This week is flyin'. https://hyperdontiaofficial.bandcamp.com/album/excreted-from-the-flesh

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Hyperdontia
12.11.2025 Berlin / Neue Zukunft

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HYPERDONTIA Streams Brutal New 7', Dormant Scourge
Hope you like your death metal filthy. HYPERDONTIA Streams Brutal New 7", Dormant Scourge appeared first on Metal Injection.

https://metalinjection.net/av/full-album-stream/hyperdontia-streams-brutal-new-7-dormant-scourge

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Blood Monolith – The Calling of Fire Review

By Tyme

Shortly after exiting Vastum in 2023, Shelby Lermo (Nails, Ulthar) moved cross country to Northern Virginia and enlisted the talents of guitarist Tommy Wall (Undeath) to partner in writing music for a new project, the goal being to ‘create something even uglier, weirder, and more aggressive’ than Vastum. To that end, Lermo also recruited Genocide Pact bassist Nolan and Brain Tourniquet drummer Aidan Tydings-Lynch to round out the lineup for his new-kids-on-the-death-metal-block band Blood Monolith and its Profound Lore Records debut, The Calling of Fire. Birthed of such heady death metal ancestry as they are, I didn’t figure talent would be an issue. Still, I was curious about how Blood Monolith planned to separate itself from the great works of its members’ main gigs and to stand out in a genre full of dense competition. Complete with very cool cover art courtesy of Rudimentary Peni‘s1 Nick Blinko, we’ll see if The Calling of Fire‘s death metal is a towering inferno or a fizzling flame.

Speedy and straightforward, The Calling of Fire relies more on velocitous brute force than dissonant atmospherics to make its point, which is one more weighty than weird. “Trepanation Worm” kicks the door down right from the start with a battery of blast beats, an arsenal of rapid-fire riffs and trilly runs, and Lermo’s menacing death roars holding sway over it all. What that opener brings to bear is precisely what you can expect from the rest of Blood Monolith‘s debut. Comparatively speaking, there are vigorous nods to the past ala Cannibal Corpse (“The Owl In Daylight,” “Slaughter Garden”) alongside odes that recognize a newer generation and give me Hyperdontial vibes (“Pyroklesis”). Laid against the success of this assembly’s day jobs, Lermo’s quest to unite his death metal Avengers and outdo Vastum may have found the man going too hard, as once The Calling of Fire settles into what it does, there’s little else on the plate.

If one were to look up the definition of onslaught in some comparative death metal dictionary, a picture of Blood Monolith‘s The Calling of Fire may very well be pictured. In just under twenty-eight minutes, Blood Monolith invades your house, bashes your brains in with a cudgel, eats the desserts from the fridge, then kicks the dog and retreats before the cops can show up. Nearly void of desert oases, thirst-weary listeners can take respite in the occasional obscure film sound-bite and the two-punch combo “Apparatus” and “Cleansing.” The former’s intro—twenty-two seconds long—teems with a get-to-sleep-fast-app ambiance, while the latter’s outro—all forty-two seconds of it—repeats that synth-driven sleep-fast theme with low-volume guitar squeals and some static thrown in for diversity. Outside of these short-lived moments are riffs upon riffs upon solos upon blast beats upon guttural growls such that the whole begins to melt into a homogenous haze.

Blood Monolith‘s spotlight shines brightest on Tidings-Lynch’s excellent drumming and Lermo’s ghastly growls, who also spits a bevy of phlegmy hawks-sans-the-tuahs across The Calling of Fire for fun. While this might sound like a strength, it’s a flaw, and The Calling of Fire‘s loud mix is to blame. It is problematic because compression sucks a lot of the life from Lermo’s and Wall’s—what I believe to be intricate and technical—guitar work and renders nearly all of Nathan’s low-end contributions unnoticeable. There are moments of guitar goodness, whether it be the Kerry King-like soloing in ” Prayer to Crom” or the brief mid-paced passages of “Viscera Vobiscum,” that I swear, grab a cadence and some guitar lines from Bloodbath‘s “Soul Evisceration.” But even these moments aren’t enough to pull the overall effect out of the muck.

Lermo’s attempt to be uglier, weirder, and more aggressive than Vastum succeeds on aggression but little else. At first blush, The Calling of Fire feels like an in-your-face, full-on, balls-out death metal crusher; however, pushing play the fourth, fifth, and sixth time found me blurring everything together. There’s promise here, don’t get me wrong, and while I may be chastised for underrating Blood Monolith‘s debut, I stand behind my score. While it’s not entirely unworthy of your time, it’s also not landing on your year-end list, and certainly not mine. We’ll have to wait and see how hot the fire of Blood Monolith‘s next adventure burns.

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 320kbps mp3
Label: Profound Lore Records
Website: Bandcamp
Releases Worldwide: May 16th, 2025

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Phrenelith – Ashen Womb Review

By Alekhines Gun

In the early 2010’s, the world saw an explosion of the New-School-Old-School Revival of death metal. Spearheaded by outfits like Tomb Mold, Gatecreeper, Hyperdontia, and Undergang—to name but a few—this wave of bands represented taking the crust, filth, and savagery of your favorite genre founding fathers and launching them forth with wrath into of the modern era. Standing shoulder to shoulder near the front of this pack was Phrenelith, a Danish group whose debut Desolate Landscape made them scene darlings almost overnight. Unfortunately, sophomore release Chimaera opted for an increase in muck and atmospheric decor at the cost of some of their first album’s power, and was received somewhat divisively. Now, some four years later, Ashen Womb is prepared to drop like an anvil on their unsuspecting fanbase. Will they continue to dive into the murky wells, or has this womb been gestating a return to glorious, bone-powdering violence?

As it turns out, Phrenelith have opted for option C. The approach of Ashen Womb, in both music and sound, pitches for a merging of the melancholy of Chimaera with Desolate Landscape’s cement-shattering methodology to songwriting. The production sidesteps both previous releases, at once managing to be muddy in its tone with leads vibrant enough to cut through the mire. Making his LP debut, drummer Andreas Nordgreen quickly etches his identity into the band, flowing between creative drum fills from measure to measure, giving repeated refrains in “Chrysopoeia” and “Astral Larvae” an engaging quality. Much like the artwork adorning the cover, the more melodic tones are buried but bright, even as bassist Jakob plays in tandem with guitar leads rather than chords, laying riffcraft to savage the crust below. The atypically warm DR lets everything shine in this paradoxical sonic quagmire, creating the suffocating character Chimaera opted for without sacrificing the clarity of barbarity at work.

Older fans will be stoked to hear the return to immediate violence in the compositions. Lead single “Stagnated Blood” toys with a repeated riff at alternating octaves, stringing together hooks and character into a ruthless scorched earth assault. “A Husk Wrung Dry” rocks an infected 7/4 riff replete with whammy abuse and staccato-laced chords which slide from bouncy to bludgeoning. Guitarists David and Simon Daniel toy with bends, modulation, and sustained tapping sections recalling the more crystalline moments of Innumerable Forms, with Simon’s vocals a belligerent, reverb-soaked guttural soup. The vocals in particular are masterfully placed—both within the mix and the music—lyrical arrangement flawlessly adding titanic force to ruthless riffing while knowing when to be silent and let the music speak for itself.

Nonetheless, the specter of Chimaera looms betwixt the heavier moments, filling the negative spaces with gloom and somberness. Title track “Ashen Womb” and “Nebulae” end on repeated, haunting melodies, drawn out to a protracted conclusion. “Sphageion” serves as one of the better interludes I’ve heard, with tension-building distortion and Andreas breaking into a free-form drum solo which would go over swell in a live setting. Even the instrumental opener “Noemata” manages to carve an identity as a curtain-lifter rather than a pointless buildup, rendering Ashen Womb a journey rather than a mere collection of tracks. True, the atmospherics are sometimes heavy-handed; there’s no need to bookend songs with a cumulative couple minutes of Paysage d’Hiver-esque wind and sounds, and a minute could be trimmed off of both emotive fade-outs. Despite this, the mastery of seamless transitioning, rather than sandwiching of the disparaging elements gives Ashen Womb its own flavor in the Phrenelith landscape.

Few bands can manage to make each album its own time capsule of sound and style, but Ashen Womb accomplishes that and more, cementing Phrenelith as a band with chapters. Some may cling to the idea that Desolate Landscape is a collection of better songs, but Ashen Womb is a better album; a journey with highs, lows, and tension-building. By managing to merge the melodicism and mood with the brutality, rather than sacrificing one for the other, these Danes have continued to evolve their sound in an admirable direction. Who can say where the fourth release will take us? One thing’s for sure: it won’t be what any of us expect, other than a commitment to high quality, lethal weapons grade, unadulterated death.

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Dark Descent Records
Websites: https://darkdescentrecords.bandcamp.com/album/ashen-womb | https://www.facebook.com/phrenelith/
Releases Worldwide: February 7, 2025

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Hyperdontia:
🎵 Pervasive Rot

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https://hyperdontiaofficial.bandcamp.com/track/pervasive-rot

https://open.spotify.com/track/2kVc4j8IOvCJhQ8uFRECMx