Scythe – Boiled Alive Review By Grin Reaper

In the midst of a recent metal deep-dive, Romania’s Scythe skulked out from a Bandcamp back alley and bludgeoned me with the flat side of their blade, knocking me senseless with scuzzy shenanigans. We weren’t graced with a promo for Scythe’s self-released debut, but Boiled Alive packs in so much grimy panache that after my first listen, I had it shortlisted as someThing You Might Have Missed. Rather than wait several months before bringing attention to Boiled Alive, though, I volunteered to burn some midnight oil and write about this quartet from Constanța. Why did Boiled Alive get me so hot and bothered? Scythe’s brand of death metal grips you by the throat and never relents, evoking many influences while creating something uniquely their own. After the dry spell I’ve had with death metal lately, I finally found something I unapologetically adore. So step right up, put your head on the chopping block, and let Scythe have a whack at your earhole.

Scythe doesn’t make grand statements about existentialism or introspection, nor do they redefine a genre. First and foremost, Scythe is here to serve up sickly, sticky licks with blithe recklessness. This fearsome foursome drops track titles that ooze with enough viscera (“Liquified Entrails,” “Of Pure Goriness”) to squelch onto a Cannibal Corpse setlist while harkening to soundscapes defined by Pestilence and Autopsy. Throughout Boiled Alive, the pace oscillates between frenzied paroxysms and plodding crawls, often within the same song (“Necrophilic Corpse Orgies”). Though it would be easy for these dynamics to jostle listeners, the savvy songwriting avoids clumsy transitions and affords an entrancing experience. Ultimately, Scythe guides listeners through a curated gallery of horror that’s as thrilling as it is fulfilling.

Boiled Alive by Scythe

Interweaving Asphyxiating drudges with Mercilessly hectic eruptions, Scythe concocts a unique brew all their own. Boiled Alive simmers with ever-shifting tempos, imbuing the album with vivacity and a disarming blend of chops and accessibility.1 Where “Liquified Entrails” opens with a cannonade evoking an unholy union of Priest’s “Riding on the Wind” and Merciless’ “Souls of the Dead,” “Of Pure Goriness” flits between a mid-paced slink and rabid surges of hostility, and sounds like the crossbred bastard of Cannibal Corpse and Dismember. “Necrophilic Corpse Orgies” and “Tenebrous Decease” expose Scythe’s ability to nimbly jump between accelerated clips and more measured velocities, electrifying with their seamless agility as they navigate whipsawing tempo changes with a sophistication that is all the more impressive considering the band has no other projects or credits to their names.2

The musicianship on Boiled Alive is especially tight for a band formed just three years ago, and the mix highlights the band’s technical acumen. Rather than feature the glossy veneer popular with bigger labels, Boiled Alive sports a dry, natural texture that allows Scythe’s instrumentation to glisten. Reminiscent of the production on Invictus’s release last month, every whack on a tom and clang on the bass is afforded an organic timbre, imparting a raw aesthetic that lets Scythe sizzle. Whether rattling off meticulous snare rolls (“Necrophilic Corpse Orgies”), punky, snare-kick combos (“Plastered in Phlegm”), or playful cymbal splashes (“Of Pure Goriness”), David Rolea flays the skins on every track. Meanwhile, bassist and vocalist Andrei Constandache wields a gorgeously fat low-end tone3 as he assaults the mic with a menacing rasp. Not to be outdone, guitarists Mihai Panait and Andrei Oglan buzzsaw their way through Boiled Alive’s eight tracks, focusing on knotty riffs over wankfest solos. While the drums are the star of the show, Scythe suffers no weak links.

Part-thrashy, part-doomy, and all deathly, Scythe swings for the fences on Boiled Alive. And dammit, it’s Great. This beast writhes and squirms with purulent pizzazz, and I’m guilty many times over of restarting Boiled Alive as soon as the final track concludes. I wish solos were more prevalent across the album, and Constandache’s vocals, while effective, could use some variety, but these nitpicks should be taken as wishlist items for ol’ Grin rather than anything inherently off with Boiled Alive. Scythe discharges riffs and fun with an enviable effortlessness that should have death metal dealers and appreciators paying attention. In a genre with so much competition, Boiled Alive stands above the rabble, and I anxiously await the next time the Scythe comes down.

Rating: Great
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Self-Released
Websites: Bandcamp | Instagram
Releases Worldwide: February 1st, 2026

#2026 #40 #Asphyx #Autopsy #BoiledAlive #CannibalCorpse #DeathMetal #Dismember #Feb26 #Invictus #JudasPriest #Merciless #OldSchoolDeathMetal #OSDM #Pestilence #Review #Reviews #RomanianMetal #Scythe #SelfReleased

I wish I had a Giles

#monsterdon
#Asphyx

Looks like the soul deserts a sinking ship well before death

#monsterdon
#Asphyx

Has anyone found the movie with subtitles? #monsterdon #asphyx

#monsterdon #Asphyx

Is this the My Fair Lady set?

Jesus I’m glad EMT / first responder practices have improved since 1972 #monsterdon #asphyx

1914 – Viribus Unitis Review

By Grin Reaper

1914 has never shied away from the ugliness of war and death. Since Where Fear and Weapons Meet was released in 2021, the Ukrainian outfit has witnessed the horrors of that ugliness on their own soil. On Viribus Unitis,1 the quintet from Lviv maintains the poise and brutality of earlier material while imbuing their latest opus with deft poignancy. The album follows the story of a Ukrainian soldier fighting in the Austro-Hungarian army, and describes the thrill of victory, the anguish of defeat and injury, and the wretched misery of internment. Rather than re-upping the pointlessness of war, though, Viribus Unitis broadens 1914’s philosophy to highlight the camaraderie and brotherhood that such difficult times beget. Do the shift in tone and gravity of personal stakes allow 1914 to clear the high bar they’ve set for themselves?

1914’s brew of blackened death/doom returns in full force on Viribus Unitis, delivering the potent cocktail of history and metallic fortitude we’ve come to expect. As Holdeneye keenly observed in prior coverage, the Bolt Thrower-meets-Asphyx intersection remains apt, as well as Amon Amarthian melodic sensibilities. The opening to “1914 (The Siege of Przemyśl)” would slot perfectly into Fate of Norns, for instance. And anyone paying attention to WWI-centric bands writing songs from the Central Powers’ perspective won’t be surprised by Kanonenfieber comparisons, both in subject matter and determined sonic fervor. Besides the interplay of titanic riffs and melodic leads, listeners are thrown into samples of period-specific soundbites, such as the clip at the beginning of “1917 (The Isonzo Front).” Throughout Viribus Unitis, snippets like this further ensconce listeners in the milieu of the time.

Everything that worked well for 1914 on Where Fear and Weapons Meet has been dialed up on Viribus Unitis. The crushing bulk of blackened sludge, the biting edge of bitter melody, and the tinny clips of a bygone era construct a vivid portrayal of life and death on the front lines. It’s at once addictive and morose, and genuine in a way that transcends surface-level storytelling. Gang choruses weave in with Ditmar Kumarberg’s blackened rasps (“1915 (Easter Battle for the Zwinin Ridge)”) to create a soundscape on two fronts, one unhinged by the chaos of war and the other a united fellowship forged in the fires of man-made hell. Another crucial layer that elevates Viribus Unitis is the guest vocals. Christopher Scott (Precious Death), Jérôme Reuter (Rome), and Aaron Stainthorpe (High Parasite, ex-My Dying Bride) inject variety and character to support 1914’s intricate aural campaign. Stainthorpe’s contribution on “1918 Pt. III: ADE (A Duty to Escape)” haunts with magnetic resonance as his cleans detail the inner monologue of the escaped protagonist while Kumarberg’s snarls narrate a harrowing getaway. This is pure SotY fodder and a must-listen for anyone reading. “1919 (The Home Where I Died)” follows, where a slightly distorted piano adds a warbling surrealism to the dirge. In it, Reuter’s tender croon recounts reuniting with his wife and daughter before the heartrending decision that he must leave once more.2

1914 wields thunder and riffs instinctively, ruthlessly bludgeoning with devastating grooves and cutting with calculated precision. Rostislaw Potoplacht’s3 drumming hypnotizes with martial rolls and implacable plods while Witaly Wyhovsky and Oleksa Fisiuk’s dual-guitar tandem electrifies with fiery trems and viscous atmospherics. All the while, Armen Howhannisjan holds down the bottom end on bass, adding texture and balance to the inexorable heft of Viribus Unitis. The sum total conjures vivid auditory experiences where each track breathes and bleeds with vitality and earnestness. And while no song sounds alike, all are undeniably 1914.

There’s little doubt that 1914 has delivered the most realized and important album of their career so far. Viribus Unitis is a masterclass in no-bullshit metal storytelling that feels authentic, intimate, and anthemic for the entire runtime. The sweeping story of a solider’s struggle through injury, capture, and escape is enough to satisfy, but viewed through the lens of the ubiquity of loss and love makes Viribus Unitis even more profound. 1914’s preceding LPs are fantastic, and their newest platter unequivocally entrenches the band as a premier act with a unique voice and relevant commentary on the human condition and how violence always leaves scars. Viribus Unitis is a must-listen for fans and newcomers alike, and missing this one is sure to leave you shell-shocked.

Rating: Excellent!
DR: NA | Format Reviewed: Stream
Label: Napalm Records
Websites
: Bandcamp | Facebook
Releases Worldwide: November 14th, 2025

#1914 #2025 #45 #AmonAmarth #Asphyx #BlackMetal #BoltThrower #DeathDoom #DeathMetal #DoomMetal #HighParasite #Kanonenfieber #MyDyingBride #NapalmRecords #Nov25 #PreciousDeath #Review #Reviews #Rome #UkrainianMetal #ViribusUnitis

Went to an old-school death metal show last night. The local talents of Graceless celebrating their new album and with Dutch legends Asphyx closing the evening. First time I’ve seen both bands. Good stuff!

#Metal #DeathMetal #Asphyx #Graceless #Live

Ritual Mass – Cascading Misery Review

By Kenstrosity

It’s difficult to enter a conversation about death doom without thinking, at least once, of Incantation. Or Autopsy. Or Asphyx. Or any number of other acts in between. But not many of them choose “Christian Mysticism” as their primary theme. Here enters Pittsburg death doom upstarts Ritual Mass, primed to unleash their debut slab of biblical horrors Cascading Misery upon this God-fearing world. One can only wonder what fresh Hell this tome holds.

Thankfully, I know what fresh hell this holds, and it is nasty. With serrated tones and a cavernous boom, Cascading Misery reeks of the same rotted death Incantation made a sensation, doomed and dour in pace and attitude. Yet, it is monstrous, bloodthirsty, and quintessentially evil at the same time, in the same way Replicant often is (“Frozen Marrow”). In six songs spread across 40 minutes, Cascading Misery portrays Ritual Mass as a capable, confident purveyor of anguish trained in the ways of olde death, twisted by the corrupted lore of hellish origin. A lack of distinct identity holds them back, though, as much of this material feels and sounds all too deeply rooted in methods and modes trademarked by the aforementioned legendary acts. Maybe this lands Ritual Mass into the worshipping class of modern revivals, but there’s much potential here for growth and distinction as they develop their sound further.

Much of this potential lies in funereal closer “Disquiet” and blistering tear “Cascading Misery.” In the former—a 14 minute epic of glacial, stripped down doom book-ended by vicious death freakouts—Ritual Mass showcase an unexpected tenderness that belies the violence of the beast that raged relentlessly for 30 minutes prior. This tenderness brings in a new voice, an unexpected dynamic that pulls me into a deep void of sorrow, a kind of sorrow that changes my entire perception of what this record seemed to be up to that point. Consequently, when it breaks in the third quarter into a desperate, screeching howl, I’m not stricken with fear and terror. I’m instead flooded with sympathy and a desire to hold close this wounded creature before me. On the opposite side of the same coin, “Cascading Misery” shreds through flesh, bone, and gristle with a maddened fervor, mercilessly terrorizing everyone and destroying everything around it. A ferocious spirit possesses that track, one that nobody on Earth or in any afterlife could ever hope to quell or heal.

This duality roiling within a single tortured entity is the core of Cascading Misery to these ears, and it’s what Ritual Mass needs to capitalize on further in order to stand out in a crowded musical space. Outside of an outstanding drum performance that routinely elevates every moment of Cascading Misery, it simply takes too long for this debut to showcase something remarkable. The first three tracks lack distinguishing characteristics, both from the cavernous genre that they occupy and within the microcosm of the record itself. Generic riffs, monotonous song structures, and relatively dull doom passages conspire to undermine those great ideas and ample substance contained inside Cascading Misery’s strongest material. This, ultimately, is an issue of consistency. In many ways, Cascading Misery is a perfectly competent, even good record based solely on what’s offered in the first half. However, in light of the presence and clever creativity that characterizes the second half, that perfect competence doesn’t feel so perfect anymore. Instead, it feels like more than just a few missed opportunities.

All things taken into account, Cascading Misery is difficult to rate. On the one hand, Ritual Mass offers a nasty slab of doomed death that deviates modestly, but still notably, away from the stereotypical subject matter. On the other, they don’t take full advantage of their creative juices, choosing to saturate the second half with killer ideas and leaving the first half a bit malnourished. The optimist in me believes wholeheartedly that this only means Ritual Mass left plenty of room for them to grow for their sophomore effort. Let us pray that this turns out to be the case!

Rating: Mixed
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: 20 Buck Spin
Website: ritualmass.bandcamp.com/music
Releases Worldwide: September 5th, 2025

#25 #20BuckSpin #2025 #AmericanMetal #Asphyx #Autopsy #CascadingMisery #DeathDoom #DeathMetal #DoomMetal #Incantation #Replicant #Review #Reviews #RitualMass #Sep25

Asagraum
08.04.2026 Oberhausen / Druckluft

Asphyx, Slaughterday, Antropomorphia, Scalpture, Nightbearer, New World Depression und Rats Of Gomorrah
31.01.2026 Essen / Turock

Ektomorf und Ghosts Of Atlantis
23.10.2025 Bochum / Matrix

Kissin Dynamite, Shakra, Crashdiet und Seraina Telli
24.10.2025 Oberhausen / Turbinenhalle

Unantastbar, Ampex, 33RPM und Kremer
08.11.2025 Oberhausen / Turbinenhalle
14.03.2026 Bielefeld / Lokschuppen

#Asagraum #Asphyx #Bielefeld #Bochum #Druckluft #Ektomorf #Essen #KissinDynamite #Lokschuppen #Matrix #Oberhausen #Turbinenhalle #Turock #Unantastbar #SteelFeed

SteelFeed: Oberhausen / Druckluft / Asagraum w/ Enisum & Waldgeflüster & Convictive / 2026-04-08

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