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DC deathgrind ensemble No/Más formed almost a decade ago, pumping out a split, two EPs, and a full-length between 2017 and 2022. Four years later, No/Más assails 2026 from the jump, touring with Exhumed and Oxygen Destroyer as well as crackin’ skulls with their sophomore effort, No Peace. Stylistically similar to their debut Consume/Deny/Repent, No Peace offers listeners twenty-two minutes of throat-punching, toe-stomping aural hooliganism that’s as charming as it is confrontational. Does No/Más’ boisterous, acerbic approach leave listeners with a tolerance for their hijinks, or will they leave No Peace thinking, ‘no thanks?’

While No Peace manifests many upgrades from their (admittedly good) debut, the biggest win might be that No/Más firmly institutes their identity. The change isn’t drastic, and No Peace is a natural progression from Consume/Deny/Repent, but the sophisticated onslaught supplied on this sophomore sweep oozes with sneering confidence. Following in the footsteps of Nails, No/Más balances grindcore, death metal, and hardcore/crust tendencies with playful intelligence, weaving together Full of Hell’s caustic bite, Napalm Death’s thuggish simplicity, and Jungle Rot’s warped melodicism into a densely packed third of an hour. And if those touchstones aren’t enough, No/Más unleashes Sepultura-informed grooves and a slow leak of Pro-Pain into their secret sauce. Not to fret, though, because despite all the influences, No Peace presents as a unified vision, and one that will rouse languid listeners into a frothing fancy.

No Peace by NO/MÁS

No/Más’ instrumentation on No Peace sets a high bar with energetic performances, snapping necks with whiplash-inducing riffs and a license to thrill. Joe Vasta’s bass bounces and chugs with in-your-face rumbles throughout No Peace (“Abolition,” “Cycle of Sacrifice”), wielding a thick, surly tone that’ll rabbit punch you into head-banging if you’re standing still. Drummer Henry Everitt wallops the skins hard enough to rattle your ear bones, battering with furious fills (“Abolition”) and dropping to half-time backbeats (“No Peace”) as songs demand. It’s not all about the beatdowns, though, as No/Más injects a welcome helping of melody into No Peace. John Letzkus’ guitar slices through the faff to drench the album in a satisfyingly saturated buzz (“Act of Killing,” “Spineless”), though he also takes the reins and dazzles with efficient, arpeggiated leads (“Leech”) that I wish appeared more. Vocalist Roger Rivadeneira rounds out the quartet, shouting, growling, and screeching in a varied attack that demonstrates a willingness to experiment that was largely absent from Consume/Deny/Repent. In total, No/Más fires on all cylinders throughout No Peace, and never gives you a moment to come up for air.

With only twenty-two minutes on tap, No/Más leaves no room for inessential slop. And besides the half-minute intro flush with wall-of-sound static and indistinct yelling, they wildly succeed. As you’d expect from any decent grindy endeavor, no song pushes past its distilled essence, staying just long enough to rip and bludgeon before getting the fuck out of the way for the next track to exact its toll. No song eclipses the three-minute mark, and each exudes a rabid savagery that seethes with conviction. Additionally, No Peace sounds great—sure, the dynamic range scores low, but it’s exactly how this brand of overstimulating ass-kicking should sound. It’s well-mixed, abrasive, and highlights the rhythm section without sacrificing the sparse six-string fortitude. I wish there were a few more songs like “Leech,” partly because No/Más excels with the tunefulness, but also because I think it would address the biggest opportunity with No Peace—the compact composition allows little room for songs to establish unique flavors, leaving them to sometimes blur together. In the end, though, this is only a minor quibble, and there are many great moments to appreciate.

No/Más hasn’t redefined the DNA of deathgrind with No Peace, but they have contributed a worthy addition to its annals. Corrosive, pummeling bangers streamlined with minimal frills sum up to a blistering platter I’ve quite enjoyed. While I haven’t had the pleasure of seeing No/Más live, this crew boasts the hallmarks of a band that whips a crowd into a frenzy and ends with a broken bone or missing tooth. With twelve tracks running so lean, No Peace is helplessly easy to spin again and again. If they keep pumping out tunes this good, I can’t wait for what comes next. No más? No. Más.

Rating: Very Good!
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Redefining Darkness Records
Websites: Bandcamp | Facebook
Releases Worldwide: March 13th, 2026

I just bought my ticket for The Body / Full of Hell. So damn stoked, I cannot believe my luck that this tour makes a stop in Cologne.

#thebody #fullofhell

Fire in the Mountains 2026 expand lineup: SubRosa reunion, Full of Hell, Iggor Cavalera, and more

#FireInTheMountains #SubRosa #FullOfHell #IggorCavalera

Link: https://metalinsider.net/festivals/fire-in-the-mountains-2026-expand-lineup-subrosa-reunion-full-of-hell-iggor-cavalera-and-more

Full of Hell @ The Castle & Falcon, Birmingham - 11 Apr feat. Full of Hell, The Body, Jarhead Fertilizer + more

#SESH #FullofHell #TheBody #JarheadFertilizer

https://sesh.sx/e/1538446

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#MetalInjection
FULL OF HELL Splits With Guitarist SPENCER HAZARD

https://627e81c5fee2d202a5df846c.paas-p.smehost.net/news/breakups/full-of-hell-splits-with-guitarist-spencer-hazard

#FULLOFHELL #SPENCERHAZARD #SplitsWithGuitarist #guitarist #MetalInjection #metal #music

Primitive Man – Observance [Things You Might Have Missed 2025]

By Spicie Forrest

It’s been a decade since Primitive Man last graced these halls with 2015’s tepidly received Home is Where the Hatred Is, but they haven’t been idle. In the meantime, the Denver trio has released 2 LPs, a full-length EP, a split with Unearthly Trance, and a collab with Full of Hell.1 Those ten years were spent experimenting, learning, and honing their sound into something so incredibly bleak that not even the promo pit could contain such hopeless darkness.2 Released on Halloween, Observance sees Primitive Man both doubling down and branching out to offer their darkest work yet.

To assuage any doubts early, crushing despair is still the foundation of Primitive Man’s sound. Observance feels like being imprisoned and forgotten in a lightless pit. In an inverted format reminiscent of funeral doom, vocalist/guitarist Ethan McCarthy’s axe predominantly serves as a foil for others. He lays a nearly riffless foundation of maddening single chords (“Social Contract”) and maggot-infested buzzing (“Devotion,” “Transactional”) upon which bassist Jonathan Campos and drummer Joe Linden drive these sonic interpretations of the abyss. Campos is patient, waiting for the perfect moment to savage listeners (“Seer”) or waterboard them with molten tar (“Natural Law”). Conversely, Linden actively stokes fear through the hunt. Whether invoking the ritualistic horror of Choir (“Devotion,” “Social Contract”) or closing in to suffocate his victims (“Water”), Linden keeps listeners trapped in a waking nightmare. McCarthy’s inhuman bellows, like tortured screams rent from a caged beast, round out Observance, at once malevolent, feral, and seething with impotent rage.

Primitive Man knew it wouldn’t be enough to just shove listeners into that lightless pit; they filled it with fresh horrors, too. Filtered through their singularly despondent style, “Seer” quickly launches into a punky downbeat rhythm before giving way to the Primitive Man’s iconic dissonant hammering. “Social Contract” concludes in similar fashion, but starts with sinister wooden clapping and an ominous sample of an angry mob slowly losing control. After a blackened opening, “Natural Law” unleashes a furious, grinding salvo that’s all the more terrifying for the vicious howls McCarthy weaves through it. Of everything on Observance, it’s a new element that threatens sanity most: McCarthy’s deranged, utterly fucked lullabies (“Devotion,” “Transactional,” “Natural Law”). As if desperately seeking a reprieve that will never come, his guitar screams to itself the nursery melodies that once brought comfort and safety, now tainted and defiled in madness.

Primitive Man’s refinement of their signature death sludge and warped departures therefrom speak to a greater accomplishment: Observance demands your attention for all 68 minutes. By incorporating new elements, Primitive Man makes the style they’re known for shine all the brighter. By slimming down the ambient interlude (“Iron Sights”)3 and spreading it out among the proper tracks, Observance offers moments to reset and pray for salvation between nightmares. Enthralling from end to end, Observance is a harrowing experience that teases the sweet release of silence before dashing those hopes in evil, sadistic brilliance. If you didn’t like Primitive Man before, I doubt anything about this record will change your mind. This is the most Primitive Man that Primitive Man has ever been. But if you, like me, enjoy begging for light and being denied, Observance is your ticket to decadent, hopeless agony.

Tracks to Check Out: “Devotion,” “Natural Law,” and “Water.”

#2025 #AmericanMetal #Choir #DeathMetal #DoomMetal #FullOfHell #Noise #Observance #PrimitiveMan #RelapseRecords #Sludge #ThingsYouMayHaveMissed2025 #TYMHM #UnearthlyTrance

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FULL OF HELL Splits With Guitarist SPENCER HAZARD

https://metalinjection.net/news/breakups/full-of-hell-splits-with-guitarist-spencer-hazard

#FULLOFHELL #SPENCERHAZARD #SplitsWithGuitarist #guitarist #MetalInjection #metal #music

Gig Review: Cannibal Corpse Sacrificed the Paramount – 10/17/25

#CannibalCorpse #MunicipalWaste #FullOfHell #Fulci #GigReview #LiveReview #LivePhotos #Photos

Link: https://metalinsider.net/photos/gig-review-cannibal-corpse-sacrificed-the-paramount-10-17-25

Sanguisugabogg – Hideous Aftermath Review

By Owlswald

This review almost didn’t happen. As the recently demoted were scraping the last bit of slime off the bottom of the skull pit to prepare for the new haul of Fall promo, we inadvertently found Sanguisugabogg’s third full-length, Hideous Aftermath, submerged in the sludgy remains of two ex-n00bs. Mistakes were made for which we do do not apologize. These Ohio-based purveyors of grimy, gore-inspired brutal death may have a name worthy of the national Spelling Bee and a logo that looks like blood-soaked, tangled string, but these chaps know how to dish out the goods. Spawning from Maggot Stomping grounds in 2019, Sanguisugabogg’s tongue-in-cheek brutality has raised them up to the forefront of this fetid genre. After a debut EP built considerable buzz, Diabolus and Felagund found follow-up LPs Tortured Whole and Homicidal Ecstasy to be forthright and fun slabs of brutal death. Hideous Aftermath now signals a shift, honing their caveman chugs to embrace more expansive horizons, but in the end, it’s still big gory, dumb fun.

On Hideous Aftermath, Sanguisugabogg sheds the muddy textures of 90s death for a significantly sharper and more organic sound. This is largely thanks to stellar production by Kurt Ballou (Converge, Nails). After long self-producing, Sanguisugabogg trusted Ballou’s expertise1 to elevate their sound, ditching the split low-end signal of the guitar in favor of real bass (played by guitarists Cedrik Davis and Drew Arnold) to add a clearer, punchier low-end. The result is a loud, full mix that still allows every nuance of the instrumentation to shine through. From Davis and Arnold’s chunky, downtuned guitar grooves, to Devin Swank’s stomach-churning gutturals, to Cody Davidson’s flashy, intricate kit work (including the trademark snare ping), everything hits like a fucking tank. Tracks like “Erotic Beheading,” “Abhorrent Contraception” and “Rotted Entanglement” Vomit Forth a platter of the ‘Bogg’s familiar chugs and slams, while facets of Vile Rites progressiveness (“Sanctified Defilement”), Godflesh-tinged industrial (“Replusive Demise”), sludgy drawls (“Paid in Flesh”) and laser blasts (“Semi Automatic Facial Reconstruction”) show the foursome at their boldest and most creative. Despite this internal split, Hideous Aftermath is a welcome evolution for Sanguisugabogg and a good time to boot.

Let’s curb any potential misconceptions: while Hideous Aftermath finds Sanguisugabogg exploring new sonic territory, it’s first and foremost the same ugly, blood-thirsty, brutal death that existing fans know and love. Across ten songs, the ‘Bogg bludgeons the listener with an unrelenting assault of riffs, blasts, breakdowns and half-time stomps. Moments of respite are few before the artillery fire of Davidson’s brilliant, anchoring rhythms resumes the barrage. Davidson’s drumming remains the top highlight, elevating Sanguisugabogg’s songwriting with technical aggression through flawless double bass runs, Bran Dailor-esque (Mastodon) snare rolls and violence-inducing bell work. Standout front-half tracks like “Abhorrent Contraception,” “Rotted Entanglement” and “Ritual of Autophagia” showcase the group’s strongest material to date. Here, pummeling brutality meets discordant melodies (“Ritual of Autophagia”), swirling arpeggiations (“Rotted Entanglement”) and djenty gallops (“Felony Abuse of a Corpse”). Coupled with the injection of high-caliber guests,2 these new twists and turns give Hideous Aftermath’s material a different, fresh feel and I’m here for it.

While the first half of Hideous Aftermath proves Sanguisugabogg is capable of taking calculated steps forward, the record’s overall impact is weakened by its excessive 47-minute length and hesitant execution in the final stretch. The record feels front-loaded, with later tracks “Erotic Beheading,” “Semi Automatic Facial Reconstruction,” and “Sanctified Defilement” hindered by conventionality, lacking the strength and progressiveness of the album’s stronger material. Accordingly, Hideous Aftermath would have benefited from trimming two or three tracks to distill its best ideas. The ambitious industrial interlude “Repulsive Demise,” for example, feels awkward and out of place, while the sludgy ending to the otherwise solid “Pain of Flesh” drones on unnecessarily for four minutes, further underscoring the pacing issue.

But make no mistake—Hideous Aftermath is the best material Sanguisugabogg has released to date, largely succeeding in balancing evolution with tradition. The album confidently delivers the ‘Bogg’s trademark slams and neck-snapping grooves that longtime fans expect, while integrating new twists and turns that showcase a newfound artistic confidence. Though the final stretch wades too far into the deep end and keeps me from awarding Hideous Aftermath a higher score, the record sets a clear path for future greatness. It’s no longer a question of if Sanguisugabogg will ascend, but when.

Rating: Good!
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Century Media
Websites: sanguisugabogg.bandcamp.com | sanguisugabogg.com | facebook.com/sanguisugabogg
Releases Worldwide: October 10th, 2025

#2025 #30 #AmericanMetal #CattleDecapitation #CenturyMedia #Converge #DeathMetal #DefeatedSanity #FullOfHell #Godflesh #HideousAftermath #Mastodon #Nails #Oct25 #PeelingFlesh #Review #Reviews #Sanguisugabogg #VileRites #VomitForth