Chelsea Grin - Eternal Nightmare (2018) Review

I remember very distinctly hearing "Crewcabanger" from Chelsea Grin's self titled EP in 2008, and the excitement surrounding the announcement of their debut full-length, Desolation of Eden, in 2010. Between those releases, there was a lot of discussion when that album would finally arrive and what shape it would take, as fans had little more than a short EP to obsess over. The band's reputation had already outgrown the modest runtime of its available material. A similar case was that of Thy Art Is Murder during the gap from Infinite Death EP (2008) and The Adversary (2010), though that is a story for another time. 

Oceano - Ascendants (2015) Review

Both Oceano and deathcore had entered a transitional phase around the time Ascendants was released, one that, for the band at least, was necessary after the release of the weaker Incisions in 2013. As increasingly polished production and cinematic orchestration was slowly entering the genre, the Chicago outfit has always tried to stand behind the same formula of testo-chug: lay down a set of monotonous, simple riffs and let Adam Warren sound like the apocalypse. 

I'm a big fan and own both Depths (2009) and Contagion (2010), with the former having achieved landmark status within the genre, and the later having several enjoyable tracks nonetheless. I've personally even had a blast with Incisions despite the colder response from the press ("Slave of Corporotocracy" and "Blasphemous Mask" are really great). But who are we kidding, we're talking about a band wholly hated by the non-core metal community. Another reason to listen to them.

Annotations of an Autopsy - Before the Throne of Infection (2008) Review

One of my earliest and shortest posts on here in October 2012, was about Annotations of an Autopsy and their second full-length album, II: The Reign of Darkness. A more death metal-related record compared to the band's discography, it was the next step after a straight-up brutal deathcore / hardcore debut titled Before the Throne of Infection, in 2008. 

Driven by the charming youthful excess of that era, these British lads grew a notorious name for themselves by encapsulating all the best and the worst of UK deathcore, while being one of its most characteristic presenters. Building on the considerable attention through the Welcome to Sludge City EP, whose introduction, samples and grotesque visuals got legend status in the Myspace generation, this full-length expanded on the palette but stayed true to that circle. 

Nordlicht - Nebelmeer (2002) Review

If you're a regular visitor of this blog or have somehow landed here of your own accord, there's a good chance you are already familiar with the Swiss artist Tobias Möckl (a.k.a. Wintherr) and his involvement in the prolific projects Paysage d'Hiver and Darkspace. 

I've spent some time reviewing a couple of releases from both projects, even though a deeper dive is borderline mandatory and would be the perfect counterweight to surviving this dreadful summer. Apart from the interest in the discography, a more observant listener should have already noticed that Paysage d'Hiver material is consistently being released on Wintherr's own label, Kunsthall Produktionen.

Sallow Moth - Hydrophilous Brood (2026) Review

I discovered Sallow Moth through last year's Mossbane Lantern, a truly captivating exercise in tech and prog death metal whose complex songwriting set it apart from the genre's overcrowded landscape. It also somehow marked a rebirth for the project, which had limited its activity between 2022 and 2024, but since then Garry Brents has been quite active. Hydrophilous Brood arrives less than a year after its predecessor, a short turnaround considering the ambition of both records. Sallow Moth consists of Brents, also the driving force behind Gonemage, Demon Sluice, and formerly Cara Neir, joined by Hypaethral / Sanguinary Consummation drummer, Alen Gingerich. Two minds are better than one.