Not restrained, but daring. Utilitarian in a sense of a gothic cathedral built by engineers who refused to ornament the beams.
Punishes distraction and rewards patience. Yes, at times mistakes elaboration for necessity, but never willing to compromise and simplify: when duration and ambiguity are viewed as flaws, it remains stubborn.
It's a lot and can be hard to chew, but I love it.
For @DXMacGuffin's #ProgTuesday:
#CrypticShift: Overspace & Supertime
https://album.link/i/1853911321
I thought this pretty good.
The vocals stay in the low Death Metal space (no clean breaks, etc) but it was still pretty interesting.
Apple Music goes with the shortened name ‘Eximperitus’ so I’ll use that.
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EXIMPERITUS Streams New Record Meritoriousness Of Equanimity, Reveals Lineup
#EXIMPERITUS #StreamsNewRecordMeritoriousnessOfEquanimity #RevealsLineup #deathmetal #brutaldeathmetal #album #lineup #MetalInjection #metal #music
#TheMetalDogArticleList
#MetalInjection
EXIMPERITUS Streams New Record Meritoriousness Of Equanimity, Reveals Lineup
#EXIMPERITUS #StreamsNewRecordMeritoriousnessOfEquanimity #RevealsLineup #deathmetal #brutaldeathmetal #album #lineup #MetalInjection #metal #music
Far be it from me to deny a band the right to representation under their full government name. However, Belarusian tech death entity Eximperituserqethhzebibšiptugakkathšulweliarzaxułum challenges not just SEO integrity, but also the sanity of all who would read its name. Good luck with that, too, because if you manage it, you’ll open a portal to an unfathomable universe of hellish delights. My bet is that nobody reading this accomplishes a successful pronunciation of Eximperitus’ full name before finishing this review, so onwards we go to examine the Meritoriousness of Equanimity!
In my review for Eximperitus’s last exhibit, Šahrartu, I cited the band’s refinement over their rough and jagged debut, the name of which is simply unsuited to anything other than an epic footnovel.1 This follows that same trajectory, further tightening and streamlining the Nile-meets-Necrophagist-meets-seven separate chainsaws sound that Eximperitus created for themselves back in 2009. Šahrartu’s trippy psychedelic twist remains intact as well, imbued deeply within Meritoriousness’ riffs, leads, and solos. Despite adopting a pace much less ballistic than Nile, Eximperitus instead views technicality as a vehicle to explore bizarre guitar techniques that create bonkers effects, allow for incredible density inside a more relaxed framework, and invite subsequent freakish antics on the percussive front. With all of this in mind, Meritoriousness is much more straightforward than Šahrartu, boasting a total runtime of 31 minutes and an average song length clocking in under 5 minutes per track. Thankfully, this minor tweak didn’t change Eximperitus’ penchant for protracted refrains, arcing tremolo melodies, and twisting, kaleidoscopic atmospheres.
Meritoriousness of Equanimity by Eximperitus
One thing I always appreciate about Eximperitus is its commitment to a high level of detail. Even in their most simplistic compositions, such as the transcendent “The Untimely Fruit of the Undead” and the stomping “Chalkionic Wandering Among the Wreckage of the Future,”2 brilliant little details like a popping clang of bass strings, a long, leisurely scrape across a fretboard, or a machine-gun snare fill continually focuses and intensifies my attention. Meritoriousness’ unorthodox way of opening makes for one brutal hook as well, as “One Step Long Infinity” riffs with great speed directly into a lumbering, chunky pound that introduces “Contemplation of the Plastic Fibers of Perfection at the Second Level of Reality” without an iota of ceremony. Almost universally operating inside the MENA double-harmonic scale, Eximperitus impresses with a wide gamut of riffs distinguished and elevated by dueling plucks that ping pong out of deep trembles across “Contemplation…” and “Golden Chains for the Construction of Individual Greatness.” Delicate melodies in “Twelve Centuries”3 make what would be a trite interlude a necessary palette cleanser for the more epic and sprawling “Finding Consistency in the Fourth Quadrant of Eternity,” which in its own right boasts delightfully bluesy leads, more than one of Eximperitus’ signature epic solos, and a new surprise: earnest, belting cleans! The ultimate result of such successful and smooth integration of innumerable notable points of interest is a rich, layered, and rewarding album experience.
Repeat spins deepen that sense of reward I get from investing my time with Eximperitus’ newest platter, but it also reveals one glaring omission: a climax. I’m not one to maintain that a climax is or should be the only goal of any experience, but Meritoriousness of Equanimity begs for one of the same caliber as Šahrartu‘s showstopper, “Inqirad.” While many, if not all, tracks on Meritoriousness boast big standout moments (the hammer drop at the final third of “The Untimely Fruit of the Unsaid,” the Wormhole-d riffing on “Golden Chains for the Construction of Individual Greatness,” all of “Chalkionic Wandering”) and spine-tingling passages (“Twelve Centuries…” and “Standing a the Skirt of the Ruins of Human Nature…”) that make this record so engaging, I know the level of epic high that Eximperitus are capable of creating, and it’s the one thing I miss here. Additionally, as much as I enjoyed the messy mix and noisy guitar tone on Šahrartu, on Meritoriousness, I fear it takes away a small measure of impact from some of Eximperitus’ more melodic or complex phrases. I’ll never wish for a clean Eximperitus record for as long as I live, but maybe just a touch less grime would help in this case.
Now that I absolutely embarrassed myself on word count, thanks to Eximperitus’ variously egregious song names, I can finally wholeheartedly recommend Meritoriousness of Equanimity. Hooky, technical, mystical, and majestic, Meritoriousness continues the otherworldly assault that these Belarusian curiosities initiated almost 20 years ago, but with greater refinement and exactitude than ever before. A worthy successor to Šahrartu, it lacks only a showstopper to secure its unrelenting takeover of my listening rotation. For those to whom that’s no impediment, I wish you well as Meritoriousness of Equanimity steals you from this mortal coil with disturbing ease.4
Rating: Very Good!
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Willowtip Records
Websites: eximperitus.bandcamp.com | facebook.com/Eximperitus
Releases Worldwide: January 30th, 2026
Vokodlok – The Egregious Being Review
By Kenstrosity
Hailing from Romania and dealing in Transylvanian mythology, Vokodlok began life as a raw black metal band. Their debut, Mass Murder Genesis, represented that genre in all its sonic roughness, featuring guitar tones worthy only of magnetic tape, a bona fide trash can lid snare, and croaking rasps galore. Shortly after that debut dropped, Vokodlok called it quits until reforming in 2018 with a slightly restructured lineup. But that’s not the only thing that’s transformed since their rebirth. What alchemic concoctions lay in store for this latest incarnation of Vokodlok? Only this sponge can tell, as I dive deep into sophomore outing The Egregious Being.
What once was true blue raw black is now but a ghost. 2025 sees Vokodlok exploring a starkly different sound, sharing much more in kind with death and thrash metal, although still dusted in cold soot. In the spirit of this metamorphosis, The Egregious Being hones in on fast-paced, chunky riffs and thrashy rhythms. Vokodlok’s production shifted to reflect this updated style, warming up considerably—certainly enough to defrost the ice draping from those trem-heavy leads of olde and allow the hellish flame of death to bloom anew. Yet, much of this material retains a level of rawness that belies Vokodlok’s shapeshifting instincts, permitting listeners a window into these Romanians’ past selves and highlighting significant character development in not just their sound but also their songwriting.
This character development showcases Vokodlok’s versatility as musicians while still exhibiting a distinct voice that sets them apart from other bands in this space. Strong cuts such as “The Human,” “Death Terror,” “Bestiarium,” and “jagh ‘lw vlpoQ” explore that voice, but also apply tasteful notes of Death, Úlfúð, Eximperitus, Immolation, and Cell to ground listeners on familiar territory. Whether that influence takes the form of a swaggering lean (“jagh ‘lw vlpoQ”), a ripping classic death metal solo (“Death Terror”), riffs that straddle the fence between styles (“The Human”), or a multifaceted songwriting structure forged from the annals of black, death, and thrash metal combined (“Warzone,” “Bestiarium,” “Denizen”), The Egregious Being thrives on adapting touchstones of multiple disciplines in synchronized unity with their own creativity. More melodic cuts like “The Faces Within” further enliven the experience in its light-footed agility through more exuberant musicality, but it’s never so jubilant or expressive as to create distance between that and their darker, moodier pieces (“The Monster,” “Disdain”).
If there was one aspect of Vokodlok’s songwriting that pulls the material down, it’s their penchant for repetition and ungentle transitions. Blunt force constitutes the majority of these songs’ movements between themes, riffs, and verses. Some tracks, like “The Faces Within” and “Death Terror,” smooth these out a bit more and thereby create fluidity without compromising extremity. However, abrupt and, at times, jarring moments create an unpleasant roughness to this ride that never threaten enjoyment, but sometimes immersion (“Denizen”). Of course, this isn’t helped by the odd production, personified by a weird mix of warm, modern, and murky tones. Not altogether disruptive or bothersome, a handful of motifs across the record seem notably simplistic or overly repetitive in relation to others. While this in and of itself doesn’t warrant much concern, considering Vokodlok’s high level of quality across the board, it creates a disconnect from more intricately constructed or richly layered compositions. In those instances where a single track represents both sides of this dichotomy, any such rift between one moment and another poses the greatest threat to my enjoyment (“Disdain”).
Overall, The Egregious Being is a pleasant and quite unexpected surprise. Where I had every reason to anticipate something raw, ragged, and sloppy (on purpose), I instead received something fresh, well-developed, and mature. The Egregious Being may not be a perfect record, but it does illustrate a willingness to evolve and grow into something more unique, more substantial, and altogether more engaging. If this is just the beginning for Vokodlok, then the future is bright!
Rating: Very Good
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Self Release
Websites: vokodlok.bandcamp.com | facebook.com/VokodloK-1429971080417504
Releases Worldwide: March 14th, 2025
#2025 #35 #BlackMetal #Cell #Death #DeathMetal #Eximperitus #Immolation #Mar25 #Review #Reviews #RomanianMetal #SelfRelease #TheEgregiousBeing #ThrashMetal #Úlfúð #Vokodlok
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
Moshville Times World Tour: “B”
Heavy metal, with its thunderous riffs and powerful vocals, knows no borders. From iconic acts to emerging talents, countries beginning with the letter "B" have birthed some incredible metal bands. Here are five must-listen heavy metal acts from these nations that are destined to leave you headbanging
https://www.moshville.co.uk/feature/2023/10/moshville-times-world-tour-b/
#Features #Aborted #AlcoholikaLaChristo #Eximperitus #Lunacyst #Sepultura
Your Future Ex
Tom Roberts
🤘 The Metal Dog 🤘
Moshville Times
Angry Metal Guy
