettable path.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Agonia Records
Website: facebook.com/BeheadedMT
Releases Worldwide: July 25th, 2025

#2025 #35 #AbysmalTorment #AgoniaRecords #Angelcorpse #Beheaded #Belphegor #BlackenedDeathMetal #BrutalDeathMetal #DeathMetal #Għadam #GodDethroned #Jul25 #MalteseMetal #Review #Reviews

Scumbag – Homicide Cult [Things You Might Have Missed 2024]

By Kenstrosity

Just when I think I have my year-end list all figured out, some bastard pulls some kind of bastard shit and I have to rearrange the whole bastard at the last minute. This year, that bastard is New York brutal death duo Scumbag, their sophomore slab Homicide Cult in tow. Dolphin Whisperer deserves all the credit for introducing me to these bastards, leading with the fact that Noxis‘ main riff machine Dylan Cruz takes guitar, bass, and vocal duties here. Dolphin Whisperer also deserves to face his crimes as a list-rearranging bastard accomplice, because if it weren’t for how crushingly awesome Homicide Cult turned out to be, you bastards wouldn’t be reading this right now.

For the uninitiated, Scumbag constitutes a raucous combination of Brodequin-esque brutal death, deathgrind touches reminiscent of earlier Aborted, savage bounce that recalls brutal tech heavyweights Unfathomable Ruination and Abysmal Torment, and a certain irreverent personality not unlike The Black Dahlia Murder. In order to make sure the experience is easily digestible and memorable, Scumbag trimmed and tightened Homicide Cult to a lean, mean twenty-eight minutes. Featuring universally pleasing tones and textures, not to mention an especially viscous low end, Scumbag’s production choices ensure that Homicide Cult sounds as filthy and rotten as it can while still maintaining a coherent sonic imprint. Together, these attributes—combined with Dylan’s uncanny ability to vomit forth terrific riffs and drummer Joseph Tesler’s multifaceted slaughtering of the skins—merge to form a record so fun and merciless that even after the sun comes up I’m still begging for more.

Homicide Cult leaves a trail of mangled bodies behind it as it ravages the land with an unrelenting barrage of hooks and grooves. Opener “Homicide Cult” struts around toting so many top-tier riffs that it’s excessive but immensely satisfying and cohesive. Highlights like “Beaten to a Pulp,” “Pure Adrenaline Hard-On,” and “The Meating” juggle brutal tech and cavebrained slamming death with a sense of ease that belies the blistering speed and buttery smooth fluidity of their execution. Meanwhile, “Unmanaged Mental Illness,” “Perverted Benevolence,” and “Blunt Force Abortion” double down on downright stupid groove levels, stomping my face hard enough to register high numbers on the Richter scale. Song after song after song, Homicide Cult functions like a brutally strong magnet. I simply cannot escape its draw, no matter what I do. And, at the end of the day, I’m not complaining.

Indeed, I’ve essentially zero things to complain about with Homicide Cult. From the riffs to the tight construction to the warm and smutty production, Homicide Cult is the product of passionate, meticulous, and intentional design. Every movement that made it past the cutting floor serves a purpose. Scumbag’s exuberant performance of each of those movements, down to Dylan’s deceivingly decipherable vocal delivery, allows every second of this beatdown to punch far above its already intimidating weight class.

Basically, Scumbag garnered an instant fan in me, thanks to Homicide Cult. Its infinitely replayable runtime is dangerously addicting, to the point that I’ve neglected promo or other loved records this year to instead spin Homicide Cult. I’d bet money you’d do the same. Bastards.

Tracks to Check Out: “Homicide Cult,” “Pure Adrenaline Hard-On,” “Blunt Force Abortion,” “The Meating”

#2024 #Aborted #AbysmalTorment #AmericanMetal #Brodequin #BrutalDeathMetal #DeathMetal #Deathgrind #HomicideCult #Noxis #Reivews #Review #Scumbag #Slam #TechnicalDeathMetal #TheBlackDahliaMurder #ThingsYouMightHaveMissed #ThingsYouMightHaveMissed2024

Cutterred Flesh – Love at First Bite Review

By Kenstrosity

Czech brutal tech hash-slinging slashers Cutterred Flesh ought to hold a seminar on pairing cheeky artwork with equally cheeky album names. Three years ago, the five-banger released the whimsically titled Sharing is Caring and paired it with imagery befitting its title and the brutality it contained. Today, Cutterred Flesh prepare their sixth assault, entitled Love at First Bite, and with it another gruesome but tongue-in-cheek slab of paint. Needless to say, just like before, this combo instantly makes this artwork one of my favorites of the year so far. The question remains, then, whether the album’s content can enamor me the same way as does its cover.

Cutterred Flesh chose not to fix what ain’t broken. Love at First Bite remains a brutal tech death record at its core, continuing right where Sharing is Caring left off. If you aren’t familiar with their work, Cutterred Flesh’s current sound starts with a strong Deeds of Flesh and Suffocation backbone, warped by the crushing bounce and swagger of Abysmal Torment. Using this concoction as a starting point, Cutterred Flesh routinely carve out a distinct approach time after time. In 2021, the Czech troupe accomplished this by using mournful melodies to create moments of unlikely beauty that belied their gory grit. Love at First Bite makes a lateral move from that space into environs more atmospheric, eerie, and oddly uplifting. Subtle and restrained use of bright (perhaps even major key in one spot) tremolos and airy atmospheric black metal lines trace fine streaks of drama and grandeur to songs which otherwise fit standard brutal death and tech molds (“Repeated Intersexual Misunderstanding,” “The Last Supper”). Armed with these gentle touches, Love at First Bite creates an intriguing brutal death experience that might grab a wider audience than your standard fare.

Even if I focus solely on the sections of Love at First Bite that fall solely under the typical brutal tech architecture, a fair portion of Cutterred Flesh’s material feels more engaging than the norm. Examples such as “Xenomorphic Annihilation—Earth Ravaged,” “Human Protein Concentrate,”1 and “Descent into Torment of Abyssal Whispers” do absolutely nothing new or novel. Nonetheless, they stand out as quality pieces in the medium thanks to extremely hooky riffs and mighty grooves. Late album cuts like “The Last Supper” succeed as well in part because Cutterred Flesh apply fresher techniques to the standard blueprint for slammy brutality, making its main themes extra memorable and impactful. That said, there’s still no ignoring the fact that these otherwise strong numbers lack enough novelty to elevate them as much as Cutterred Flesh certainly could have.

On the flipside, Love at First Bite’s more explorative tunes—such as the deceptively interesting “Repeated Intersexual Misunderstanding” and the rip-roaring triumph that is “Amanda”—make a strong case for the direction Cutterred Flesh ventured. By integrating atmospheric black metal twists and more uplifting melodies into their gruesome gruel, an unlikely synergy ascends. The spine-tingling final third of “Repeated Intersexual Misunderstanding” transforms what would otherwise be a bog standard brutal beatdown into a minor epiphany, its major harmonies striking a rare nerve that this genre never sets out to interact with in the first place. Meanwhile, “Amanda” draws from the cosmic well from which Mare Cognitum‘s epic majesty springs and reformulates it to fit a more violent, explosively energetic mission. Other tracks accomplish similar transmutations to a lesser extent, of course (see “Descent into Torment of Abyssal Whispers” and “The Last Supper”), but none are as successful as the aforementioned. Unfortunately, as Cutterred Flesh massage and flex newly acquired songwriting muscles, they tend to leave their brutal tech core somewhat atrophied in spots, weakening critical moments that required meteoric impact in order for this pairing of aesthetics to work best (“Code of Zuurith,” “Sarkam’s Wrath Unleashed”).

Consequently, Love at First Bite represents a record of several great moments amidst rock-solid material, but only a few wholly great songs. If listening with a non-critical eye, Cutterred Flesh’s latest offering possesses ample goodies to sate anyone’s bloodlust. I, however, want to see Cutterred Flesh push harder going forward. I believe they have something truly unique and unusual to offer the brutal tech-death scene, and at this point all I want is for this Czech cohort to really let me have it!

Rating: Good.
DR: 4 | Format Reviewed: 320 kb/s mp3
Label: Transcending Obscurity Records
Websites: facebook.com/CutterredFlesh | cutterredfleshband.bandcamp.com
Releases Worldwide: May 24th, 2024

#2024 #30 #AbysmalTorment #BrutalDeathMetal #CutterredFlesh #CzechMetal #DeathMetal #DeedsOfFlesh #LoveAtFirstBite #MareCognitum #May24 #Review #Reviews #Suffocation #TechnicalDeathMetal #TranscendingObscurityRecords

Engulf – The Dying Planet Weeps Review

By Kenstrosity

New year, new sponge, same gig. What a better way to kick off 2024 than with some brutal, slightly proggy, slightly technical death metal! How serendipitous it was, then, that Engulf finally dropped their debut LP The Dying Planet Weeps upon my eager lap. Complete with very nice artwork and a remarkably rich and warm production, The Dying Planet Weeps aims to make a mockery of my scoring average as early in the year as it possibly can. Read on to find out if it does indeed embarrass me with all of its brutalizing riches.

Metallum suggests that Engulf’s closest relative is Morbid Angel. Given what I’ve heard so far of both acts, I see the resemblance. However, the first companions that come to mind for me are Atrae Bilis, Eximperitus, Hath, a touch of Gorguts, and a twist of Asphyx. With such heavy hitters as compatriots, two things become clear. Firstly, Engulf set themselves up with gargantuan shoes to fill, risking it all to make a name for themselves next to far more established bands with high pedigree. Secondly, The Dying Planet Weeps will undoubtedly appeal to almost anyone who likes death metal. Raunchy, slithering, and unnervingly catchy, mastermind and multi-instrumentalist Hal Microutsicos’ riffs and multifaceted rhythms cut deep and lodge themselves inside the brain like a botfly. While those riffs gestate in my cranium, Hal’s retching roars and rasps, highly reminiscent of Martin Van Drunen’s style of explusion, create a delightfully decipherable treatise on environmental devastation. At a tight and muscular thirty-six minutes, The Dying Planet Weeps practically begs for repeat spins. Meanwhile, the songwriting’s unstoppable momentum ensures that the album needn’t have begged, for repeat spins are inevitable.

With “Withered Suns Collapse,” Engulf do something rarified in metal: integrate any and all atmospheric introductions into the opener proper. Thankfully, this one is short and effective, leading you to a blistering, bouncy riff vaguely reminiscent of Abysmal Torment‘s “The Misanthrope.” A great way to kick a record into gear, indeed, but the song evolves further. By introducing harmonized variations of the song’s main theme, Hal proves himself a versatile songwriter who understands the critical importance of layering and detailing in this kind of music. This strategy carries over into follow-up tracks “Bellows of the Aether,” “The Nefarious Hive,” and the Atrae Bilis-writes-for-Hath closer proper “Earthbore.” However, Hal’s skill as a songwriter and performer reaches its peak in album highlights “Ominous Grandeur” and “Lunar Scourge.” These two songs, coming it at the record’s midpoint, match the regal grandeur of Eximperitus and pair it with Hath’s ferocious melodicism. At the same time, there’s a certain measure of introspection and a subtle sadness to these songs that add interesting and affecting dynamics to the experience, allowing the record to leave a lasting mark after it comes to a close.

How the album comes to a close, interestingly, unveils its first and most confusing misfire. Why Engulf decided to separate the closing title track as its own instrumental is beyond me, as the piece is so seamlessly tied to its companion “Earthbore” musically that I’ve never once registered when the shift in track listing occurs. It’s a nonsensical decision that adds nothing of substance to the record. Aside from that bizarre, albeit small, choice, The Dying Planet Weeps truly only suffers when compared to its influences. No bad songs exist here, but some of the less compelling tracks like “The Nefarious Hive” and “Plagued Oblivion” aren’t particularly memorable, and even the stronger pieces lack distinction from their influences. There are too many riffs, patterns, and songwriting pathways in here that sound derivative of older works by longer-lived bands (note the way “The Nefarious Hive” follows almost the exact blueprint used in several tracks on Atrae Bilis’s Apexapien). In those sections, I lose myself to fond memories of other acts’ material instead of fully investing my time and energy embedded within Engulf’s.

Nonetheless, Hal has much to be proud of in The Dying Planet Weeps. As a debut, the professionalism with which it is produced, performed, and written is nothing short of admirable. However, Hal still needs to find his own voice to better inform his undeniable talent. Once he finds that unique voice, Engulf could very quickly become a standout in a field of already excellent death metal creators. Good luck, Hal!

Rating: Good!
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Everlasting Spew Records
Websites: engulfdm.bandcamp.com | facebook.com/engulfdm
Releases Worldwide: January 12th, 2024

#2024 #30 #AbysmalTorment #AmericanMetal #AtraeBilis #BrutalDeathMetal #DeathMetal #Engulf #EverlastingSpewRecords #Eximperitus #Gorguts #Hath #Jan24 #MorbidAngel #ProgressiveDeathMetal #Review #Reviews #TechnicalDeathMetal #TheDyingPlanetWeeps