When in skilled hands, death and grind go together like all the finest combinations, whether it’s peanut butter and chocolate, beer and pretzels, or good old mac and cheese. The tasty combo applies to the musical inclinations of Illinois wrecking crew Melting Rot, as they unleash their second LP and follow-up to 2021’s Blood Delusions debut. Admittedly unfamiliar before dredging this one up from the promo sump, the trio feature combined underground experience with various lesser-known acts, forming way back in 2017. Citing the likes of Regurgitate and Excruciating Terror as comparisons, and featuring a guest spot from Exhumed legend Matt Harvey, can these unheralded deathgrind loonies make a sizable impact in the ever-crowded realms of the underground?

Following a short sample, right off the bat, Melting Rot lay their gnarled cards on the table, unleashing a rugged, relentless frenzy of old school grind values and groovy, gnashing brutal death, complete with incomprehensible, uber low vox and occasional deeper variations or grindy highs. It’s a tight, violent, take-no-prisoners approach, done and dusted in a mere eighteen minutes. Melting Rot flip between d-beaten bursts and blasts of crusty grind, to thuggish brutal death depravity with raucous energy and tight musical chops. Revelling in the relative uncomplicated nature of their sound, Melting Rot draw influence from the likes of Exhumed, Carcass, and a more straightforward Benighted.

Sporting a robust, extra beefy production job, Infatuation with Premeditation boasts a killer guitar tone, cutting a nasty swathe of distortion and welcome oomph to the ample supply of meaty riffs and piledriving grooves littering the album. At their most potent, Melting Rot dish out gnarly examples of their bruising deathgrind attack. Barnstorming cuts like the viciously grinding, punkish throes and infectious riffs of “Human Pavement Splatter,” crunching grooves and ripping powerplays of “The Surgeon was Comatose,” and thrashing melodicism cutting through the otherwise blunt force savagery of “Aiming for Construction Workers” highlight Infatuation with Premeditation’s stronger writing. Not to be discounted, “Open Casket Vomit Spew” injects Necroticism-esque flair and crunch, while “Morbid Infatuation” adds buzzsawing Swedeath riffs into its punky grind skirmishes. It’s nasty, unsanitized stuff, refreshingly free from modern polish, ensuring the material retains its dirty, rusty edge.

There are no glaring weak links, just a handful of moments where the writing bleeds together slightly, leading to fleeting moments of faceless brutality. Meanwhile, the vocals are a mixed bag. The multi-pronged attack largely defaults to the predominant gurgling lows, while serviceable, they lack variation and are fairly one-dimensional and monotonous in delivery. When occasionally cut with the shattering highs and other lower growl variations, the vocal impact is more effective. Shifting the balance would have worked wonders. Otherwise, Infatuation with Premeditation ticks all the boxes for a rollicking good time for deathgrind fiends. The brevity leaves you wanting more, and while long-term mileage is debatable, overall, Melting Rot swing hard and largely nail the impact. The subtle dynamic shifts between their higher gears are well executed, while the album is fueled by relentless energy and filthy, bludgeoning riffs, packing a mean, headbanging punch.

Melting Rot delivered a punchy, efficient blast of deathgrind goodness on Infatuation with Premeditation, featuring a short, sharp collection of nuggety brawlers falling in the solid to very good bracket and hinting at potential greatness to come if Melting Rot continue to sharpen and hone their songwriting skills. As it stands, Infatuation with Premeditation is a strong 3.0, an entertaining platter and recommended listen for deathgrind enthusiasts who like their deathgrind extra riffy and their grooves bloody and beaten.



Rating:3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Hells Headbangers Records
Websites: Bandcamp | Facebook
Releases Worldwide: March 27th, 2026

Golem of Gore – Ultimo Mondo Cane Review

By Saunders

Metal burnout can be an unfortunate affliction that strikes most metalheads at various stages. The condition works in mysterious ways, and not necessarily in the ways you might expect. For example, my recent rotations have not abandoned metal entirely, but the urges of extremity have been largely repressed, aside from an unhealthy and wonderfully nostalgic Acid Bath binge. What better way to forcefully treat the matter than plunging into the deepest, ugliest depths of the promo sump to retrieve a grimy, rancid underground act set to help pummel me back to my metallic senses. Unheralded Italian act Golem of Gore specialize in rank and indecent goregrind mixed with brutal death mayhem on second full-length, Ultimo Mondo Cane. Taking cues from the likes of early Carcass, Blood Freak, and Regurgitate, Golem of Gore plant their acidic tongues firmly through rotted cheeks. The goresome foursome wield their gnarly, rusted tools of the trade to create some blood and guts spattered shitfun for underground gorehounds to chomp into. Let us see if this form of extreme depravity can remedy the burnout funk.

Firstly, this kind of humorous, over-the-top goregrind needs to be taken with a grain of salt. Incomprehensible gurgling grotesqueries and shattering screams make up portions of the violent vocal onslaught, cutting ugly, puckered paths through blast-heavy percussive assaults, brutal goregrind riffage and punky attitude. Each short, sharp ditty bleeds into another, best absorbed as one wet, sloppy stream of brutality across the album’s fairly meaty 37-minute rundown (at least for their chosen style of carnage). Song titles win points for silly inventiveness, as a sample-laden intro track unsubtly morphs into the no-holds-barred, unforgiving blast of “The Fragrance of Pus-Filled Eyes of the Dead.” The song is an in-your-face blast that largely forgoes hooks for white knuckled extremity. While a suitably crunching beginning, Golem of Gore function most effectively when they mold greasy hooks and d-beaten punky edges to the sewer-dwelling bouts of lowbrow brootality and ludicrous vocal eruptions.

While the songs tend to bleed into one vomitous mass of goregrind mayhem and occasional samples, the wacky ride is littered with some undeniably fun moments. “Withdrawal Crisis – Through the Keyhole of Madness” possesses a mean, nasty grind streak, as glass gargling vox, feral grooves, and frantic riffs rise above the album’s more run-of-the-mill songwriting. Numerous songs revel in their blastastic, relentless brutality and vocal obnoxiousness, unfortunately at the expense of memorable riffs and engaging compositions. When a sick groove, catchy riff, or memorable segment pops up, it reminds the listener of Golem of Gore’s potential as skilled purveyors of utterly nasty goregrind. “Chronic Obstructive Caustic Vomit” leverages its machine gunning blasts and brutal death throes, with vicious hardcore grooves and genuinely catchy riffs. Sadly, the songwriting cannot quite match the ambitions of what feels like a lengthy runtime, which lags on occasion and overstays its welcome.

Imbued with a sloppy, amateurish charm, Ultimo Mondo Cane finds Golem of Gore having an apparent blast with the subgenre’s intentionally grisly, offensive, and over-the-top nature. Ultimo Mondo Cane has an endearingly DIY underground aesthetic in both production and delivery. Sure, the drums sound kind of shitty and distracting, and heavier swarms of noise lack definition, but sonically, the rough around the edges, messy production fits the band’s violent sound well. Overall, there is the makings of a solid album buried under the ooze and occasional more inspired and infectious moments. When they decide to lean into their thrashy impulses and showcase more rhythmic and vocal variation, such as those displayed on “The Slasher in Black Latex – Acrid Aroma in Tenebris,” the formula carries more substance.

Golem of Gore crafted a ludicrously overzealous, manically fun slab of goregrind madness to appease the most dedicated of underground gorehounds. However, for all of its relentlessly filthy caveman brutality, outrageously mucky vox, and fun, boneheaded vibes Golem of Gore fall short in the songwriting department to warrant a hearty recommendation. Mileage will vary for goregrind enthusiasts, however, for all its ugly charms Ultimo Mondo Cane is an occasionally fun but ultimately disposable platter of splatter, albeit one to recalibrate my extreme urges.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Everlasting Spew Records
Websites: Bandcamp | Facebook
Releases Worldwide: May 30th, 2025

#25 #2025 #AcidBath #BloodFreak #BrutalDeath #Carcass #EverlastingSpewRecords #GolemOfGore #Goregrind #ItalianMetal #Regurgitate #Review #Reviews

“Most People Are Nothing but #Mindless #Parrots”

Let’s be real—most people don’t actually think. They just absorb whatever garbage their favorite #influencers, #news sources, or #socialcircles feed them and #regurgitate it like brain-dead parrots.

https://cavemancircus.com/2025/03/10/most-people-are-nothing-but-mindless-parrots/

CW: #vore #Regurgitate

Bee predators that swallow their prey and hold them inside their abdomen gut where the prey gets sloshed and coated in honey.

The bee goes and finds either a bear or honey badger and regurgitates the honey glazed prey to feed the honey seeking predator.

regurgitate...

#regurgitate #open #mouth #hippo #underwater #spaceshuttle #swallow #animatedgif