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EMMURE Slammed For AI 'Simpsons-Style' Announcement, FRANKIE PALMERI Responds
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JOSH TRAVIS Apparently Announced He Is No Longer With EMMURE In The Middle Of His Twitch Stream
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JOSH TRAVIS Apparently Announced He Is No Longer With EMMURE In The Middle Of His Twitch Stream
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Angry Metal GuyBite Down – Violent Playground Review
By Samguineous Maximus
“TikTok deathcore.” Two words guaranteed to make trve metalheads shudder inside their Jørn-adorned battle jackets. It’s also a term that could apply to a vast swathe of newer deathcore acts; each chasing the viral glory of Will Ramos reaction videos through near-endless vertical content. Whether it’s hyper-edited lyric clips, 0–1 riff flexes, or Olympic-level vocal tryouts to see who can cough up the most subhuman gurgle before the inevitable, bass-bloated breakdown hits, these bands seemingly spend as much time on social media marketing as they do on music. 1 Enter Sweden’s Bite Down, who’ve ridden this wave to a respectable level of buzz across a steady drip-feed of singles and EPs, with their debut, Violent Playground. The album allegedly explores the “contradictions of modern life,” which is critics’ shorthand for “trust us, there’s a concept here.” Can these social-media-savvy Swedes deliver a cohesive work of art? Or is this more fodder for the algorithm gods?
For the brand of ultra-modern nü-deathcore they play, Bite Down clearly know what they’re doing. Violent Playground is largely made up of short, 2–3 minute bludgeon-fests that deploy every tool in the contemporary heavy music arsenal to maximize mosh appeal. These are straightforward songs built on simple core riffs and stacked with multiple breakdowns, all pushed to their absolute limit and enhanced by smart production choices. Subtle synths and electronic textures thicken the riffs, while bass drops and vocal layering ensure that every breakdown lands with maximum violence. The band blends the nü-metal-tinged bleeps, bloops, and Digitech whammy abuse of Darko US with the over-the-top brutality of Dealer, delivering it all with the unapologetic ignorance of stylistic forebearers Emmure. For the most part, this results in an effective—if predictable—modern core assault, though it isn’t without its missteps.
Violent Playground is a short, nine-track release, and on roughly half of those songs, Bite Down are firing on all cylinders. Tracks like “Self Inflicted,” “Bury You,” “Paralythe,” and “Bound to Nothing” highlight the band’s knack for crafting vicious, crowd-ready violence, hurtling between kill riffs and breakdowns under the guidance of vocalist Hampus Ströberg’s venomous delivery and misanthropic lyrics. Unfortunately, these highlights are offset by several tracks that lean more heavily into hip-hop influences, disrupting the album’s momentum. The title track detours into a brief rap verse before circling back to a final breakdown, while “Deadweight” spends much of its runtime riding a trap-style instrumental alongside a rap feature. These moments aren’t disastrously executed—“Wastage,” in particular, effectively uses a restrained hip-hop intro before fully kicking in, but they’re less compelling and feel out of place on such a concise tracklist.
The core issue with Violent Playground is that it doesn’t quite register as a fully realized album. With the inclusion of the interlude “Exit Out,” Bite Down are left with only eight full songs, two of which are partially sidelined by less engaging rap sections. On a record that barely cracks the 20-minute mark, this has a noticeable impact, making the release feel more like a slightly beefed-up EP than a cohesive full-length. Combined with the lack of a clear flow or overarching thematic thread, the album falls short of elevating its strongest moments. The standout tracks are undeniably effective, but they aren’t enhanced by the context surrounding them, and that’s ultimately a missed opportunity.
On Violent Playground, Bite Down show that they’re plenty capable of making effective and devastating nü-deathcore bangers, but not of making a cohesive album. The standout tracks here (“Bury You, “Paralythe,” and “Bound by Nothing”) hit hard enough to justify the buzz and will almost certainly thrive in isolation, primed for gym playlists, breakdown compilations, and bite-sized algorithm fodder, but I’d be hard-pressed to revisit the full album instead of just listening to my preferred songs. Bite Down clearly understand how modern heavy music circulates and succeeds online, but until that singles-first mentality is translated into a more holistic artistic vision, this debut feels less like a complete album and more like a well-executed content drop for the feed.
Rating: 2.5/5.0
DR: 5 | Format Reviewed: 160 kb/s mp3
Label: Prime Collective
Websites: bitedownmusic.com| facebook.com/bitedownband
Releases Worldwide: January 9th, 2026
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SPITE Announce New World Killer North American Tour With EMMURE, PSYCHO-FRAME & REV3RENT
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Metal InsiderSpite announce spring 2026 tour:
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Link: https://metalinsider.net/touring/spite-announce-spring-2026-tour-with-emmure-psycho-fame-reverent
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SPITE Announce New World Killer North American Tour With EMMURE, PSYCHO-FRAME & REV3RENT
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Upon a Burning Body – Blood of the Bull Review
By Dear Hollow
Upon a Burning Body is back, baby. Your favorite groovy Texans are ready to lay on the hurt with as many riffs as your ears can muster. Predecessor 2022’s Fury offered a no-frills attack that more substantially simplified the attack, recalling more the groove-oriented likes of Pantera or Lamb of God, as opposed to the longstanding comparisons to deathcore’s partyharders Attila and “fight everyone” breakdowners Emmure to whom they’ve been compared in the past. It seemed like a new direction for the San Antonio quartet, even if hindered by some grunge-inspired cleans and sporadic and uneven homages to their deathcore roots. Blood of the Bull tries to reconcile a new direction and a past that still haunts them.
Blood of the Bull is indeed Upon a Burning Body firing on all cylinders – although its direction remains questionable. Ruben Alvarez’s guitar work is immediately recognizable, a bluesy edge and layered rhythms with manic solos to boot, Tito Felix’s drumming is as unhinged as you’d expect,1 while Danny Leal’s vocals have returned to peak form, honed mids to complement his vicious lows – even bassist/vocalist Thomas Alvarez’s cleans are better than last go. In Blood of the Bull, poppier choruses contrast heavier to its breakneck riffs and metalcore leanings, leaving it slightly below Fury in its effectiveness but remaining a solid installment in Upon a Burning Body’s rodeo of a discography.
In many ways, Blood of the Bull exists as the band’s most experimental outing. While it channels Fury’s propensity for groove, Thomas Alvarez forgoes on the grungy tone almost entirely for the most soulful choruses the band has ever offered, tracks which often feature newfound synth in creeping intros or interludes (“Daywalker,” “Another Ghost,” “Living in a Matrix”). While the presence of these assets could potentially dull the teeth that Upon a Burning Body’s sound naturally possesses, they refuse to let that stop them. Their cleaner tracks feel bigger and more significant than ever before, albeit imperfect: the soaring melodies can feel shoehorned alongside groove or deathcore beatdowns, although the lyricism (for once) sometimes improves this issue (“Another Ghost”) and ruins it for others (“Reckless Love”). The mariachi returns full-force, a welcome homage to the group’s roots (“Sangre del Toro,” “An Insatiable Hunger”).
If the tracks with clean singing are risks with mixed payoff, then, when Upon a Burning Body conjures syncopated grooves and commanding vocals with memorable one-liners offer the best listening on Blood of the Bull. Furious shredding, wild solos, and Leal’s signature vocal attack offer a trifecta of headbanging goodness. No one growls profanity the way Leal does, and while it was noticeably absent in Fury, the “fucking” one-liners pump adrenaline (“Killshot,” “Curse Breaker”) while other tracks manage to feel kickass and brooding simultaneously (“Hand of God”), highlighting Upon a Burning Body’s vocal return to deathcore’s intensity. It can be odd and off-putting when songs that feature the most intense groove riffs can also feature those soulful choruses (“Daywalker,” “Living in a Matrix”), but aside from the aforementioned, these don’t feel as awkward as I expected.
Upon a Burning Body amps almost everything in its attempt to reconcile the old with the new, and if nothing else, the effort is noted. There is more than enough corny lyrics, ham- beef-fisted anthems, and soaring clean choruses aboard Blood of the Bull, but in this way, it feels more like Upon a Burning Body than they’ve been in a hot minute. Thankfully, if you can look past the flaws, the band’s seventh full-length is at its worst full of crunchy grooves, mind-numbing breakdowns, and jarring tonal shifts, but if that’s its worst – with Danny Leal and Ruben Alvarez leading the attack – that’s a worst I can get behind. Also, highlights like “Another Ghost” or “Daywalker” feel like flashes of potential not yet seen in lyrics or songwriting. For now, it’s Upon a Burning Body, love ’em or hate ’em: a whole lotta bull.
Rating: 3.0/5.0
DR: N/A | Format Reviewed: Stream
Label: Self-Released
Websites: uponaburningbody.bandcamp.com | uabbtx.com | facebook.com/uponaburningbody
Releases Worldwide: December 5th, 2025
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FRANKIE PALMERI Of EMMURE Pops Off On X Again, This Time Saying 'F*ck All Of You' To The 'Commie R***** Scumbags' Protesting Genocide
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