UK disgusting death metal fiends Cryptworm have been quite prolific since 2022. Featuring members of Cryptic Shift and Rothadas, their Spewing Mephitic Putridity debut was a nauseating dose of raw sewagecore that made Autopsy seem hygienic by comparison. They followed that up barely a year later with Oozing Radioactive Vomition, and things felt a bit rushed and less impactful. They wisely took some time off thereafter, and now they return with third outing, Infectious Pathological Waste. While their overall approach hasn’t changed much from album to album, the quality of the writing has varied. This time, it feels like they put a bit more thought into the compositions, and some of the vile charm of the debut resurfaces through the slime and scuzz. Nothing does the heart good quite like seeing a happy Cryptworm!

Opener “Gallons of Molten Hominal Goo” greets you like a decaying old friend, and the gruesome, repulsive sounds contain the distinct aroma of early Carcass. This lump of excrement could have appeared on Symphonies of Sickness and fit like a maggot in a gunshot wound. The riffs are fairly rudimentary but have weight, and the vocals by Hanyi Tibor (Rothadas) are a cross between an industrial garbage disposal and a frat-house beer-belching contest. They are fucking disgusting, purulent, and utterly incomprehensible, but damn if they aren’t entertaining. “Maimed and Gutted” is a standout, going for a frantic thrashy panic attack with Cannibal Corpse-isms buried in the basement. It’s a road-grader of a brutal death song that veers into slam territory at times, and the riffs are greasy, sticky, and bellicose. My favorite macabre ditty is “Embedded with Parasitic Larvae,” where, intentionally or not, Tibor sounds like an undead version of the Swedish Chef from The Muppet Show. I cannot tell you why this enhances my enjoyment as much as it does, but fuck yes, Chef!

Infectious Pathological Waste by Cryptworm

On “Drowning in Purulent Excrementia,” they go extra slammy, and kitman Jamie Wintle starts to hit something that should be the pong snare, but it sounds like he’s beating on a skull or a femur. It’s weird, but I kinda like it, and it’s way better than that godawful PONG-PONG-PONG sound some tech and slam bands foist on you. Not every track is a sure-fire hit though, with “Gastrointestinal Seepage” feeling a bit too leaden and lethargic, though I appreciate Tibor’s extra nasty vocals where he seems to be coughing up a hairball full of razor blades and asbestos. I could complain that this feels like a very one-note album, but what death metal album isn’t really? At a tight 32 minutes, it goes by fast enough, though several tracks do have bloat issues that crimp enjoyment. The style Cryptworm opt to play necessitates keeping things in a 3-4 minute window, and when they push further, things get ropey and dopey.

Tibor does a tremendous, unpleasant job on vocals, sounding completely inhuman at all times. His unbelievably cartoonish subterranean croaks are a thing of hideous beauty, and I can’t get enough of them. His guitarwork is also to be applauded, borrowing the most objectionable bits of gristle from Autopsy, Cannibal Corpse, and Incantation to fuel the Cryptworm diet. Some of the leads are quite hooky, and I especially love the big beefy power chugs that dot the landscape. As on Oozing Radioactive Vomition, however, the songwriting can be inconsistent, and they don’t always know when enough is enough. There are some sick burners here to aggravate the savage altered beast, but a few tracks feel underbaked and deliver weaker tentacle slaps.

Cryptworm are a band I can’t help but root for as I root around in their repellant leavings, but I want them to be MOAR consistently deadly with their offal hammer. There’s plenty of fun stuff on Infectious Pathological Waste to marinate in, and it all reeks of the slaughterhouse. When it’s good, it’s rurl good. When it’s just okay, it’s still pretty fookin’ entertaining. Someday these chaps are gonna get their maggot larvae in a row and then, watch out! Until then, there are worse ways to kill brain cells than these odious odes to the grave.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Me Saco Un Ojo
Websites: cryptworm.bandcamp.com | facebook.com/cryptworm | instagram.com/cryptwormofficial
Releases Worldwide: March 27th, 2026

Chile TerrorFest confirma a Carcass como headliner de su segunda edición | vía #SonidosOcultos

https://www.sonidosocultos.com/noticia/chile-terrorfest-confirma-a-carcass-como-headliner-de-su-segunda-edicion/

#carcass #chileterrorfest #producenchargolaprodmibardemusicacriminal1969 #t2026 #teatrocaupolicán #necroticismdescantingtheinsalubrious1991yheartwork1993 #reekofputrefaction1988ysymphoniesofsickness1989

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

Tour continues in 🇬🇧 London!

https://www.academymusicgroup.com/o2academybrixton/events/kreator-tickets-ae94152

5:30 PM Doors
6:20 PM #Nails
7:10 PM #Exodus
8:15 PM #Carcass
9:30 PM #Kreator

Tickets:
🎟️ https://tickets.ents24.com/event/kreator/o2-academy-brixton/3504183
🎟️ https://tickets.eventim.co.uk/event/kreator/o2-academy-brixton/3504183
🎟️ https://www.ticketmaster.co.uk/event/3E00633752B7114F

VIP SOLD OUT

#thrash #metal #thrashMetal

Yesterday I went to see #Kreator for the very first time. It was the first night of this tour and I was not at all expecting such an amazing show, sonically and visually. Besides the stage props, Sami played the whole thing on his beautiful vintage #Ibanez #Destroyer.

Shout out to #Carcass too, they do play good, electrifying music.

https://www.youtube.com/watch?v=Ckv0m7N7ae0

Wer kommt noch?

Der alte Mann hat sich einen Sitzplatz gekauft :-) In der Jahrhunderthalle ist das aber auch echt cool, weil direkt vor der Bühne.

#Kreator #Carcass #Exodus #Nails #Frankfurt

Unfortunately, the mighty Relapse stable now floats down the shitty stream for promos. As such, we are slow on the uptake with the latest platter of splatter from legendary underground gorehounds, Exhumed. Always searching for fresh inspiration for their deathly brand of precision butchery, tenth album Red Asphalt channels inner road rage via good old carmageddon mayhem and vehicular violence as its overarching conceptual theme. Otherwise, it’s business as usual for Exhumed, returning with a tight, signature blast of groovy, thrashy, blasting deathgrind, led by seasoned underground warrior Matt Harvey (guitars/vocals). Joined by right-hand man Ross Sewage on uber low vox and bowel rumbling bass, alongside drummer Mike Hamilton (Deeds of Flesh) and guitarist Sebastian Phillips (Castle Freak, Mammoth Grinder, End Reign). Red Asphalt marks their first album since 2022’s solid and well-received To the Dead, a welcome return for these ever-reliably vicious brutes. With a high reliability factor baring well for a good arse kicking, how does Red Asphalt fare against a bulletproof modern run of albums since their second coming on 2011’s All Guts, No Glory?

Kicking off with the blistering “Unsafe at Any Speed,” Exhumed pull no punches in a typically exuberant, brutal yet wickedly infectious style. The riffs rip and burn with reckless abandon, drums set a scorching tempo, while the dueling vox, trade-off solos, and gut-punching grooves land vital blows of awesomeness. It feels familiar yet fresh and the right amount of pungent. Striking a balance between the sharp melodicism and grooving charms of modern classic Necrocracy, mutated with the blunt force savagery of Horror, and a dash of the more primitive goregrind stylings of their early days, Red Asphalt finds Exhumed subtly tweaking their formula to remain vibrantly dangerous deep into their career. Through modern refinement and sharp, technical execution, Exhumed maintain their gritty, no-frills edge and slick but organic sounding production, while the grindy, blast-riddled attack and sick dual vox ensure these old dogs still pack a brutal, unhinged punch.

Careening recklessly from one gnarly, adrenaline-fueled incident to the next, Exhumed mostly jam the gears high and slam the pedal to the floor, weaving twisted cables of melody through mangled wreckages of deathgrind mayhem and gore-soaked grooves. “Red Asphalt” unleashes thrashy uppercuts and Heartwork-inspired melodeath flair to killer effect. More measured cuts (“Shovelhead,” “Death on Four Wheels”) detonate slower, crushing devices, bloodied riffs, and dicing solos to slamming impact. When Exhumed are not grinding and pummeling with deathly intent, their thrashy tendencies take hold, offering a trademark punky, turbo-charged counterpoint on numerous high-octane scorchers (“Shock Trauma,” “The Iron Graveyard,” “Symphorophilia”). “Shock Trauma” deftly incorporates screaming, emergency siren solos into an explosive barrage of searing deathgrind battery, showing Exhumed can still blast and brutalize with the best of them.

Performances are uniformly tight and deranged, Harvey again proving an elite riff meister, sharpening his tools of the trade to whip up a frenzy with Philips, including a generous bounty of killer, infectious riffs and tasty, slashing solos. The shredding is top-grade stuff, adding a wild and reckless melodic edge to the album (check the ripping axe pyrotechnics on “Death on Four Wheels” and “Crawling from the Wreckage”). Vocally, Harvey and Sewage sound as savage as ever, forming one of the best dual vocal combos this side of Dying Fetus, albeit a gentle push forward in the mix would have been welcome. At a taut thirty-seven minutes, Red Asphalt blasts by in an efficient, addictive fashion, by the time “The Fumes” engulf your senses to close out the album. Aside from a couple of stock moments, Exhumed’s songwriting sounds energized and inspired, nearly thirty years since they dropped their debut.

Red Asphalt stands up to scrutiny as another high-quality modern platter to add to Exhumed’s ever-impressive repertoire. Exhumed rarely miss, testament to their dedication and skilled craftsmanship in remaining a bulldozing force in the modern death metal arena, carrying the Carcass-inspired torch, yet transcending the influence of their forebearers. Exhumed’s timelessly fun and feverish brand of old school brutality, filtered through a modern lens, and packed with sharp riffs, sharper hooks, is a thrashing, grooving, blasting good time. Red Asphalt arguably edges the past couple of Exhumed albums, resulting in a bloody crash course in deathgrind lunacy, grisly grooves, and melodic smarts.



Rating: 3.5/5.0
DR: N/A | Format Reviewed: Stinking stream
Label: Relapse Records
Websites: exhumed.bandcamp.com | facebook.com/exhumedofficial
Releases Worldwide: February 20th, 2026