Ignobleth – Manor of Primitive Anticreation Review By Spicie Forrest

You may note that I haven’t published a full review in more than a week. You may also note that my most recent contribution to AMG Productions was a ranking for the best of death metal’s old guard. You may peek at the score below and question my ability to remain objective in light of my recent musical diet. But worry not, dear reader! Objectivity is my prime objective, Fairness and Justice my guiding lights. You can rest assured that this review of Ignobleth’s debut LP, Manor of Primitive Anticreation, contains naught but Unbiased and Very Correct Opinions™.

Hailing from northern Italy, Ignobleth peddles a unique blend of black and death metal. This trio, comprised of A.L. on guitar, A.B. on bass and vocals, and M.O. on drums, combines the esoteric psychosis of Ritual Ascension with the grime and filth of Rotpit and an HM2 pedal. The result is a worship service held in the darkest recesses of a city sewer system. Murky, mangy riffs echo and multiply as they careen down lightless, sweating passageways, and haunted rasps reverberate in the mire. Together, Ignobleth creates an oppressive and turbid atmosphere, most acutely felt on “Proselyte Pig I” and “And the Lunar Mass Shatters.” The loping, swinging main riff of the former evokes gothic, vaudevillian horror, while M.O.’s icy kit work on the latter encourages eldritch panic.

Speaking of M.O., his percussive assault is perhaps the highlight of Manor of Primitive Anticreation, but not for the reason you might think. Indeed, he effortlessly oscillates between blackened blasts, death-infused rhythms, and punky beats (“Warped Abyssal Architecture,” “Forked Tongues”), but the predominance of the drums here is largely a result of a very subpar production job. Vocals and drums are centered on an unnecessarily wide sound stage with strings as far left and right as they can go, and as a result, each track feels less like a cohesive song and more like instruments playing at the same time. And while A.L.’s guitar is fairly clear when spotlighted for leads and hooks, the second the rest of the band joins in, it becomes barely audible mush. Prime examples include “Obelisk of Deformity,” which, during faster paced sections, becomes a wall of indeterminable sound, and “Proselyte Pig II,” which drowns its main riff in vat of sludge, such that I can barely hear more than two notes when I know A.L. is playing several more.

Would that the woes of Manor of Primitive Anticreation stopped there. Ignobleth includes an intro and three separate interludes on an album spanning only 11 tracks (“Intro,” “Spores,” “Interlude: Lecherous Sex Magick,” and “Manor of Primitive Anticreation”1). Interludes and ambient pieces can work, but here, they’re little more than minorly spooky synths, garbled spoken word, and choral bits that annoyingly interrupt the main course. Manor of Primitive Anticreation boldly includes even more ambience in the outro of “And the Lunar Mass Shatters,” and the last two minutes of album closer, “Among the Seventy-Two Embalmed Ekpyrotic Gods.” Even if the pacing were tighter and less stilted, the songwriting itself leaves much to be desired. Repetition runs rampant through the album (“Among…,” “Proselyte Pig I,” “Obelisk of Deformity”), blunting riffs and passages that could have bitten much harder. There’s also an overreliance on wordless howls over mildly furious instrumental sections. It’s so frequent that song structures seem composed almost entirely of bridges and solos with few verses or choruses to be found, compounding the album’s repetitive tendencies.

This has been a frustrating album to work with. While Ignobleth’s tone is deliciously vile, the songwriting and production leave me deeply disappointed. Over several spins, I got the distinct impression that Manor of Primitive Anticreation isn’t blackened death metal so much as something that sounds vaguely like it. It’s fine in the background, but direct attention reveals it to be a shallow imitation. Much of Manor of Primitive Anticreation seems geared toward a live audience—song structures, tone, prevalence of blast beats—and I have no doubt that it fucks quite hard in such a setting. Unfortunately, this style does not translate well to a studio production, much less the review process.

Rating: 1.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Caligari Records
Websites: Bandcamp | Instagram
Releases Worldwide: April 17th, 2026

#15 #2026 #Apr26 #BlackMetal #BlackenedDeathMetal #CaligariRecords #DeathMetal #Ignobleth #ItalianMetal #ManorOfPrimitiveAnticreation #Review #Reviews #RitualAscension #Rotpit

Frozen Soul – No Place of Warmth Review By Kenstrosity

Texan five-banger Frozen Soul crept into my promo pile back in 2021 with their glacially imposing Crypt of Ice. Unfortunately, I missed covering the improved follow-up Glacial Domination properly, relegating it to a Filter blurb instead. But that’s no excuse for Century Media to withhold No Place of Warmth from me when it was time. No matter, because Frozen Soul deserve a full-bodied tongue bath from this hot-blooded sponge, and I intend to give it with great relish.

The Frozen Soul formula carries over into No Place of Warmth, but evolves incrementally just as Glacial Domination did three years prior. As these homo glaciali continue their ascent into a full upright stance, their Bolt Thrower-meets-Sanguisugabogg-meets-Rotpit riff orgy enters a new realm of ferocity, carrying a murderous momentum and relentless grooves across a dick-skin-tight 35 minutes. Vocalist Chad Green puts down a vicious performance of caveman roars, rancid rasps, and infectious barks. Matt Dennard pounds the mammoth skins with a single-minded bludgeoning that oozes blood, pus, and attitude. Bassist Samantha Mobley, always rumbling beneath these well-tread tundras, anchors the affair in muscular heft and scalpel precision (though the unforgiving compression in the mix makes her great work difficult to make out in many listening environments). Most importantly, however, are guitarists Chris Bonner’s and Michael Munday’s unflappable riffs and infectious hooks. Familiar perhaps to a fault but nonetheless brutally effective, Frozen Soul’s guitar work crests a summit on No Place of Warmth, generating heaps of energy with minimal tooling and using it to slam skulls into each other with devastating impact.

What more could you ask for in a stripped-down, meat-and-potatoes death metal record? A better mix, sure, but not much else. “Invoke War (ft. Machine Head)” brings Bolt Thrower aggression, anvils, and icepicks to my cranium with cold prejudice, leaving me a drooling mess whose only joy in life demands MOAR RIFFS. Thankfully, the slamtastic “Absolute Zero,” “Dreadnought (ft. Sanguisugabogg),” and “Skinned by the Wind,” along with mid-paced stompers “Chaos Will Reign,” “DEATHWEAVER,” and “Frost Forged” shoot overdoses of riff-laced adrenaline directly into my veins, reducing me to animalistic mindlessness. As that progresses, the urge to zoom becomes a new inconvenience in daily life, but Frozen Soul prepared for that. Rippers “No Place of Warmth (ft. Gerard Way),” “Eyes of Despair,” “Ethereal Dreams,” and “Killin Time (Until It’s Time to Kill)” roar and rage through flesh and bone with sleazy grooves that fit right at home at any local bar brawl, giving my overflowing energy reserves an outlet through fist and boot.

You might notice a rare occurrence in the preceding paragraph: I highlighted every song on No Place of Warmth to extol their virtues. This was no accident, as every track has something memorable and engaging to take away, but No Place of Warmth isn’t perfect. As mentioned earlier, No Place of Warmth is crushed pretty heavily. Consequently, Samantha’s bass struggles for audibility—despite offering ample textural heft—behind chunky guitars and ferocious roars. With a little less compression and a few tweaks to instrumental positioning, her input would be heard more fully and thereby make even greater impact. Additionally, Matt Dennard’s bass kick feels a bit plastic, creating a bit of tactile unpleasantness during initial spins. In other areas, the album’s various guest spots don’t stand out as distinctly as a guest spot should. It took a few spins to nail down Machine Head’s contributions to “Invoke War,” especially, and Gerard Way’s unexpected blackened rasps deserve greater presence, too. I still can’t confidently pick out Sanguisugabogg in “Dreadnought,” though it is a killer tune. As a criticism, this mostly points to a thoughtfulness in features that Frozen Soul neglected, but that they might easily rectify with more intentional writing that gives those features more significance and definition going forward.

All told, No Place of Warmth is more than just rock-solid Bolt Thrower worship. It is a consistently entertaining record tailor-made to ensure gains in the gym, incite massive mosh pits in any given venue, and cause spinal trauma to any receptive passers-by. It’s nothing new, and nothing groundbreaking, but its tectonic grooves and boundless vitality crack the crust regardless. Should you be in need of more quality death metal this year—and we all know you can never have too much—No Place of Warmth is a worthy part of a balanced breakfast rotation.

Rating: Very Good!
DR: 4 | Format Reviewed: PCM
Label: Century Media Records
Websites: Bandcamp | Official | Facebook
Releases Worldwide: May 8th, 2026

#2026 #35 #AmericanMetal #BoltThrower #CenturyMediaRecords #DeathMetal #FrozenSoul #May26 #NoPlaceOfWarmth #Review #Reviews #Rotpit #Sanguisugabogg #Slam

Stuck in the Filter: October 2025’s Angry Misses

By Kenstrosity

They say it’s going to be a harsh winter this year. They always say that, and it’s almost never true, at least not from where I’ve set up camp. However, no matter the weather I am a harsh taskmaster, doling out grueling hours, no pay or benefits, and probably the worst coffee on the planet to my dutiful minions. It takes a special kind of person, motivated by pure unadulterated greed to ravenously scour the filter for dusty, almost-forgotten gems like they do.

But we are thankful for them for being exactly that! And we also benefit, in the form of quality(ish) chunks of glimmery, shimmery metal. BEHOLD!

Kenstrosity’s Riffy Representation

Xaoc // Repulsive Summoning [October 31, 2025 – Edgewood Arsenal Records]

Xaoc’s history is one of the more confusing I’ve encountered in my time writing for this blog. After breaking up in 2008, a new lineup spawned in 2022 to record and release Proxime Mortis from the ashes of songs written pre-breakup, supported by Edgewood Arsenal. At some point this year, two more members spawned in anticipation of this new slab Repulsive Summoning. But the band’s labeled as Split Up already on Metallum? I don’t understand what’s going on there, but at least I can say that Repulsive Summoning is a turbo banger! These riffs are bonkers, full of verve and swagger, brimming with groove and muscularity. A happy mix of Vomitory and Dormant Ordeal, this Virginian outfit know how to throw down. Highlights like “Ave Solva Coagula,” “Antima Samskara,” “The Great Perfected Ones,” and the entire “Degenerate Era” three-part suite reduce my body into a fine slurry by the grinding, vicious power of their riffs alone. But the rabid growls, ballistic percussion, and meaty guitar tones contain more than enough fuel to propel those riffs across this tight and thunderous 35-minute runtime. It’s a simple record, built to beat me down and leave me broken and bloodied, but it’s also an effortlessly memorable affair that leaves me wanting more despite the mounting medical bills. Don’t sleep on Xaoc!

Andy-War-Hall’s Succulent Surplus

Canvas of Silence // As the World Tree Fell [October 31st, 2025 – Rockshots Records]

Finnish symphonic metallers Canvas of Silence describe themselves as “prog-influenced chorus metal,” and that description goes far in outlining their debut As the World Tree Fell. Their core sound resembles a progged-out Nightwish moonlighting as a melodeath band, committing ludicrous bombast on symphonic-heavy cuts like “The Great Unknown” and “Wayfarer” amidst a sharp Gothenburg riff attack in “Watching the World Tree Fall” and “Drown.” Canvas of Silence mete out a balanced approach of light and dark sounds between Theocracyesque prog-power (“One With the Wind,” “Humanimal”) and Madder Mortem-like gothic twists (“Drown,” “Anthem for Ashes”), all reined in by the commanding vocal presence of singer Loimu Satakieli.1 Sitting somewhere between Anette Olzon (ex-Nightwish, The Dark Element) and Agnete Kierkevaag (Madder Mortem), her impassioned and heavily-layered singing turns As the World Tree Fell into a smörgåsbord of lush, catchy and anthemic tunes of an uplifting, sing-along nature. Optimism permeates As the World Tree Fell, felt at a fever pitch on the enormous choral bridge of “Humanimal” and the folky power metal jaunt of “One With the Wind.” Even on lyrically dark/mournful passages like “Wayfarer” and “Garden of the Fallen,” Canvas of Silence deliver soaring, hopeful crescendos that at times reach Fellowship levels of good cheer. Canvas of Silence can craft sincerely beautiful moments, and though As the World Tree Fell’s production can be sterile and overly loud2 I am nothing but excited to see what these Finns can cook up next.

Spicie Forrest’s Punky Proferrings

Violent Testimony // Aggravate [October 17th, 2025 – Horror Pain Gore Death Productions]

Do you wish there was more grind in your life? Well, Cheyenne, Wyoming’s Violent Testimony just assumed you would. Combining the punky flair of Napalm Death with the lead foot ethos of early Pig Destroyer and Cattle Decapitation, debut LP Aggravate is 26 minutes of delicious grindy goodness. From the opening salvo of “God Complex Massacre” to the final detonations of “Hit N’ Run,” Violent Testimony shows absolutely no restraint. D.N.’s Gatling drums mow down everything in their path while T.W.’s serpentine bass clears the chaff and flattens any obstruction. Shrapnel propelled by N.Y.’s brutish, breakneck riffing can be seen burying itself in concrete walls, still quivering (“Rider in the Night,” “Psychotic Episode”). Caustic growls and vitriolic screams tear from T.W.’s throat at mach fuck (“Flashbang Celebration,” “Obligatory Manifestation of Infinite Grind”). With only two tracks exceeding the two-minute mark, Violent Testimony screams their piece with as much sound and fury as possible before moving on and picking their next bone with the system. This keeps Aggravate a lean, densely-packed offering. If you need to get pissed off right now and even the fastest death metal is too slow, Violent Testimony is all too happy to decimate the opposition with you.

Uaar // Galger og Brann [October 17th, 2025 – Fysisk Format Records]

Hailing from Oslo, Norway, crust outfit Uaar celebrates their tenth birthday by releasing their debut LP. Galger og Brann, which means “Gallows and Fire” in Norwegian, expands on the foundations laid by established acts like Skitsystem and Tragedy. With one foot firmly planted in black metal and the other in hardcore, Uaar unleashes a cacophony of rage unfettered. D-beats abound, courtesy of Truls Friesl Berg, creating a frantic, enraged atmosphere. Dag Schaug Carlsen’s blackened rasps are so cold they burn, matching the evil pall hanging over tracks like “Galeås” and “Den siste.” Post-flecked, Ancsty tendencies (“Alt Skal Brenne,” “Overalt”) peek through the feral hardcore riffage (“Håpet forsvinner”) of guitarists Erik Berg Friesl and Jon Schaug Carlsen, while bassist Stian S. Evensen provides the muscle to convince you these guys aren’t screwing around. Uaar is well-versed in their base genres, alternating between and mixing black metal and hardcore effortlessly. The occasional blues-tinged heavy metal lead—as in “Overalt” and “Dolken”—keep Galger og Brann from being a one-note affair. With a dearth of standout blackened hardcore releases this year, Uaar’s Galger og Brann is a welcome—if late—addition to the list.

Scorching Tomb // Ossuary [October 24th, 2025 – Time to Kill Records]

I’ll be honest, I’ve never considered Montreal, Canada, to be prime death metal territory. Luckily, Scorching Tomb doesn’t care what I think. Debut LP Ossuary is an aural violation born of Tren-induced hardcore aggression and filthy old school death metal. With a guitar tone (Philippe Lelbanc) like sandpaper and a bass like swallowing gravel (Miguel Lepage), Scorching Tomb plays in the same cesspools as Bloodgutter and Rotpit. We normally associate melted faces with guitar solos, but that honor belongs to whatever corrosive noises issue forth from vocalist Vincent Patrick Lajeunesse’s guts. Drummer Émile Savard loves a blast beat, often detonating them in short bursts to support an already bone-breaking assault (“Feel the Blade”). “Stalagmite3 Impalement” and “Sanctum of Bones (Ossuary)” are particularly savage, with tetanus-inflicting riffs and bloodthirsty screams threatening to drag you into the crypt to be used for meal prep. On “Skullcrush,” Sanguisugabogg’s Devin Swank perfectly matches Scorching Tomb’s vile depravity, cementing them as a promising new act in the scene. Ossuary is raging, muscle-bound, caveman death metal drowned in a vat of viscera and sewage, and it tastes incredible.

ClarkKent’s Gratifying Goodies

Sutratma // Adrift [October 3rd, 2025 – Self-Release]

While I didn’t purposely seek out more doom during my self-imposed month of picking only doom promos, Sutratma’s fifth full-length, Adrift, ranks as one of the better doom albums I listened to in November. This California four-piece has been writing funeral doom for 15 years, and it shows in their ability to craft effective melancholic slow-burns that strike a balance between melody and crushingly heavy. Adrift impresses straight out the gate with the piano-drenched “Wind and Sea.” This song nicely melds the sorrowful softness of the piano with punishing guitar riffs and impressive growls. Just like stalwarts My Dying Bride, Sutratma mixes growls with cleans, and Daniel Larios’s cleans effectively hit you right in the feels while the growls take on a more despairing note. There’s plenty of variety from song to song, with organs stealing the show on “Guiding Star” and a lovely melody on “The Great Bereaver” that builds up to a moving finale. Just like with Oromet, there’s a serenity to the music that is calming, and the skilled songwriting and musicianship lends a poignancy to it all. With the frenzy of list season upon us, it’s nice to have something like this to remind us that it’s okay to just slow down—even when an angry ape is berating you for more content.

Starer // Ancient Monuments and Modern Sadness [October 10th, 2025 – Fiadh Productions]

Josh Hines, the one man behind black metal project, Starer, has been very busy. Since forming Starer in 2020, he has released four EPs and now, with the release of Ancient Monuments and Modern Sadness, four LPs. I first became acquainted with this band on 2023’s Wind, Breeze, or Breath and was taken in by Hines’s aggressively atmospheric take on black metal. Ancient Monuments and Modern Sadness hits the ground running on “I Cry Your Mother’s Blood” with some aggressively catchy melodies. The aggression continues on “Il-Kantilena” with its icy riffs and pumping blast beats. Meanwhile, “The Field of Reeds” combines the black n’ roll of Fell Omen with the fuzzy reverb of atmoblack for a rollicking good time. Hines screams into the void as subdued symphonics add layers of melody, providing a surprising amount of depth to each song. Because of the frenetic pace, the 50-minute runtime flies right by, even as songs like “Song of the Harper” do their best to vary the tempo. For black metal, the production is lush and gorgeous, giving air to all instruments. The epic, ten-minute finale is the culmination of Hines’s ability to put together complex and compelling music that both excites by its aggression and dazzles with its atmospherics. Black metal fans should not miss this one.

Grin Reaper’s Haunted Harvest

Black Cross Hotel // Songs for Switches [October 31st, 2025 – Someoddpilot Records]

Three years after dropping their favorably reviewed debut Hex, keys-drenched and industrialized outfit Black Cross Hotel returns bearing Songs for Switches. 80s-inspired synths, mid-paced chugs, and dance-ready grooves pack neatly into forty-one minutes of grubby fun, sure to interest fans of Ministry and Killing Joke, or anyone with a predilection for leather. Where Hex boasted a wider assortment of tempos, Songs for Switches narrows its focus to mid-paced songs with a keener emphasis on keyboard melodies. Averting a direction that could have been limiting, Black Cross Hotel smartly sidesteps this by shaving down song lengths and arranging the tracks for optimal pacing. Individual moments across the album evoke Me and That Man (“Eyes from Nowhere”), Soulfly (“Blood Dance”), and Joy Division (“Typo”), casting an eclectic array of sounds into Mount Gloom to forge ten dangerously fun tracks. Though I liked the album at first listen, it took multiple spins for Songs for Switches’ distilled aesthetic to fully unfurl, and once it did, my appreciation redoubled. With a sinister atmosphere designed as much for pain as pleasure, Black Cross Hotel has readied your room for a night you won’t forget.

Miasmata // Subterrania [October 31st, 2025 – Naturmacht Productions]

Still hawking their distinctive blend of meloblack and heavy metal, Miasmata dropped sophomore platter Subterrania on what was one of the most congested release days of 2025.4 In addition to the recurring influences of Windir (“Die at the Right Time”) and Iron Maiden (the intro to “Subterrania” smacks of The X Factor), Subterrania adds a dollop of thrash into the mix. Opener “Those Who Cross the Flame” struts out with a punky riff that wouldn’t be out of place on an Anthrax record, while “Full of the Devil” tastes as much like Testament or Havok as Diamond Head. The beauty of Miasmata, both on debut Unlight: Songs of Earth and Atrophy and Subterrania, is one-man mastermind Mike Wilson’s aptitude to synthesize a mighty host of influences into a unique sonic palette all his own. As Sharky noted in Unlight’s review, Miasmata has a knack for remarkable restraint. Subterrania clocks under forty minutes, layering slithery riffs upon one another in a way that propels the music in constant motion, shifting and unfolding so organically that the album slips by before you realize it’s over (an especially impressive feat considering the self-titled closer’s near fourteen-minute runtime). If you missed Miasmata’s latest on release day, go rectify that. Don’t let Subterrania get lost to the underground.

Dolphin Whisperer’s Autumnal Anomoly

夢遊病者 // РЛБ300119225 [October 28th, 2025 – Self Release]

As if plucked into lucidity from amidst a hazy, proggy machination, РЛБ30011922 steps into its narrative—an exploration of a beloved figure in its creator’s life, including sound clips describing the trials through which she persisted—with an entrancing stumble. Through an understated math rock lens, tight kit rhythms with a tension-building hi-hat clashes strut against a loud and leading bass voice across 37 minutes of fluid guitar textures. Whether it’s the chunky fusion reminiscent of Hackett-era Gordian Knot, the playful rhythmic post-rock that evokes a band like toe, or the fuzzed-out punctuation that tell a prog tale as ’70s King Crimson would, 夢遊病者, also known as Sleepwalker, makes their love of sound as clear as their love of РЛБ30011922’s inspiration. In a setting this free and detailed, not a single moment of this one-long-song opus passes by without taking a moment to focus on a given performer’s escalation in the drama of the movement. Wielding short guitar solos as segues into popping double-kick trots, spoken word exposition as pedal switch-up opportunities, all leading to a crescendo of bent and bluesy expression, 夢遊病者 succeeds in more than just holding an audience captive with their jammy and heartfelt statement. РЛБ30011922, like the shorter form releases that have graced these halls before, will have you coming back time and time again to explore its sentiments, which feel both traced from a dream yet rooted in rich, earthly tone pleasures.

Saunders’ Slinky Sneaks

Enragement // Extinguish All Existence [October 31st, 2025 – Transcending Obscurity]

The back end of 2025 has thrown down some delightfully vicious, chunkified, and straightforward death metal gems, courtesy of the likes of Depravity, Glorious Depravity and Terror Corpse. Not to be discounted, Finland’s Enragement dropped their own intense slab of brutal death on fourth LP, Extinguish All Existence. Cutting with any pleasantries, Enragement get down to business, slamming through a tight, burly collection of Americanized death, keenly treading a balance between thuggish beatdowns, chest-busting blasts, slammy, pig-squealing grooves, and more traditional, though deceptively diverse brutal death fare. Despite the certifiably crushing formula deployed, there is an air of accessibility, perhaps attributed to the clean but suitably beefy production job, bludgeoning, addictive grooves and sinister currents of atmospheric melody flowing through the album’s riff-centric veins. Thrashy, straightforward bursts of fury are tempered by more technical flourishes and an impressively versatile vocal assault. The likes of Devourment, Deeds of Flesh, Dawn of Demise and Benighted are perhaps fitting reference points, however, Enragement blast their own path of uncompromisingly heavy destruction.

Stephen Brodsky // Cut to the Core Vol. 1 [October 3rd, 2025 – Pax Aeturnum]

There are a couple of ways to broach this latest solo endeavor from lovable rogue and Cave In/Mutoid Man mastermind Stephen Brodsky. Brodsky delivers refreshed interpretations of various ’90s hardcore songs, reimagined in acoustic form. Those familiar with the original compositions will likely have fun dissecting and comparing the original anthems. While others, such as myself, largely unfamiliar with the originals, can enjoy these polished takes in their reimagined form, without comparison. Over the years, I have developed a strong connection with Brodsky’s works and come to appreciate his softer, acoustic flavorings. The likes of Snapcase, Converge, Texas is the Reason, Threadbare and By the Grace of God are some of the acts covered with typical style, zest, and emotion. Brodsky’s expressive and emotive delivery showcases both a loving appreciation of the material and deeper emotional connection that bleeds through the often darker, melancholic vibes of the acoustic constructions. The collection is remarkably consistent and infectious, highlighted by Brodsky’s crisp and soulful acoustic playing and distinctive singing voice on standout cuts, including “Windows” (Snapcase), “Benchwarmer” (Lincoln), “Fissures” (By the Grace of God), “Farewell Note to This City” (Converge), and “Voice” (Sense Field).

Soul Blind // Red Sky Mourning [October 10th, 2025 – Closed Casket Activities]

Riding a familiar wave of early ’00s alt-rock/metal and ’90s grungy nostalgia, New York’s Soul Blind emerge with sophomore LP, Red Sky Mourning. Although they tread dangerously close to overt derivation of prominent influences, including Alice in Chains, Deftones, and Helmet, Soul Blind manage to just stay afloat on their own terms. The dreamy melodies, chunky alt metal riffs, and soaring, Cantrell-esque vocal melodies cultivate some earwormy hooks and fuzzy, 90s/’00s feels. Soul Blind possess a knack for writing textured, mildly sludgy, infectious rock ditties, dabbling in shoegazing atmospherics, and sturdier alt metal territories along the way. Soul Blind relish in AIC inspired earworms (“Dyno,” “Hide Your Evil”), grittier, more aggressive alt metal fare (‘Billy,’ “New York Smoke”) and airy, indie pop-rock (“Thru the Haze”). Soul Blind have work to do to stand out from their influences and develop a more unique sound and robust character. However, the signs are positive for better things to come. Red Sky Mourning is a solid throwback album and handy companion piece to the equally nostalgia-inspired album from Bleed earlier in the year.

#2025 #Acoustic #Adrift #Aggravate #AliceInChains #AmericanMetal #AncientMonumentsAndModernSadness #Ancst #Anthrax #AsTheWorldTreeFell #AtmosphericBlackMetal #BlackCrossHotel #BlackMetal #Bleed #Bloodgutter #ByTheGraceOfGod #CanadianMetal #CanvasOfSilence #CattleDecapitation #CaveIn #ClosedCasketActivities #Converge #Crust #CutToTheCoreVol1 #DeathMetal #Deftones #Depravity #DiamondHead #DormantOrdeal #EdgewoodArsenalRecords #Enragement #ExtinguishAllExistence #FellOmen #Fellowship #FiadhProductions #FinnishMetal #FuneralDoom #FysiskFormatRecords #GalgerOgBrann #GloriousDepravity #GordianKnot #GrooveMetal #Grunge #HardRock #Hardcore #Havok #HeavyMetal #Helmet #HorrorPainGoreDeathProductions #IndependentRelease #IndustrialMetal #InternationalMetal #IronMaiden #JapaneseMetal #KillingJoke #KingCrimson #Lincoln #MadderMortem #MeAndThatMan #MelodicBlackMetal #Miasmata #Ministry #MutoidMan #MyDyingBride #NapalmDeath #NaturmachtProductions #NewZealandMetal #Nightwish #NorwegianMetal #Oct25 #Oromet #Ossuary #PaxAeternum #PigDestroyer #ProgressiveMetal #ProgressiveRock #RedSkyMourning #RepulsiveSummoning #Review #Reviews #RockshotsRecords #Rotpit #Sanguisugabogg #ScorchingTomb #SelfRelease #SelfReleased #SenseField #Skitsystem #Snapcase #SomeoddpilotReocrds #SongsForSwitches #SoulBlind #Soulfly #Starer #StephenBrodsky #StuckInTheFilter #StuckInTheFilter2025 #Subterrania #Sutratma #SymphonicMetal #TerrorCorpse #Testament #TexasIsTheReason #TheDarkElement #Theocracy #Threadbare #TimeToKillRecords #toe #Tragedy #TranscendingObsurityRecords #Uaar #ViolentTestimony #Vomitory #Windir #Xaoc #РЛБ30011922 #夢遊病者

Pedestal for Leviathan – Enter: Vampyric Manifestation Review

By Kenstrosity

Depending on what you already know about the castle to your left and what it holds, this review will either come late, very late, or right on time (read: actually on time or only slightly late). That’s because Colorado’s goth-soaked symphonic brutal death upstarts Pedestal for Leviathan originally self-released their debut LP, Enter: Vampyric Manifestation, on Halloween. In short order, it was picked up for distro by Gurgling Gore Productions, who released it again digitally on November 14th (with physical cassettes dropping December 12th). Then, Personal Records also picked it up for yet another digi release, along with a compact disc release, set for December 12th. Having none of this information prior to picking up Personal Records’ promo for review, needless to say, I was confused and frustrated. However, Enter: Vampyric Manifestation was simply too cool not to write about, so here we are.

Pedestal for Leviathan is the answer to the question: how can I get truly superhuman gains in my Transylvanian vampire castle’s basement gym complex? Really, the question should be: how would I not secure superhuman gains when riffs muscular enough to impede movement are, in fact, often as strong as they look. Riff after beastly riff, in conjunction with positively ignorant percussive grooves, wreck spines and rip muscle fibers apart, while gothic organs, ominous bells, and plucky strings heal the damage wrought so efficiently that just as soon as it seemed like I was dead, I am reborn stronger than before. This is the core of Pedestal for Leviathan’s sound, and it’s a formula that bloody works. While the standard version of Enter: Vampyric Manifestation clocks in at a suspiciously tight 24 minutes spread across eight songs, the Personal Records edition boasts three extra bonus tracks, beefing the runtime up to a healthy 34 minutes. And, aside from a slightly tweaked guitar tone that shifts towards the blackened, each of these three additions fits perfectly in the sequence, making this version of Pedestal for Leviathan’s debut the most well-rounded and fleshed out choice.

That said, these ten tracks (excluding instrumental interlude “Snow Covered Monolith”) are a clinic in dark, but fun brutal death with a dramatic streak and a slammy attitude. Equal parts Tomb Mold, Rotpit, Bodybox, and Dracula, Enter: Vampyric Manifestation launches with two heavy-hitting beatdowns worth sinking my teeth into and drawing life essence from. With the downright sexy grooves churning out of “Summoning Sickness” and staining the whimsical sharpness of “Lycanthropichrist,” Pedestal for Leviathan deftly balance the cavebrained heft and guttural utterances of the br00tal with the rich and velvety textures of something more sophisticated in principle. With that balance comes lethality, as demonstrated by the sheer impact that late-album weaponized riff-machines “Karmic Recollection Mirror” and “Warlock Blacksmith” level upon my flesh and bone.

By taking something untamed and primal like brutal death metal, and using something softer and silkier to add shape and texture, the Colorado four-banger created an interesting, engaging, and above all, reconciled experience (“Sanctity of Retribution,” “Purgatory Displacement”). While a record in this category would work just fine without the organs, the strings, the choirs, and the bells (most of which are, expectedly, likely sampled sounds rather than real instruments), those extra baubles aren’t just for show. They add substance, character, and gravity to pivotal moments that punctuate riffs, contextualize phrase transitions, and enhance the spaces around metallic elements without crowding them unnecessarily (“Lycanthropichrist,” “Warlock Blacksmith,” “Nightshade Familiar”). The only exception is interlude “Snow Covered Monolith,” which amounts to pure fluff and offers little in the way of the aforementioned benefits.

Enter: Vampyric Manifestation falls shy of something groundbreaking, but reeks with weapons-grade stench on Pedestal for Leviathan’s behalf. If the group can capitalize on Enter’s bonecrushing successes while steering clear of pitfalls or missteps like “Snow Covered Monolith”—which disrupts as severely as it does in part due to the record’s brevity—or the odd shift in guitar tone in this version’s otherwise worthy bonus tracks,1 then I don’t see how Pedestal for Leviathan couldn’t alter the field in which they frolic. For now, though, be free and revel with great mirth under the shadowed, steepled glory that is Enter: Vampyric Manifestation.

Rating: Great
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Self-Release / GurglingGore / Personal Records
Websites: pedestalforleviathan.bandcamp.com | ampwall.com/a/pedestalforleviathan
Releases Worldwide: October 31st, 2025 (Self-Release) / November 14th, 2025 (Gurgling Gore) / December 12th, 2025 (Personal Records)

#2025 #40 #AmericanMetal #BlackMetal #Bodybox #BrutalDeathMetal #DeathMetal #Dec25 #EnterVampyricManifestation #PedestalForLeviathan #Review #Reviews #Rotpit #SelfReleaseGurglingGorePersonalRecords #SymphonicDeathMetal #SymphonicMetal #TombMold

Heads for the Dead – Never Ending Night of Terror Review

By Steel Druhm

Death metal “supergroup” Heads for the Dead left enough carnage in their wake over 3 full-length albums to make grave robbers take notice. Led by the well-traveled Jonny Pettersson (Rotpit, Wommbath, ex-Just Before Dawn, ex-Masacre) and featuring Ralf Hauber (Rotpit, Revel in Flesh) on vocals, you know to expect slimy old school death metal of the Swedish variety with an emphasis on scuzz and grime. We lavished praise on 2018s Serpent’s Curse and bade you not to miss 2022s The Great Conjuration. Now here comes the fourth pillar in their death edifice, Never Ending Night of Terror. Will their tried-and-trve old school formula still prove fatal to the soft, fleshy parts? That big-ass machete on the cover certainly suggests the risk of bodily harm is dire. But will it cut?

As lead track “The Vastness of Time” bursts into being, Heads for the Dead shove an entire buffalo cranium up your privacy hole without a hint of social lubrication. As I’m slapped silly by their deathery, I can’t help but be reminded of the glorious debut by Rotpit. It’s the same kind of caveman Swedeath delivered by Neanderthal throwbacks and designed to beat your mortal form into bloody submission. It’s heavy, nasty, and festooned with scabby riffs and rancid vocals. There’s an element of actual melody in here, too, and the band slather a horror movie vibe over the top of the bloody death metal meatloaf. It works without feeling forced, and that’s a win. “Phantasmagoria” is a mid-tempo tank treader that rumbles through walls, hopes, and dreams as you flee for your worthless life. This kinda stuff is why I’m here. “In Disgust We Trust” is a sticky biscuit of brutal Swedeath with that original Entombed stench wafting everywhere. It’s good, unclean fun for a fucked up family.

The one-two combo of “Give Me Life” and “Harvester” will peel the paint off your prized My Pretty Pony® collection with the obnoxiously primitive d-beat onslaught and assortment of riffs, chugs, and blasts. It’s not like Heads for the Dead are reinventing the steel, but they’re churning out military-grade Swedeath that will leave unsightly blemishes on your chesticles. Not every song hits with the same barbed wire wombbat, however. “Death Mask” is decent, but doesn’t stick with me aside from the opening threat that “You are all FUCKING DOOMED!” The title track goes all in on big horror ambiance, but it ends up more style over substance and leaves me wanting. Likewise, album closer “Witchkrieg” is intended as a tribute to famed horror soundtrack act Goblin, and features their kind of dated 70s synth noodling in the context of a death metal song. It’s fun but doesn’t completely gel. At 41 minutes, Never Ending Night of Terror has more ups than downs and doesn’t feel too never-ending, but some points do feel drawn out.

Jonny Pettersson handles guitar, bass, and keys. He’s an ace riff meister and delivers a bruising collection of Swedeath-style leads across the album. I’m a big fan of his beefy, burly mid-tempo power chugs, and he showcases some wild solo work at various points too. Ralf Hauber, the vocalist for Rotpit, does a very similar style of death croakery here. I’m a huge fan of his booming reverb-drenched delivery and how he sounds like a foul voice on the wind. Matt Molite of Sentient Horror rises from the wilds of Long Island to man the kit, and he abuses it and the listener with a thundering performance that will cause PTSD. Naturally, the presence of both Pettersson and Hauber does make this sound quite Rotpit-adjacent, but that’s fine by me. The horror aesthetics give it a somewhat unique identity, and most of the songs deliver basic but fun ear abuse.

Heads for the Dead are a consistently entertaining project from a highly seasoned crew of scuzz merchants. Never Ending Night of Terror has some A-list cuts and some lesser evils too, but overall it’s a solid dose of toxic goo with decent replay value. If you’re going to suffer a long night of terror this October, this isn’t bad company to do it with. When it comes to heads for the dead, you gotta catch ’em all.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Pulverised
Websites: facebook.com/headsforthedead | instagram.com/headsforthedead
Releases Worldwide: October 10th, 2025

#2025 #30 #DeathMetal #HeadsForTheDead #InternationalMetal #JustBeforeDawn #PulverisedRecords #RevelInFlesh #Review #Reviews #Rotpit #SentientHorror #Wombbath

Ashen – Leave the Flesh Behind Review

By Kenstrosity

Australian death metal troupe Ashen impressed me back in 2023, but not because their debut record Ritual of Ash was an especially good or groundbreaking record. Instead, their confident presentation, deceptively impactful songwriting structures, and subtly distinct approach to a weathered style of death metal struck me as a rare case. Where many acts that pedal peddle an HM-2 or adjacent style of death metal content themselves with base reproduction of common idols, Ashen merely use their influences as a foundation for their own voice. With more time to massage their songwriting further and strengthen their identity, Ashen prepare sophomore monster Leave the Flesh Behind, and it’s big.

Simple songwriting predicated on strict formulas leads to treacherous places riddled with pitfalls. Monotony, boredom, lack of identity, flatness, and toothlessness characterize countless records written by bands unprepared to navigate these pitfalls, but Ashen swerve and swivel around many of them. Of course, those familiar with Entombed, Dismember, or more modern acts like Wombbath and Helslave are bound to hear a familiar thread connecting Leave the Flesh Behind to the classic HM-2 sound and style. But with each of those categories, Ashen tweak and twist it with a gentle hand into a gnarled form, curling mid-paced stomps into knotty tangles of deceptively sophisticated riffs and mammoth grooves. Darker still than Ritual of Ash, Leave the Flesh Behind feels thoroughly ominous, dangerous, and unstoppable. Thanks to a production job that highlights the low end and scoops the midrange just a touch, Ashen’s sound creates a wide and airy soundstage. On it, Ashen’s crushing footfalls reverberate though the air with all the menace of an unearthly beast, heard but not seen.

As is the case with many records in my library, Leave the Flesh Behind’s title track is the perfect encapsulation of what Ashen do best. Mid-paced, but vicious, riffs richly layered in dark harmonies flood my synapses, compelling my neck to swing with a violence it was not designed to withstand. So satisfying is this track, in fact, that since my first spin, I haven’t been able to progress through this tight 39-minute runtime without spinning “Leave the Flesh Behind” at least twice. Similarly effective, “Ancestral Gate” and closer “Blood Offering” deal an effortless percussive swagger that contorts the muscles in my face into something grotesque and inhuman. Slower, moodier highlights like “Infinite Sea” and “Severed” showcase Ashen’s talent for off-kilter rhythms inside conventional time signatures and melody-driven, doomed riffs that nonetheless bare an intimidating spread of teeth. Best of all, Leave the Flesh Behind doesn’t wander even when it does slow things to a dying crawl, as vocal lines take center stage to add interest in much the same way Rotpit‘s did on Let There Be Rot.

As successful as Leave the Flesh Behind’s strongest moments are, some of what lies between doesn’t live up to its potential. None of these weaker moments heavily detract from the album experience individually. Rather, they accumulate. Most of this accumulation occurs at the center of the record, populated by a run of three songs between “Void Within” and “Reincarnate.” These lack the same verve and vitality of the songs bookending them, and could use sharper hooks. While competent on their own, the consequent drop in excitement and thereby momentum creates a stagnation where a burst of new life is needed instead. Passages in each song have the potential to resolve that issue had they been developed differently (see the deep trem-picked rumble in the final third of “Void Within,” or the Morbid Angel riffing meets Rotpit slime in “Ageless”), but as they are they can’t carry their respective numbers to the finish line.

Overall, Leave the Flesh Behind is a modest improvement on the already good Ritual of Ash, and a significant indicator of greater things still to come. Ashen strike me as a band that value continuous improvement, but also steady and controlled development. I’m not an especially patient man, but when I pick up hints of greatness from bangers like “Leave the Flesh Behind” and “Ancestral Gate,” I’m more than happy to wait for that special moment when Ashen drop a monstrous mastapeece. As far as I’m concerned, it’s only a matter of time.

Rating: Good!
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Redefining Darkness Records
Websites: ashendeath.bandcamp.com | facebook.com/ashendeath
Releases Worldwide: August 22nd, 2025

#2025 #30 #Ashen #Aug25 #AustralianMetal #DeathMetal #Dismember #Entombed #Helslave #LeaveTheFleshBehind #MorbidAngel #RedefiningDarknessRecords #Review #Reviews #Rotpit #Wombbath

ROTPIT presenta nou single: "Sore Parade" #Rotpit #DeathMetal #Agost2025 #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

Filth – Time to Rot Review

By Steel Druhm

Looks like Steel is in the infectious bacteria cultures again! And what do I find among the stained petri dishes but Sweden’s Filth. This upstart death crew may be young, but their style is old and decayed. Forsaking the formulas fatal to the flesh preferred by most Swedish acts (AKA DisEntombed shenanigans), the sound of their Time to Rot debut is all about slime-sucking morgue lickers like Incantation, Autopsy, and Disma. That brings it closer to Rotpit than any Left Hand Path you might make a wrong turn on. What Filth offer is scabby, cavernous hellscapes with beastial caveman riff violence oozing over all your weeping sores and into your maggot-infested ear sockets. This is why you came here, right?

Filth introduce themselves in savage fashion on opener “Odious Obsession.” This is the obvious album highlight and demonstrates why you need to worry about what Filth can do. It’s a swampy death chestnut with mucilaginous, basement-level vocals, punctuated by ridiculously fat, beefy power chugs that shake your foundations and loosen your bowels. There’s a goodly similarity to Rotpit, but all the infamous sleaze merchants of yore are honored in these grotesque body mulching sounds. This is what I need MOAR of, so pump this diseased cadaver goo right into my veins. The title track is less aggressive and more about a creeping, crawling mid-tempo slither with mucous-encrusted riff tendril slapping all within reach. There are also some wonderfully eerie, ice-cold, and atmospheric leads to make you feel alone and uneasy. It’s a bit too long in the snaggle tooth, but it’s effectively riffy, rotten, and rancid. “Live in Agony, Die in Pain” is also quite fierce, blasting and thrashing your ass into the dust before transitioning to shambling power grooves and then bringing out the doom hammer for some Incantation-esque dour dirgery. It’s all over the damn map tempo-wise, but it hangs together.

Unfortunately for Filth, when you offer up a short, under 30-minute debut, the songs need to hit above their weight to leave a bone impression. While nothing on Time to Rot could be considered bad, several tracks fall in that nebulous decent-to-good slot where there are cool pieces, but also some generic recycling of things you’ve heard many times before. I think “Flesh Dress” is entertaining, but it isn’t the kind of track I’ll be dumping onto playlists or forcing Madam X to endure on repeat. Closer “Emaciated” is another tune that has the goods at certain moments, but ends up feeling a bit standard issue when all is said and dead. This leaves Time to Rot with definite highs and a few middle-of-the-roaders with a semi-flat tire. I like what Filth are doing quite a bit, I just need them to operate closer to the level heard on “Odious Obsession” to really stand out from the cavern crowd. At a slim 29 minutes, you expect 6-7 bangers that stick to the roof of the skull, and the bulk of these creepers just miss that level of shitfun.

Riff-wise, Sebastian and Ismael come to kill and bring a respectable collection of nasty bits to the autopsy. The leads often feel like a slithering abomination from an H.P. Lovecraft pulper, and there are some effective efforts to pattern harmonies and solos on old-time horror movie soundtracks. That said, the concrete deforming power stomps on “Odious Obsession” are tough to top and you keep waiting for more of them as the album shambles along. Per handles both vocals and drums, and does a fine job at both. His death vocalizations are appropriately inhuman and seem to be emerging from some unholy crevice in the earth, and he’s scummy enough to sell the material properly. The talent is there for Filth, they just need to elevate the songcraft a few notches to get deeper into the body cavity.

Time to Rot is a brutish opening salvo by a young act with potential. It’s not always in high gear, but when it is, you’ll be impressed. The fact that even the lesser cuts still have enough gnarly to keep you from skipping them is a positive, and I don’t think Filth are too far off from taking the next step toward badass ass-kickery. I’m rooting for them to get even more filthy next time. I like it real dirty, baby.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Rotted Life
Website: mesacounojo.bandcamp.com
Releases Worldwide: July 18th, 2025

#2025 #30 #Autopsy #DeathMetal #Disma #Filth #Incantation #Jul25 #Review #Reviews #Rotpit #RottedLifeRecords #SwedishMetal #TimeToRot

Ritual Ascension – Profanation of the Adamic Covenant Review

By Dear Hollow

Profanation of the Adamic Covenant represents catacombs dripping with putridity and filth, the blasphemy called against the heavens from far below ground. It’s an upheaval from beneath our feet, the crawling and coagulant rot that spreads from abyss to abyss. The filth and blood clots our eyes, hearts, and minds, driving us deeper and deeper into the madness until our lungs are filled with mud. Ritual Ascension is transcendence and enlightenment achieved through the reveling and swallowing of the grime-soaked entrails through a vicious and ancient ritual, the lumbering deity whose mammoth footfalls and cloud of plague require payment in full. It’s a ritual to the god of the mud and disease, and a fist slammed into the underside of heaven.

Death/doom has many heads, but the one Ritual Ascension rears may be the ugliest. The Denver collective, alongside sharing all three members with Aberration, is comprised of members of Suffering Hour, Void Rot, Feral Light, and Annihilation Cult, promising a psychedelic affair inspired just as much by the classic death/doom acts of yore as the more experimental devastators. You’ll certainly find homages to Incantation, diSEMBOWELMENT, and Winter in its ten-ton doom hammers, but atop it is an opaque and occult breed of dissonant insanity reminiscent of Portal and a palpable filth only touched by the likes of Stenched or Rotpit, only kept in the realm of humanity by a palpable groove that reminds me of Ataraxie. Ritual Ascension offers the depths in ways few can, a collective far greater than the sum of its parts.

Crawling, slimy chaos is one hell of a first impression. Overload of down-tuned and filthy tremolo guide mammoth processions, whose dissonant constructions and atonal dirges provide a hypnotic otherworldliness. As displayed lumbering out of the gates, its attack is slimy, slow, and devastating, ultimately a feeling or a place rather than a collection of highlights – as any good doom album ought to be. From the subtle and simple chord progressions that dominate more minimalist pieces (“Womb Exegesis”) to the groovy and monolithic chugs that grace the climaxes of lengthy runtimes (“Pillars of Antecedence,” “Cursed Adamic Tongues”), interspersed by passages of blastbeats ranging from blazing to contemplative. DH’s vocals are a crucial element to the album’s subterranean and blasphemous atmosphere, ranging from the commanding chthonic bellows you expect from this breed of devastation to the tortured howls and groans more indicative of black metal.

If the first half of Profanation is subtle and crawling, then the second exists as utterly filthy slow-motion violence. I was initially disappointed that the Portal-isms were not as handily felt among the tracks of the first half, only gleaming in sporadic moments and within traditionally ominous diminished chord progressions. However, crossing into the second half with the scalding “Consummation Rites” and “Kolob (At the Throne of Elohim),” caustic slow-motion Ulcerate leads collide with the filthiest riffs Impetuous Ritual could muster, with DH’s most charismatic performances of the album. Unhinged and cutthroat are not words typically associated with doom, but the layers of overwhelm and dissonance meet the criteria with a bloodthirstiness and underlying craving for brutality. Looking back, it would have been relatively easy to incorporate the dissonant intensity in the first couple of tracks, but their later full fruition after a crawling crescendo makes them feel even more painful and overwhelming.

Even though the dissonance was not as immediate as I anticipated and the necessity for the patience required for this kind of beast goes without saying for its atmosphere – rather than a collection of songs – Profanation of the Adamic Covenant is transcendent. Encapsulating that crawling dread and ritualistic weight, monolithic groove, and dissonant layers in a tidy forty-eight minutes and held together by the dedication to unholy filth, it offers bounties aplenty for those willing to wade through the offal and mire. Bolstered by impressive performances in unpredictable percussion, riffs both mammoth and caustic, and vocals tortured and menacing, Ritual Ascension offers one hell of a debut. Get swallowed by the filth.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Sentient Ruin Laboratories
Website: instagram.com/ritualascension
Releases Worldwide: February 28th, 2025

#2025 #40 #Aberration #AmericanMetal #AnnihilationCult #Ataraxie #AvantGardeMetal #DeathDoomMetal #diSEMBOWELMENT #DissonantDeathMetal #Feb25 #FeralLight #ImpetuousRitual #Incantation #OldSchoolDeathMetal #Portal #ProfanationOfTheAdamicCovenant #Review #Reviews #RitualAscension #Rotpit #SentientRuinLaboratories #Stenched #SufferingHour #Ulcerate #VoidRot #Winter

CD-Review - ROTPIT - Long Live The Rot
https://www.hooked-on-music.de/review/cd-review-rotpit-long-live-the-rot/16141
#cd #review #rotpit #longlivetherot