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Vegas Un Alive Festival 2026 Announces Lineup Featuring DECREPIT BIRTH, THE CONVALESCENCE, CASKET ROBBERY & More

https://metalinjection.net/tour-dates/vegas-un-alive-festival-2026-announces-lineup-featuring-decrepit-birth-the-convalescence-casket-robbery-more

#DECREPITBIRTH #THECONVALESCENCE #VegasUnAliveFestival #AnnouncesLineupFeaturing #festival #EP #announcement #lineup #MetalInjection #metal #music

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Ex-DECREPIT BIRTH Drummer SAMUS PAULICELLI Shares Performance Of MEGADETH Classic “Holy Wars… The Punishment Due” (Video)

https://bravewords.com/news/ex-decrepit-birth-drummer-samus-paulicelli-shares-performance-of-megadeth-classic-holy-wars-the-punishment-due-video/

#DECREPITBIRTH #SAMUSPAULICELLI #Drummer #EP #video #BraveWords #metal #music

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DECREPIT BIRTH Announce Uncreation Of Civilization US Tour With PESSIMIST, ASYLUM

https://bravewords.com/news/decrepit-birth-announce-uncreation-of-civilization-us-tour-with-pessimist-asylum/

#DECREPITBIRTH #US #AnnounceUncreationOfCivilization #TourWith #deathmetal #techdeath #tour #EP #announcement #BraveWords #metal #music

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Ex-DECREPIT BIRTH Drummer SAMUS PAULICELLI Shares Behind-The-Scenes Vlog From Drumeo Studios

https://bravewords.com/news/ex-decrepit-birth-drummer-samus-paulicelli-shares-behind-the-scenes-vlog-from-drumeo-studios/

#DECREPITBIRTH #SAMUSPAULICELLI #Drummer #EP #video #BraveWords #metal #music

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Ex-DECREPIT BIRTH Drummer SAMUS PAULICELLI Performs RUSH Classic “YYZ” In Tribute To NEIL PEART (Video)

https://bravewords.com/news/former-decrepit-birth-drummer-samus-paulicelli-performs-rush-classic-yyz-in-tribute-to-neil-peart-video/

#DECREPITBIRTH #SAMUSPAULICELLI #Drummer #EP #video #interview #BraveWords #metal #music

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Former DECREPIT BIRTH Drummer SAMUS PAULICELLI Takes On TAYLOR SWIFT Medley Challenge – “It Has To Be Metal” (Video)

https://bravewords.com/news/former-decrepit-birth-drummer-samus-paulicelli-takes-on-taylor-swift-medley-challenge-it-has-to-be-metal-video/

#DECREPITBIRTH #SAMUSPAULICELLI #Former #Drummer #EP #video #interview #BraveWords #metal #music

Symphobia – Hideously Traumatic Review

By Alekhines Gun

Another day, another fresh debut by a slab of young hopefuls. Today’s offering comes by way of Indonesia in the form of trio Symphobia, dropping their first LP Hideously Traumatic after a sole self-titled demo the year before. At a concise two songs and sporting some charmingly ghoulish artwork, that demo was a vile little slab of promising violence, which leaned more into the modern slam trappings of Submerged than the usual brutal death proper Indonesia is known for. No member turnover and a short gap between releases imply a band with a musical vision and an eagerness to slot themselves into the next generation of woe-bringers; do they offer enough to get you back to therapy?

Symphobia have crafted a monument to brutal death of all varieties and walks of life. Trimming down the more overt slam clichés in the production of their demo (particularly the outlandish ping-pong snare) allows for a more matured1 take, walking a tightrope between solid deathly compositions and neanderthalic bludgeoning. Vocalist Jossi Bima does a dead ringer of an Angel Ochoa impression, but a talent for vocal phrasing (and vocal silence) means he actually adds to the percussive oomph of the riffs. (“Scattered”, “Convulsively”) Humam Aliy is a beast on the drums, working a limited set of ingredients into a well-concocted aural meal, with excellently placed sixteenth-note fills and masterfully selected double bass to give the illusion of dynamics and pacing even as the whole of the album never really lets up. The bass2 consistently makes itself felt with shreddage and twangy highlights, adding girth to an absolute smorgasbord of riffs.

Much like waves add texture to an otherwise flat and bland ocean, Hideously Truamatic offers a sense of the nuanced differences in brutal death strains of DNA to add personality to what threatens to be an overly homogenous listen. Do you like Misery Index? “Convulsively” has you covered. Do you think War of Attrition is the best Dying Fetus album?3 “Heinous” sports a riff worthy of a lost B-side from that era. The fingerprints of Pathology, Suffocation, Internal Bleeding, modern Pyrexia, and Cephalotripsy permeate the album, with the glue from highlight to highlight running through the eternal assault of …And Time Begins era Decrepit Birth. While Symphobia begin in familiar form, each time you think you’ve heard the best the album has to offer, the next song manages to come out swinging with a steel chair to top whatever offensive groove or thunderous breakdown came before it. Dodik Bhre offers up one riff-craft lesson after another, with a surprising emphasis on the occasional trebly runs instead of all-bass-all-bottom-end tropes. Songs like “Scattered” and “Abominable” stretch beyond the typical haze of blast beats and powerchord abuse, touching on the most straightforward moments of Defeated Sanity while lurching into a Disgorge-ian sense of mercilessness.

The only negative on such a balls-out assault of this caliber is a common one: the shadow of ones peers. Symphobia have grasped the ingredients of what makes all these other bands great, and distilled their essence into a blender of an album where the listener is tossed in to get slapped in the face with one meaty chunk after another. However, Hideously Traumatic comes across as a highlight reel of various stylings without forming into a cohesive identity for the band themselves. This is a love letter to the foulest and most pit-inducing of aural violence, and the letter is written in excellent handwriting and high-quality paper. I believe the best is yet to come, however, and if they can master the art of wielding their influences into a distinct final offering rather than being a mega-high grade tribute band, they will be ready to drop a slab of carnage to stand alongside the Brodiquins and Devourments of the world.

Just when I thought I was done with brutal death for a bit, Symphobia came out of nowhere with hammers and chainsaws to take my already abused ears to even more dire straits. Indonesia can be proud of its newest offspring, which continues to solidify the country’s reputation for a flourishing scene. That Hideously Traumatic reminds greatly of genre giants is hardly the worst flaw in the world. For now, seekers of euphoria-inducing savagery should find a high worthy of their time, with some truly traumatic moments indeed.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Comatose Music
Websites: Official Facebook | Album Bandcamp
Releases Worldwide: July 11th, 2025

#2025 #30 #Brodiquin #BrutalDeathMetal #Cephalotripsy #ComatoseRecords #DecrepitBirth #DefeatedSanity #Devourment #Disgorge #DyingFetus #HideouslyTraumatic #IndonesianMetal #InternalBleeding #Jul25 #MiseryIndex #Pathology #Pyrexia #Review #Reviews #Submerged #Suffocation #Symphobia

Retromorphosis – Psalmus Mortis Review

By Saunders

When 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: Season of Mist
Websites: retromorphosisofficial.bandcamp.com | facebook.com/retromorphosis.swe
Releases Worldwide: February 21st, 2025

Maddog

The 2012 release of Spawn of Possession’s Incurso is Sharpied into my memory. At the time, I had devoured Cabinet and dabbled in Noctambulant but was no expert. Then, a now-defunct review on Heavy Blog is Heavy 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 the coolest bass playthrough 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

#2025 #35 #40 #Alkaloid #Archspire #DeathMetal #DecrepitBirth #Feb25 #Gorod #Immolation #Necrophagist #Obscura #OdiousMortem #PsalmusMortis #Retromorphosis #Review #Reviews #SeasonOfMist #SeasonOfMistRecords #SpawnOfPossession #SwedishMetal #TechnicalDeathMetal #Viraemia #VisceralBleeding

Blasphemous – To Lay Siege and Conquer Review

By Alekhines Gun

Have you ever looked back on the grander, moister bands of yore and thought “Man, I sure do wish Immortal and Angelcorpse did an album together”? That’s okay, neither have I—apparently we have no imagination. Luckily, New Jersey blackened death outfit Blasphemous is prepared to uncork its fourth album, To Lay Siege and Conquer to show us what we’ve been missing. After releasing a pair of albums before breaking up in 2013, Blasphemous reformed with a refreshed lineup for 2018’s Emerging Through Fire, an album that seemed poised to make serious waves in the underground before a certain disease strolled up and ruined things for everybody. Fortunately, band founder/vocalist RK managed to keep the group together through the pandemic and got back to writing, and you can be assured the perpetuated lineup has paid serious dividends.

The first thing that caught the ear’s attention was how much better To Lay Siege and Conquer sounds than its predecessor. Whether by artistic intent or budgetary limitations, Emerging Through Fire had a much more raw, tinny, and thin approach, emphasizing the blacker half of the band’s sound at the cost of weight and power. To Lay Siege and Conquer has no such problems, crushing the listener with a modern productional heft worthy of Watain or Decrepit Birth and giving it the power of modern death without sacrificing an ounce of its blacker, acid-drenched melodies. Absolutely everything here is militant and bombastic, from the abused bass rumblings (“Son of the Forsaken”) to the attacked-by-killer-bees solos (“Spiritual Enslavement,” “Martyr Complex”), to RK’s constant vocal conducting, which rides atop but never drowns out the music. His performance in particular holds the album together, sounding like a much younger, far more pissed-off Thomas Lindberg (At the Gates), and though his vocal range may be a bit limited, his pitch manages to maintain its power and clarity without ever stagnating or growing boring.

To Lay Siege and Conquer is no vocalist’s grandstanding album, however, as Blasphemous takes a SWAT team approach to songwriting, with a “get in, wreck stuff, leave” mentality. Melodies and moments rarely repeat beyond their shelf life, instead evolving gradually around their melodic theme. The album’s title track is a prime example of this, with a rolling tank of a groove uncorked by Steve Shreve and Hal Microutsicos that alternates between rapid-fire tremolos and half-time chugs while drummer Mark Vizza adjusts his blasts to a thicker barrage to compensate. The drums are arranged to punctuate shifting riffs and intensity. Mark’s toolbox doesn’t really expand beyond the “blast, gallop, and groove” trifecta, but he masterfully ebbs and flows, pulling back into tasteful cymbal tempo-keeping as easily as uncorking an expected avalanche of snare abuse under leads that range from razor-sharp blackened harmonies to vaguely eastern flair (“Curse of the Witchchrist”) To Lay Siege and Conquer doesn’t want for a variety of engaging moments.

The only real flaw facing Blasphemous is consistency. Instead of being customarily frontloaded and fizzling out, To Lay Siege and Consquer is refreshingly bookended by its highlights, with the first and last two songs being the most engaging, while the middle stretch turns into a bit of a drag. Some of the slower moments (“Dead and Still” and “Martyr Complex”) remind of the punkier sounds of Sons of Northern Darkness without ever building to any kind of climax or theme, while “Spiritual Enslavement” can’t seem to decide what flavor it wants to be, causing otherwise effective riffs to lose momentum before the song suddenly ends. Still, Blasphemous wisely errs on the side of brevity, keeping things at a lean 29 minutes, before closing the album on a note of triumph with the anthemic closer, “Neverborn.”

To Lay Siege and Conquer is an enjoyable carpet bombing of riffy,[Ah yes, who doesn’t love a good… carpet… bombing? – AMG] throwdown, brodown blackened death goodness. Lovers of the style will undoubtedly find much to enjoy here, and Blasphemous is knocking on the door of something special. Maintaining the lineup has improved its cohesion and confidence, and the production highlights the power of the performances, ensuring many of the songs will level bars across the nation when played live. Keep an eye out for their fifth album to see if they can unlock the next gear in their compositional skills, and for now, enjoy laying siege to your neighbors.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: mp3
Label: Adirondack Black Mass
Websites: blasphemousphilly.bandcamp.com | facebook.com/blasphemousmetal
Releases Worldwide: October 25th, 2024

#2024 #30 #AdirondackBlackMass #AmericanMetal #Angelcorpse #BlackMetal #BlackenedDeathMetal #Blasphemous #DeathMetal #DecrepitBirth #Immortal #Oct24 #Review #Reviews #ToLaySiegeAndConquer #Watain