Contra Christum album the Belarusian 🇧🇾 Sodomic Baptism presents their most uncompromising work to date. Released via Brutal Records🤘

Review: https://www.ammo-underground.at/reviews/sodomic-baptism-contra-christum-2025/

#sodomicbaptism #brutalrecords #deathmetal #belarusianmetal #newrelease2025 #metalmusic

Relics of Humanity – Absolute Dismal Domain Review

By Saunders

Time to hit the reset button, shake off the writing funk, and forge on into a bold and hopefully killer year of metal. As easy as it may be to get caught up on the missed albums of a solid 2024 campaign or fall into the comfort of favorites and old classics, 2025 has already kicked off with a truckload of new releases to explore. Taking a random dip into the promo sump, I picked up the third LP from unheralded brutal death metal act Relics of Humanity. Hailing from Belarus and forming in 2007, these folks are hardly newcomers to the scene, although guitarist/chief composer Sergey Liakh appears to be the sole remaining member from their earliest demo days. Nevertheless, some experienced bandmates are in tow to fulfill his uncompromising vision. Despite various singles, a compilation, and EP release, the last full-length from the Willowtip-affiliated band dropped in 2014, so Absolute Dismal Domain marks a comeback of sorts, at least in LP terms. Coming off a particularly brutal, uncompromising year of deathly platters, can Relics of Humanity leave a bruising impression to warrant your attention?

Bruising is certainly one word that springs to mind when blasting this rugged, no-frills chunk of brutal death. Absolute Dismal Domain punches hard and takes no prisoners, favoring thick, viscous grooves and dirty, down-tuned pummels to bury the listener into the submission with brute force, rather than an abundance of speed or technical finesse. The gritty production and drum tones lend the album an old school underground vibe, as Relics of Humanity channel the nasty sewer-dwelling carnage of Devourment, coupled with the extra chunky riffs and grooves of underrated stalwarts Dawn of Demise. Pared down to a lean and appropriately efficient thirty-two-minute runtime ensures Relics of Humanity maximize impact, with majority of cuts falling in the palatable three-to-four-minute timeframe.

Despite boasting the right ingredients for a brutal slice of knuckle-dragging fun, the first few spins were underwhelming. The songwriting failed to stick beyond a surface level, and songs seemed to bleed unimaginatively into one another. However, under further inspection, there is a deceptively addictive mix of dank, unsettling atmospheres, subtle dynamics, and pure headbangable enjoyment to be pulled from the album’s filthy pores. Chunky, pile-driving heaviness and inventive drum work propels songs that rely heavily on doom-spattered chugs and mid-paced pummels, occasionally roughed up with thumping, in-your-face blasts and slammy, murderous grooves (“Taking the Shape of Infinity,” “Absolute Dismal Domain”). These serve to liven the pace, though the focus is more on crushing intensity rather than lightning-fast blasting. “Smoldering of Seraphim” is a fine showcase of Relics of Humanity’s strength of balancing slower tempos and uber-heavy riffs and grooves, with skull-cracking blast segments.

Favoring an all-out destructive approach, Relics of Humanity also add some sinister atmospheric elements, creating unsettling, otherworldly vibes. This is particularly evident on the bleak, apocalyptic touches illuminating “Paralyzing the Light II,” and sparse, ritualistic-esque experimental sounds emanating from closer “Dominion.” Rock-solid performances abound from the experienced line-up, upholding a tight, beastly framework. Drummer Vladislav Vorozhtsov’s work behind the kit is especially noteworthy. His punchy, thick double bass grooves are a constant focal point driving the album’s pummeling, groove-oriented approach. However, it’s his snappy snare work and inventive fills that add subtle complexities and flare to proceedings. Flo Butcher is the next man in line to take over vocal duties, in what appears an area of instability for the band. Butcher’s incomprehensible growls and nasty bellows cut an imposing figure, though the somewhat one-dimensional display and vocal forward mix are drawbacks. Speaking of the production and mix, while there is much to like about the unvarnished, extra-heavy sound and sick drum tones, the mix is uneven, drums and vocals tending to overshadow guitars that could use a sharper, meatier presence in the mix.

Overall, Relics of Humanity slam down a solid slab of brutal death to kick off the early days of 2025. The album features endearing moments of underground brutal death and blunt force menace to compensate for the less memorable aspects of their songwriting formula and production qualms. While unlikely to remain in heavy rotation, I have enjoyed my time with Absolute Dismal Domain. Though long-term satisfaction may be questionable, listeners craving a heaving dose of unclean, no-frills brutality might find the fix they require.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Willowtip Records
Websites: RelicsofHumanity.bandcamp.com | facebook.com/relicsofhumanity
Releases Worldwide: January 31st, 2025

#2025 #30 #AbsoluteDismalDomain #BelarusianMetal #BrutalDeath #DawnOfDemise #DeathMetal #Devourment #RelicsOfHumanity #Review #Reviews #WillowtipRecords

Crypt of Reason – Stargazer Review

By Maddog

Written by: Nameless_N00b_90

The death of a friend or loved one can spark an artist to pour their heart out. Swallow the Sun recorded the emotionally devastating When a Shadow Is Forced into the Light following the death of lead guitarist Juha Raivio’s partner, and Korn released their most mature and gut-wrenching album, The Nothing, following the death of Jonathan Davis’s wife.1 Belarussian Crypt of Reason joins this tradition with their debut album, Stargazer. Stargazer is an album 8+ years in the making, delayed by the sudden death of the band’s lead songwriter, Pavel Minutin, in 2016. Doom is a fitting genre for ruminating on death, yet Crypt of Reason doesn’t play straight-up doom. Will their blend of genres hit you in the feels?

Unlike Swallow the Sun, Crypt of Reason did not compose their album for the deceased but completed his mostly-written album using drafts and demos. Pavel’s vision was a dissodeath band in the vein of Ulcerate mixed with a healthy dose of doom. Stargazer’s first few songs mimic Ulcerate’s intensity, and vocalist Alexander Naumenko’s throaty growls are more than adequate. But Crypt of Reason is not just an Ulcerate clone. They play at the trudging tempo typical of doom but often switch it up with crunchier guitars and spunkier drums. On top of death/doom, Stargazer is shot through with a post-metal feel and hints of industrial. The guitars become whiny, and the vocals lose their edge in favor of a quiet wispy sound. These disparate genres sometimes blend within songs (“Lemma”), while other songs go completely one way or the other. “The Origin Curse,” with its soft guitar tone and minimalist sound, contains none of the trappings of a doom song, while “Argon,” with its discordant drum beats, goes full disso-doom.

The first three songs of Stargazer give the impression the album will be straight-up disso-doom, so it’s a shock when “Lemma” switches gears. Naumenko begins performing what I can only describe as a growly mumble rap. Then halfway through, he switches to his harsh vocals and the band plays some of the album’s best doom. Was the strangeness just a blip? Then “Savior” begins and it’s clear that the tone has shifted. This is no longer disso-doom, but a sort of post-nu-metal with hints of Mushroomhead.2 The drum beats become sparser and the lead guitars and synths more repetitive. Crypt of Reason even experiments with unusual sound effects, like a metronome in “The Origin Curse” and what sounds like a washboard in “Savior.” From here on, the album becomes like Dr. Jekyll and Mr. Hyde. Jekyll performs his growls and heavy doom, only for Hyde to come out of hiding to terrify you with his nu-metal and mumbling.

Sadly, even the doom doesn’t pull its weight. The compositions are underwhelming, lacking the emotional heft one might expect. It’s not a problem with the musicianship. The guitars by Alex Sedin are competent, and his solos played with a delicate touch, are lovely. Vladimir Izotov handles the drums with confidence,3 seamlessly switching tempos and anchoring Crypt of Reason’s sound. The fault lies in the production and mixing. The drums often sound flat and muted.4 The guitars switch from being crunchy and intense to dull and whiny. The vocals sometimes drown out the instruments and sometimes fade into the background. Worst of all, the instruments and vocals often feel disjointed, like they aren’t playing together but atop one another. As a whole, that’s the feeling I get from this album: the pieces don’t quite fit together.

Due to its odd mix of genres and struggles with production, Stargazer might struggle to land. Fans of doom will be confounded by the elements that don’t belong on a doom album, while fans of post-metal (if you can call it that) won’t find the compositions strong enough to give their full attention. Even for fans of industrial or nü-metal, only a few songs fit that bill. Crypt of Reason would have been better served by focusing on death/doom. That said, it takes tremendous effort to put together a complete album, and to do so in the aftermath of the death of a friend is even more daunting. While I must rate the music on its own terms, my heart goes out to the band, and I hope they achieved the catharsis that they sought.

Rating: 1.5/5.0
DR: 4 | Format Reviewed: 320 kb/s mp3
Label: Self-Released
Websites: cryptofreason.bandcamp.com | facebook.com/CryptOfReason
Releases Worldwide: September 24th, 2024

#15 #2024 #BelarusianMetal #CryptOfReason #DoomMetal #IndependentRelease #Mushroomhead #Review #Reviews #Sep24 #Stargazer #Ulcerate #Unsigned

@DXMacGuffin for #FridayMetalCovers I have three offerings by the same band.

https://songwhip.com/deadsilencehidesmycries/set-fire-to-the-rain-cover

https://songwhip.com/deadsilencehidesmycries/its-my-life

https://songwhip.com/deadsilencehidesmycries/halo

I just started listening to the one (kinda hidden) album, I could find and I love it.

https://songwhip.com/deadsilencehidesmycries/two-symphonies

#AqiIsNowPlaying
#DragoTreasures
#BelarusianMetal
#MinskMetal
#MetalCore
#SymphoDeathCore

Massen – Gentle Brutality [Things You Might Have Missed 2023]

By Kenstrosity

If you know me—and most of you should by now—you know that I love bands who fearlessly combine multiple genres into one pot. I want to be blown away by their exploratory vigor, dismissing all pretense of genre loyalty with gusto. Give me something that challenges my advanced ability to categorize and compartmentalize, and you are likely to garner an instant fan. Enter Massen, a Belarusian/German Frankenstein monster who unleashed one of the best records of the year, Gentle Brutality. ENERGY SYSTEM.

Imagine, if you would, what would happen if you smashed together Anaal Nathrakh‘s grindy, hooky extremity with Harm’s Way‘s and Dyscarnate‘s chunkiness, then dressed the result in a warm Silent Stream of Godless Elegy coat. That is essentially what Massen sound like, and let me tell you, it’s brilliant. Of all the things you could merge into one sound, this is one concoction I never expected. Yet, Gentle Brutality is pure magic, brutally heavy and unrelenting while simultaneously exuding a violin-led beauty that lures its audience towards the next indelible hook with unstoppable momentum. ENERGY SYSTEM.

Gentle Brutality’s immensity reveals itself early on in its forty-two minute runtime, with “Energy System” representing possibly the best opening track of 2023. Its ridiculously catchy verses and swaggering riffs are somehow overshadowed by the song’s bridge, featuring eponymous lyrics that I’ve been singing to myself every day, multiple times a day, for four months straight (so far). Then, I have the immense mid-album highlight “Askoma (Sorethroat),” which guarantees several fractures of my vertebrae in ten seconds or less, pounding skulls with the kind of groove that only diagnosed sociopaths have the emotional immunity to resist. Just when I think they can’t inject any more razor sharp hooks into Gentle Brutality, Massen shove another throbbing slab of grinding groove into my face with closer “Our Melody is Not Dead,” wrapping up the record with a resounding bang and leaving me wanting another round. ENERGY SYSTEM.

Immensity notwithstanding, Massen’s musicianship across the board are truly what make Gentle Brutality special. Stealing the show almost every time she features, vocalist and violinist Kara brings power and majesty into every second she gets the spotlight, transforming even the grindiest of Massen’s material into a jig-worthy romp brimming with vitality and emotion (“Corps de Ballet,” “Disgusted,” “Askoma (Sorethroat)”). That’s not to shortchange Alex “Aleerma”‘s numerous contributions as primary death vocalist, guitarist, drummer, keyboardist and bassist. His monstrous roars characterize many of this record’s biggest hooks, and his and fellow guitarists Karymon’s and Eugene’s riffs, leads, and solos provide a palpable sense of force to each of Gentle Brutality’s eight tracks (but especially “Disgusted,” “Askoma (Sorethroat),” “Throwing the Stones,” and “Our Melody is Not Dead”). Even the softer quasi-ballad “Together Alone” succeeds as a result of this group’s collaborative efforts, giving me an excellent bit of belting to practice in the car. ENERGY SYSTEM.

Simply put, Massen are a relentless, unstoppable machine, seemingly incapable of putting a bad song on record. Gentle Brutality proves that beyond a shadow of doubt. No other record in 2023 sounds like it, and few reach the same standard of quality. Gentle Brutality is irresistible, and I can’t recommend it highly enough. ENERGY SYSTEM!

Tracks to Check Out: “ENERGY SYSTEM,” “Askoma (Sore Throat),” “Disgusted,” “Throwing the Stones”

#2023 #AnaalNathrakh #ApostasyRecords #BelarusianMetal #BlackMetal #DeathMetal #Deathgrind #Dyscarnate #GentleBrutality #GermanMetal #Grind #Grindcore #Hardcore #HarmSWay #Massen #MelodicBlackMetal #MelodicDeathMetal #Review #Reviews #SilentStreamOfGodlessElegy #ThingsYouMightHaveMissed #ThingsYouMightHaveMissed2023