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Arvo Pärt – De Profundis – Tõnu Kaljuste

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Depravity – Bestial Possession Review

By Kenstrosity

Since the release of Evil Upheaval in early 2018, I fell head over heels for Aussie death metal quintet Depravity. Evil Upheaval always going to be a difficult debut to follow, but Grand Malevolence did its very best and largely matched the debut’s sheer heft and vicious energy. Five long years spans the gap between then and now, with third salvo Bestial Possession, threatening to pummel me into dust. Little does Depravity know how badly I want it.

As if in smug answer to my “pummel me harder” challenge, Bestial Possession penetrates every pore of my body with wild abandon and zero concern for my internal organs. What I knew and loved from the brutal Evil Upheaval and the twisted Grand Malevolence coalesces here, forming a new evolution of Depravity’s sound that is at once devilishly cunning and fabulously infectious. A mangled amalgam of Cannibal Corpse bloodthirst, Immolation muscularity, and early Morbid Angel velocity, Depravity’s sound is familiar but instantly recognizable. The trick there is twofold. Firstly, Jamie Kay’s addicting vocal cadence and tonal attributes1 provide a singular voice that sets Depravity apart from the crowd. Secondly, guitarists Lynton Cessford and Jarrod Curley exhibit an uncanny ability to splice, fold, and connect tightly packed riffs together through kinky time signatures that snap my spine as easily as they trip me up (“Eunuch Maker,” “Blinding Oblivion”).

With these simple, but wildly effective, songwriting techniques—massaged by the smoothest transitions Depravity’s penned thus far—Bestial Possession quickly becomes a force to be reckoned with. Right off the bat, opening assault “Engulfed in Agony” launches the record with a devastating riffset; jaunty, subtly melodic, and bounding with verve. Oodles of arpeggiated scales and wriggling oscillations traversed by the lead guitars cohere beautifully with Louis Rando’s ballistic percussion and Ainsley Watkins’ clunky bass rumbles (“Call to the Fallen,” “Awful Mangulation”), forging a complex web of wizardry that stops just short of earning a “tech-death” badge but nonetheless ensures maximum stimulation. As a way to create balance and protect songwriting dynamics in every selection, Depravity explore a great variety of tempos and textures around Bestial Possession’s denser phrases. Grounding those variations to the band’s core mission of destruction, a palpable sense of groove tailor-made to incite ravenous pit activity also compels heads to bang with great intensity, as evidenced by turbo-bangers “Rot in the Pit,” “Aligned with Satan,” and “Legacy.”

There may be those who argue that the level of accessibility Depravity achieved with such brutal fare as this works against them, but I argue the opposite is true. Bands like Cannibal Corpse, De Profundis and even younger acts like Atrae Bilis expertly toy the line between accessibility and deadliness, and with Bestial Possession, Depravity earn their place in that elite category of death. This third installment in Depravity’s catalog is dense, brutally fast, and relentless. But it’s also refined, concise, and streamlined compared to their previous works. It’s loud, too, which holds it back from even higher acclaim, but its meaty guitar tones and well-balanced mix helps recover some ground on the production front. The only other nitpick I can muster against Bestial Possession is that, despite the incredible variety and scalpel-precise execution on hand, sometimes its strongest and most memorable cuts (“Eunuch Maker,” “Call to the Fallen,” “Rot in the Pit,” “Blinding Oblivion”) overshadow its album mates a touch too strongly. For some, that might create a minor bump in the road. Still, it’s unlikely to diminish the listening experience in any meaningful way.

As the dust settles and the flames of Depravity’s tear across the death metal landscape recede, Bestial Possession towers above many of 2025’s myriad releases. Even with my analytical eye in high gear, rooting for flaws and scrounging for blemishes, Depravity secured their rightful place as one of my absolute favorite meat-and-potatoes death metal acts active today, with Bestial Possession slotting at the top of their discography. It once more begs the question: how will they follow this up? To that I say, “Who gives a fuck?!” and smash the replay button to smithereens.

Rating: Great!
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Transcending Obscurity Records
Websites: depravityaustralia.bandcamp.com | facebook.com/Depravitydestroy
Releases Worldwide: November 21st, 2025

#2025 #40 #atraeBilis #australianMetal #bestialPossession #brutalDeathMetal #cannibalCorpse #deProfundis #deathMetal #depravity #immolation #morbidAngel #nov25 #review #reviews #transcendingObscurityRecords

DE PROFUNDIS
mit Jens Harzer am Berliner Ensemble wurde gestern in der 3Sat Kulturzeit vorgestellt...
👇
https://www.3sat.de/kultur/kulturzeit/theatertipp-de-profundis-berlin-100.html

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Changeling – Changeling Review

By Dolphin Whisperer

Creation, evaluation, iteration—art lives and transforms an untold number of times before its flesh lays bare for a dissecting audience. Thus, the album runs on a path of turns sharp, around, back again—whatever it takes—before the artist declares it enough. Tom Geldschläger has worn many musical lives, both under his given moniker and “Fountainhead” with acclaimed acts like Obscura and Ingurgitating Oblivion, and as a performer/engineer. And now, with Changeling, Geldschläger seeks to express a culmination of his works, partnerships, and curiosities in a grand exploration of his unique fretless guitar stylings amongst progressive, orchestral, and deathly conjurings. In the credits alone—over thirty performers with credits ranging from Wagner tuba to marimba to an Andy LaRocque (King Diamond, ex-Illwill) wailing solo—Changeling shows its mutable form forged of virtuosity, novelty, and adventure.

Looking to the past to create a history-laced work with a fresh trajectory holds a foundational pillar throughout Changeling. Consumers of Geldschläger’s past—whether they’ve realized he was part of it or otherwise1—will notice signature shred motifs and Cynic-imbued urgencies that pass through shades of Akróasis (“Instant Results,” “Falling in Circles”),2 with the epic conclusion of “Anathema” holding as a spiritual successor to “Weltseele.” Geldschläger has also accumulated a talented Rolodex along the way, with minor identities like Matthias Preisinger’s (Shape of Dreams) piano and strings and Jan Ferdinand’s (Ingurgitating Oblivion) vibraphonic emissions holding necessary weight against primary contributors like the chameleonic Morean (Alkaloid) on word and voice and virtuoso Arran McSporran (Vipassi, ex-De Profundis) on dancing bass. In the spirit of true collaboration, the resulting Changeling wears progressive music, and its own associated acts, in a vision that screams and scurries and soars into the fade of a thunderous drum strike.

A unifying voice of fretboard bombast holds tight the flow that whips Changeling through its fiery, deathly roots and its experimental crawl and swell. Though progressive and technical death metal begin to define early numbers, Changeling holds loose to genre conventions and pairs playful string ensembles (“Falling in Circles”), rhythm-warping oud tuplets (“World? What World?”), and tabla-guided choirs (“Changeling”). Of course, dissonance in excess and avant-garde-isms can often pose heavy barriers to long-term enjoyment. And though Changeling dabbles plenty in both the ghastly awe of Morean’s off-kilter and emotional vocal charisma (“Abyss” and “Abdication” hosting the greatest highlights), and alien tonal explorations (“Cathexis Interlude”), the weight of diverse riffage and stupefying power of Geldschläger’s fretless anomolies anchor Changeling in masterful songcraft—every song idea cradled and decorated with mischievous flair.

In sequence, Changeling swells from short-form shredscapades (“Instant Results,” “Falling in Circles”) to novella-length celebrations (“Anathema”)—layers of progression towards a whole. Following its escalating narrative, Changeling’s themes follow the spasm of psychedelic expansion (“Instant Results”) to dissociated questioning (“World? What World?”) to ego breakdown (“Abyss”) to awakening and rebirth (“Abdication,” “Anathema”). And despite this overarching cohesion, each successive track introduces a new element, whether it be as simple as the Germanic drama of deep brass (“World? What World?”), as darting as the chase of wobbly percussion (“Changeling”), or as escaping as the Yes-via-Princess Mononoke of dreamlike orchestration (“Abdication”). With every piece finding a return and final hurrah in the throes of “Anathema,” Changeling’s lengthy run feels justified so long as you can give it proper time and space.

And even if you can’t carve an hour to explore Changeling’s enriched and engorged elaborations, the questions that Changeling raises with this fresh take on progressive death metal dig plenty deep, even at the song level. Just how many times does that main ostinato in “World? What World?” jump instruments? Where does one rapid-fire guitar arpeggio end and velvety bass recursion begin in “Instant Results”? Is that slippery lead intro to “Falling in Circles” a bend, a dive, a slide, or some unholy combo of all three? Does any solo compete with the triumphant stutter-to-squeal finale of “Anathema”? Sometimes the answers include a revelation that yes, in its Devin Townsend-y “wall of sound,” Changeling requires some loudness adjustments. And, yes, that snare packs a POW more aggressive than any other sound on the whole album. But after countless dives into its meticulous and eccentric world, it’s apparent that Changeling wears any flaws it may have with an empowering and intoxicating flamboyance.

Rating: 4.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Season of Mist | Bandcamp
Websites: thefountainhead.de | changelingofficial.bandcamp.com | instagram.com/changeling.official
Releases Worldwide: April 25th, 2025

#2025 #45 #Alkaloid #Apr25 #Changeling #Cynic #DeProfundis #DevinTownsend #GermanMetal #IngurgitatingOblivion #Obscura #ProgressiveDeathMetal #ProgressiveMetal #Review #Reviews #SeasonOfMist #ShapeOfDreams #SymphonicDeathMetal #TechnicalDeathMetal #Vipassi #Yes