Today, German black metallers Uprising reveal the new track “While the World is Burning.” The track is the second to be revealed from the band’s highly anticipated third album, III, set for international release on July 19th via AOP Records. Hear Uprising‘s “While the World is Burning” in its entirety here:
Uprising was wretched from the shadows in 2016 by W. – a founding member of Waldgeflüster – with the release of I. While rooted in the classic tropes and topics of black metal, I already started to deal with social and political issues, which became the main focus on its successor, II, in 2020. II continued where I ended, incorporating rocking riffs and melancholic melodies built upon an aggressive and driving black metal foundation.
In 2024 follows III, continuing the path that was started eight years ago. Supported by the furious drumming by Austin Lunn of Panopticon, a sonically and spiritually suiting counterpart, Uprising‘s third album again focuses on melodies and aggression in the vein of its two predecessors – desperate but triumphant, furious but refined, and always maintaining an urgency no matter how epic a composition gets – but this time with a more refined sound and fully embracing the social and political criticism, which became one of the trademarks of this project. One could call III the band’s cleanest and clearest recording, and he would not be wrong; the tradeoff is that that sociopolitical criticism hits harder, for what good is a message if it’s not spoken in its sharpest voice? From social injustice to raging hymns advocating climate protection, Uprising stay true to their moniker and show again that black metal can be relevant to society.
Also hear the previously revealed “Eternal Mantra” HERE, also at AOP Records‘ official YouTube channel. Cover artwork, courtesy of Misanthropic Art, and tracklisting are as follows:
Tracklisting for Uprising (Germany)’s III 1. Eternal Mantra [6:39] 2. Uprise III [7:05] 3. Raise a Glass [6:36] 4. A Message to the Hypocrites [4:08] 5. While the World Is Burning [7:55] 6. Brace Yourself [8:05]
WORMED unveils Pleoverse Omninertia, the latest single from their eagerly anticipated Sci-Fi Tech Death Metal album, Omegon. WORMED has once again successfully harnessed the raw essence of cosmic dissonance; Pleoverse Omninertia showcases their unparalleled mastery. Recorded in the spectral shadows of BlackStorm Studios, and given form by the alchemical wizardry of Colin Marston at Menegroth, The Thousand Caves, this track propels the listener into a labyrinth of quantum entanglements and cosmic lore.
Pleoverse Omninertia immerses audiences into a cryptic dimension where reality itself bends to the divine algorithms of the Pleoverse. Beneath the veneer of chaos lies an ordered dance of subatomic particles, narrating the saga of Krighsu, the transcendent timeline hacker, in his perpetual quest for the Omegon—a substance of unimaginable power that lies at the heart of ancient galactic conflict.
As Krighsu navigates through the surreal tapestry of the Pleoverse, the track’s brutal elegance and technical precision unravel a narrative steeped in the metaphysical struggle for power, truth, and the manipulation of cosmic forces. Echoing the enigmatic essence of its creators, Pleoverse Omninertia is but a glimpse into the multidimensional battlefield that WORMED invites you to traverse.
Space – the final frontier. Yet, when WORMED reach out into the void, the results sound far more like a dark space opera inhabited by bizarre aliens, genetically and technically evolved meta-humans struggling for power and survival in galactic empires. Now, the nano-technological war has been unleashed in the void to defeat the last sower of human life, Krighsu!
Odd-time signatures, avalanches of breaks and complex rhythmical as well as melodic patterns will excite every aficionado of extreme technicality, while growls down-tuned strings and double-bass assaults will more than satisfy extreme metal connoisseurs. While being outstandingly skilled musicians WORMED are avoiding any self-indulgent show of prowess for its own sake. Instead, the five-piece from Madrid clearly lays its emphasis on creating atmospheric songs, which develop and grow along the underlying story.
Originating from Spain’s capital Madrid in 1998, WORMED immediately made an impact in the death metal scene with the release of their ‘Floating Cadaver in the Monochrome’ MCD (1999). Following a promo CD under the title ‘Voxel Mitosis’ (2001), the first studio album ‘Planisphaerium’ received high acclaim by critics and fans alike in 2003. In the wake of their debut full-length, the Spanish received invitations to international festival shows and touring around the globe. WORMED performed in Japan alongside GORATORY and VOMIT REMNANTS and afterwards hit Europe with MALIGNANCY and DESPONDENCY.
A creative hiatus, partly due to line-up changes and filled with re-issues of their previous released as well as the single ‘Quasineutrality’ (2010) finally ended, when their sophomore album ‘Exodromos’ came out in 2013. On their third full-length ‘Krighsu’ (2016), the fast-rising Spanish Sci-Fi tech death prodigies are telling a dystopian cosmic story with lyrics and music joined into an overarching concept. Its intense brutality, dissonant dynamic riffing, and tremendous heaviness combined with an amazing futuristic concept, which introduced the character Krighsu – last human in the cosmos, harvested top reviews and saw WORMED headlining in the US and co-headlining in Europe.
In the summer of 2019, WORMED brought their ultra-technical cosmic sonic onslaught to new heights on their 4-track EP ‘Metaportal’, released through Season of Mist. Praised as a monstrously satisfying addition to their catalogue, the EP bridged the gap between their previously released 2016 ‘Krighsu’ and their newest project. Atmospheric yet faithful to the skull-crushing mindboggling textures they’ve given fans over the years, ‘Metaportal’ allowed WORMED to come to terms with the loss of Guillermo Calero in 2018 and move forward.
On ‘Omegon’, WORMED’s upcoming 2024 release, they continue the story of Krigshu, a timeline hacker entangled in manipulation by cosmic forces. As viciously as the aggression they bring on their technically impressive instruments, Krigshu battles his way to unlock the mysteries of Omegon, a mysterious cosmic substance holding ultimate power. With 9 tracks of ultimate interstellar chaos, a story unfolds and WORMED prove yet again that they reign supreme on the technical death metal genre.
Recording Studio BlackStorm Studios (Karrantza, Basque Country)
Production Credits Ekaitz Garmendia – Producer & Sound Engineer Mixed & Mastered by Colin Marston at Menegroth, The Thousand Caves (Queens, NY, USA) Editing by Simon Da Silva at The Empty Hall (Madrid, ES)
Available Formats: Digital Download CD Digipak 12″ Vinyl Gatefold – Black 12″ Coloured Vinyl Gatefold – White 12″ Coloured Vinyl Gatefold – Transparent Blue 12″ Coloured Vinyl Gatefold – Blue, Black & White Marbled
On July 26th, AOP Records is proud to present a worldwide edition of Show Me a Dinosaur‘s third album, Plantgazer, on CD and vinyl LP formats.
Show Me a Dinosaur are a heavy post-rock / blackgaze band from Saint Petersburg, Russian Federation. This genre-defying band formed in 2010 and released their critically acclaimed debut EP, Evolvent, in 2011 and the dark, brooding masterpiece Dust in 2014.
The unwavering desire to explore an increasingly desperate and harsher sound led to personnel changes. Dinosaur felt a new lease of life and the urge to explode, so in 2015, they took to the road with good friends Trna for an incredibly adventurous Russian spring tour.
In March 2016, they released their self-titled second album, Show Me a Dinosaur, a juggernaut of raw emotions and technical prowess. The release was included in Post-Rock Listener’s Choice 50 Best Releases of 2016, Arctic Drones’ 50 Favourite Albums of 2016, and featured at #12 in Post-Rock Essentials Top 30 Releases of 2016.
On May 20, 2017, Show Me a Dinosaur released a new song called “Unsaid” on a five-band split album called Imperfect. The band went on to perform in July of that year at Devilstone 17 in Lithuania and in September at Vivid, a post-rock festival in Norway.
The band lineup changed again in 2018, and Show Me a Dinosaur hit the road in 2019 for European tour with dear friends Trna. The band – now consisting of Pavel Volkov (guitar), Artem Selyugin (guitar, vocals), Philip Chernonog (bass), and Daniel Kourdakov (drums) – have evolved into one of the most intense and awe-inspiring bands in Europe.
Plantgazer was released on December 4, 2020 digitally and physically, the latter as an independent self-release. AOP Records is now proud to re-release the album on European soil on July 26, 2024.
Plantgazer is an album born from someone locked inside his home. Someone gazing at his house plants day in, day out, and trying to figure out answers to the many questions this new world has given rise to. An album born from the hope of breaking through a growing anxiety.
In the meantime, see & hear a special guitar playthrough for “Red River” here:
Cover and tracklisting are as follows:
Tracklisting for Show Me a Dinosaur’s Plantgazer 1. Sunflower 2. Marsh 3. Red River 4. Selva 5. Unsaid I 6. Hum 7. Unsaid II
Today, Neuropa Records announces August 2nd as the international release date for ADON’s highly anticipated debut album, Adon, on CD and vinyl formats.
Formed in 2019, ADON are a black / death metal duo hailing from America, helmed by lifelong friends guitarist Nath and vocalist Æthelwulf II. They found solid footing in late 2020 with the addition of session drummer James Stewart (Decapitated, ex-Vader). Their first public release was the Arkane EP in October of that year. A period of silence lasting four years would follow as ADON worked on their full-length debut. The “Axiom” digital single was revealed at the very beginning of 2024, teasing the dark delights of that debut album.
At last, ADON’s first full-length arrived in the form of Adon, elegantly self-titled. Its initial release was exclusively through The Metalhead Box subscription service, but so impressed with its cold-steel majesty, Neuropa immediately sought to release the record worldwide on both CD and vinyl, with expanded deluxe layout. And for good reason: ADON’s opening salvo is a heat-seeking missile and massive wall of gleaming chrome alike, an example of “blackened death metal” that honors the full potential of such an appellation, and very simply a very superlative display of songwriting acumen and pummeling intensity.
An exploration into dark fantasy, a true story of repeating history – ADON characterize their main motives thusly, and so does Adon bring them to burned-black life. ADON examine the fragility of existence through story and violent legend, and supposes what happens when our world is ended. Illustrating that is a record that comprises six songs in 49 minutes that lay forth a stark, sometimes-sensual landscape of cutting clarity and rusted-razor violence. Its unique structure as an album – two distinct halves, which start with two conventional-length songs segueing into two respective titans, the nearly 17-minute “Adon” and the 11-minute closer “Æon,” which is to say nothing of every track beginning with the letter A – regulates and exacerbates the sturm und drang of their equally graceful and muscular execution, where quite-often-godly solos wind in and out of their slipstreaming surge. That latter aspect heightens the overall classiness of Adon, an all-too-rare accomplishment among today’s black / death scene where “good production” is often a slippery slope to sterility. Instead, ADON show themselves as astute craftsmen, able to put their considerable chops in service of the song, and evince a cold / hard / dead texture that feels palpably post-modern despite their authentically classic foundation.
Aesthetic signposts are there, to be sure – prime Necrophobic, Lord Belial, and Naglfar to Thorns’ lone album, post-Rebel Extravaganza Satyricon, and the Norwegian Zykon – but boundless in inspiration and bringing a distinctly American air to proceedings, ADON are undoubtedly on their way to conquering the underground with Adon. What could’ve been one of the “best-kept secrets” is now being released in a worldwide edition: immerse thyself in its alluring “Æther”!
In the meantime, hear Adon in its entirety here:
Preorder info can be found HERE. Cover and tracklisting are as follows:
Brothers and sisters of the sacred metal conclave, the hour is upon us to unite under the blackened banner of ROTTING CHRIST once more. With hearts ablaze and spirits untamed, the Tolis brothers proudly present to you the bonus single ‘Primal Resurrection’ from the recently released full-length album, Pro Xristou.
For over three electrifying decades, ROTTING CHRIST have harnessed the whispers of ancient gods, crafting symphonies that resonate with the soul of the true metal spirit. Pro Xristou, translating fervently to ‘Before Christ’, is a blackened testament, a beacon in the dark celebrating the endurance of pagan might amidst the looming shadows of Christianity.
Primal Resurrection emerges as a phoenix from the ashes of history, embodying the essence of our signature sound—a ceremonious blend of mesmeric melodies, harrowing atmospheres, and the valiant roar of epic metal. This song is a voyage back to an era where gods walked among men, and the last pagan kings battled valiantly against the encroaching tides of oblivion, safeguarding the relics of a wisdom too profound to perish.
Pro Xristou & Pro Xristou – Deluxe Edition is out now on Season of Mist & all streaming platforms
1. Pro Xristou (Προ Χριστού) (1:29) 2. The Apostate (5:01) [WATCH] 3. Like Father, Like Son (4:35) [WATCH] 4. The Sixth Day (3:56) 5. La Lettera Del Diavolo (4:01) 6. The Farewell (6:15) 7. Pix Lax Dax (4:33) 8. Pretty World, Pretty Dies (4:51) [WATCH] 9. Yggdrasil (5:04) 10. Saoirse (6:17) [WATCH] 11. Primal Resurrection (Bonus Track) (5:32) – Only Deluxe Editions![WATCH] 12. All For One (Bonus Track) (3:37) – Only Deluxe Editions! Total runtime: 55:17
In the dimly lit catacombs of extreme metal, one name stands as a monolith: ROTTING CHRIST. Sakis Tholis and his brother Themis started this band together back in 1987. In the three decades since, these Greek titans have left their blackened imprint all over the metal world. They’ve released 13 studio albums and played more than 1,300 concerts around the globe. Underneath all this hard work, Rotting Christ have but one vision – an urge to not only push the boundaries of extreme metal, but to keep reinventing themselves along the way.
Rotting Christ’s evolution has unfolded across several distinct chapters. After starting out closer to the barely controlled chaos of grindcore, they went on to establish the iconic sound of Hellenic black metal. Their albums often embrace refined gothic soundscapes, only to plunge back into the depths of blasphemous fervour. Each chapter marked another, further exploration, and an unwavering commitment to push boundaries.
But the real turning point came in 2007, when Rotting Christ signed a pact with Season of Mist. They unleashed a series of albums for the French label that defied any and all expectations. From the piercing Theogonia and the symphonic grandeur of Aelo to the ritualistic intensity of Κατά Τον Δαίμονα Εαυτού, the cinematic experiences created by Rotting Christ became a spectacle of bombastic atmospheres, mesmerizing choirs, and neo-classical arrangements. The unexpected is their modus operandi, with the use of various languages (Latin, Arabic, Greek, English) as well as the extensive use of famous poetry woven into their music, like Edgar Allan Poe’s ‘The Raven’ on The Heretics.
In 2019, Rotting Christ’s epic journey continued with The Apocryphal Spell compilation, which offers fans an intimate glimpse into unreleased and rare material. This allowed them to gather strength, preparing for the release of their next, highly anticipated, 14th full-length studio album: Pro Xristou. Pro Xristou (‘Before Christ’ in Greek), serves as a fervent tribute to the last Pagan kings who resisted the onslaught of Christianity, guarding their ancient values and knowledge. In this thematic odyssey, intricately woven through tracks such as ‘The Apostate’ and ‘Ygdrassil’, Rotting Christ delves into the legacies of historical figures such as Flavius Claudius Julianus and Nordic mythological kings, embodying the might of Pagan wisdom in the face of Christian adversity. The album encapsulates the essence of Rotting Christ’s signature style – melodic, yet harsh at times – reinventing themselves yet again, while remaining rooted in their 35-year legacy.
Starting in Tivoli (Utrecht, NL) on June 20, Norwegian metal Icon Abbath and his band will revisit the past and pay tribute to the legacy by performing a carefully selected set of old fan favorites and iconic metal anthems he co-wrote and recorded in the period 1992 – 2009.
Tickets for the festivals and one-off shows are on sale now!
Abbath Doom Occulta is widely regarded as one of black and extreme metal’’s most prominent front men. For nearly three decades he fronted one of the most influential metal bands ever to emerge from Norway – Immortal.
From the early beginnings with albums such as “Diabolical Fullmoon Mysticism” and “Battles in the North”, to chart toppers “At the Heart of Winter” and “Sons of Northern Darkness”, Abbath has through his work with the group left a major imprint on the worldwide phenomenon that is Norwegian Extreme Metal.
‘Return to the Raven Realms Tour’ will be framed by the most spectacular stage show Abbath ever has undertaken in his nearly 40-year long career.
Abbath states: “I can’t wait to get back on stage this summer to perform some old favorites that I haven’t played for a long, long time. Mark my words – It’s going to be loud and epic!”
Today, Italian dark heavy metallers Demon Spellpremiere the new track “Dark Deceiver (Woman of the Black Oath)”. The track is the second to be revealed from the band’s highly anticipated debut mini-album, Evil Nights, set for international release on July 26th via Dying Victims Productions. Hear Demon Spell’s “Dark Deceiver (Woman of the Black Oath)” in its entirety here:
How would you feel if, during the night, while you’re lying on your bed, something touches you in the dark? The air grows cold, their eyes emerge from darkness, and you feel your body tense. The shivers begin, shocked by horror, possessed by unholy force – you cannot escape from this hell. Now evil breaks loose and you’re under a Demon Spell!
Such is the sonic sensation of Demon Spell’s debut mini-album, Evil Nights. The Italian quartet may be name in name, but their sound is most definitely OLD. Among that lineup are such veterans as drummer Dario Casabona, who played with Italy’s legendary Schizo for 20 years, and guitarist Francesco Bauso, who was a founding member stoner-doom titans Haunted. Along with vocalist Federico Fano and bassist Riccardo Liberti, Demon Spell bring forth HORROR and EVIL in purest ‘80s heavy metal form: obsessed maniacs who were born under the sign of the moon during terrifying nightmares and morbid rituals. Black-magic riffs, hellfire-burning drums, and soaring King Diamond-esque vocals from Fano telling untold tales from Hell and the beyond. Indeed, it’s difficult to shake the early Mercyful Fate comparisons with Evil Nights, but when it’s done with such blanching authenticity and eerie power, why fight it?! Of course, we could also invoke such names as ‘80s Satan’s Host, Witch Cross, and even the almighty Death SS, but on evidence of the four songs presented here, Demon Spell are already on their way in stirring up a bewitching cauldron of nocturnal delights. Celebrate darkness and scream out heavy metal ‘til your very last breath during these Evil Nights!
Also hear the previously revealed title track “Demon Nights” exclusively HERE, courtesy of Deaf Forever magazine. Cover and tracklisting are as follows:
racklisting for Demon Spell’s Evil Nights 1. Demon Spell 2. Black Wings 3. Dark Deceiver (Woman of the Black Oath) 4. Evil Nights
Today, French death metallers Skelethal reveal the new track “Spectrum of Morbidity.” The track is the second to be revealed from the band’s highly anticipated third album, Within Corrosive Continuums, set for international release on July 12th via Hells Headbangers.Hear Skelethal‘s “Spectrum of Morbidity” in its entirety here:
Additionally, Skelethal will be touring Canada following the release of Within Corrosive Continuums. Full list of confirmed dates & venues as well as poster art are as follows:
July 18 – Montreal, QC @ la Soterennea July 19 – Ottawa, ON @ House of Targ July 20 – Toronto, ON @ Baby G July 25 – Trois-Rivières, QC @ le Zénob July 26 – Quebec, QC @ la Source July 27 – Rimouski, QC @ Bain Public
Formed in 2012, Skelethal have been at the forefront of the now-fertile French death metal scene. While many of the band’s primary influences have been Swedish – Entombed, Carnage, and Dismember – over the past decade, the quartet have finessed that style of death metal into one that feels classic rather than simply “old.” Call it intrinsically understanding what makes death metal DEATH METAL or simply possessing the songwriting nous to add to such a hallowed canon rather than merely milking, but Skelethal have proven to be contenders to the throne. First full-length evidence was 2017’s Of the Depths…, followed by 2020’s Unveiling the Threshold, which saw a lineup change and bold steps beyond Swedeath (and both released by Hells Headbangers), and now arrives LP#3 to all but assure that ascent to the throne.
Tellingly titled Within Corrosive Continuums, Skelethal‘s third album equally encapsulates their past and builds upon it in noble ways. While it’s predecessor saw a slight uptick in clarity, here do Skelethal carry forward that clarity with a conspicuous dirtying-up of tone. The production’s as powerful as ever, so it could be argued that that rediscovered grit & grime come more in the band’s execution – or, more accurately, the songwriting itself. Within Corrosive Continuums immediately sounds like the same band who unleashed those prior two (celebrated) LPs, but Skelethal flex a bit differently here, opening up a number of (still-death metal) influences and transforming them into riffs and rhythms that ever so slightly more adventurous, all without (crucially) losing their characteristic directness. As such, the bulk of these largely-five-minute-long songs feel twice as fast, so feverish is the band’s intensity, but dread-draped hooks and CRUSHING heaviness still rule the day. Put another way, Skelethal take on textures that are more personal and somber, but keep the expression resolutely death metal. Simply witness the 13-minute closing juggernaut, appropriately enough the title track: hearing is believing, and Skelethal will make believers out of even the crankiest “old school” diehards.
Third albums are always a gamble when it comes to death metal; you either sell out, or get stuck in inertia for the rest of your days. Skelethal defy this convention and continue to push their limits, culminating in a deep trip Within Corrosive Continuums.
Also hear the previously revealed “Fatal Abstraction” HERE, also at Hells Headbangers‘ official YouTube channel. Preorder info can be found HERE. Cover and tracklisting are as follows:
Tracklisting for Skelethal’s Within Corrosive Continuums 1. Creation 2. Spectrum of Morbidity 3. Mesmerizing Flies at the Doors of Death 4. Eyes Sewn Mouth Full 5. Upon the Immemorial Ziggurat 6. Fatal Abstraction 7. Within Corrosive Continuums
Today, Blood Harvest Records announces August 30th as the international release date for Gutvoid‘s highly anticipated new mini-album, Breathing Obelisk, on CD, 12″ vinyl, and cassette tape formats.
Since their formation in 2019, the ascent of Canada’s Gutvoid has been nothing if not meteoric. From their initially digital-only debut EP, Astral Bestiary, receiving a physical release courtesy of Blood Harvest to the Four Dimensions of Auditory Terror four-way split shared with Blood Spore, Coagulate, and Soul Devourment the following year – again, via Blood Harvest – Gutvoid churned forth a world-eating Metal of Death that duly devoured the listener whole. Still, massive potential lurked, and it arrived with one of the most fully-formed death metal debut albums in 2022’s Durance of Lightless Horizons. Hailed far and wide upon its release and thereafter, Durance of Lightless Horizons simply intensified all the hallmarks of their sound – heaving, vertigo-inducing, spiraling like tar-thick smoke – and then sharpened them with a sterling sense of clarity, allowing their yearning, come-hither melodicism to evoke both melancholy and malice.
Taken individually, each of Gutvoid‘s recordings builds upon the last but offers surprising twists of the knife. And so it goes with the band’s brand-new mini-album Breathing Obelisk. Totaling 31 minutes across four tracks, one can easily do the math and surmise that Gutvoid here are stretching out into epic territory. Fittingly, they open up their world-eating sound to include looser execution, more fist-pumping mid-tempos, hypnotic repetition of melody, linear-but-not-really songwriting, and a strange style of grooviness…or “grooviness” in that it’s akimbo and angular and yet still supremely rhythmic in a manner most surprising for tried-and-true death metal. Here, the band eschew much of the doominess of their preceding work and instead allow those vast vistas of space pregnant with tension & terror to be built back up with rolling tank-treads of mountainous might. The cover art to Breathing Obelisk, then, begins to make more sense in the context of this textural shift; it’s Gutvoid at their most approachable and most alien – clearly recognizable, fully in focus, and yet somehow incomprehensible for the strange transmissions they’re emitting from some unknown outpost. That these four songs run anywhere from six minutes to nearly ten bespeaks not bloat, but rather a desire to patiently unfold their dread landscapes – and then do so with a remarkable memorability that’s not predictable verse/chorus formulae. And the rougher, dirtier production heightens this unfussy uniqueness that much more.
Cementing their status as one of the best still-young death metal entities around, Gutvoid challenge you to stand before their Breathing Obelisk.
In the meantime, hear the brand-new track “For We Are Many” here:
Preorder info can be found HERE. Cover and tracklisting are as follows:
Tracklisting for Gutvoid’s Breathing Obelisk 1. Swamp Consumed [9:50] 2. For We Are Many [5:52] 3. When The Living Dome Opens [7:21] 4. Shodar [7:04]
Today, Spanish death metallers Krypticy premiere the new track “The Water Street Butcher”. The track is the second to be revealed from the band’s highly anticipated second album, The Non-Return, set for international release on July 22nd via Memento Mori. Hear Krypticy‘s “The Water Street Butcher” in its entirety here:
Krypticy was founded by main composer Alex Guerrero (vocals/guitar) in Málaga, back in 2013. The band’s debut EP, Necronomicon, captured their fondness for old-school death metal, most specially of the Floridian kind (Morbid Angel, Obituary, Death, Cancer). By the time they released their debut full-length, Hideous Being, a few years later, the band was already exhibiting a larger range of influences (Suffocation, Malevolent Creation, Deicide, Decapitated) and had begun to play live, sharing the stage with bands such as Lapidated, Avulsed, Wormed, Aposento, and Necrophiliac, among others.
With the band solidifying their lineup by the end of 2022 – Guerrero alongside Pancho Vázquez (drums), Thomas Schenk (bass/backing vocals), and Sergio Álvarez (guitar) – Krypticy signed with Memento Mori for their sophomore full-length. And now it arrives, bearing the ominous title The Non-Return. As forecasted by its stark cover artwork (courtesy of Cardaver Art) and cryptic nomenclature, The Non-Return sees Krypticy aiming to push the limits their already consolidated sound. Undoubtedly still tried & true DEATH METAL, there’s nevertheless a strive for something more spiritual here, as the quartet seek an evolution towards a more unique personality whilst retaining the classic edge that always defined Krypticy‘s approach to the genre. Mind you, this isn’t doublespeak for going all-out “prog” or leaving behind death metal altogether (and still calling it such); rather, the band have begun to more fluently speak different dialects within the same language, producing a multilingual approach that can only but strengthen the sum effect. So, while the traditional tropes of late ’80s thrashing and early ’90s grinding are well and accounted for, there’s a markedly angular aspect to Krypticy‘s songwriting on The Non-Return, which works up a fever & fury when riffs and riffs and RIFFS attack, one mercilessly after the other, the rhythm section surging and staying linear and ultimately producing a memorability that easily evades verse/chorus structures.
So, for those who willingly have their minds warped by such unfussy sleepers as Suffocation’s Pierced From Within, Malevolent Creation’s Stillborn, Decapitated’s The Negation, and Diabolic’s Infinity Through Purification, prepare to arrive at your destination with Krypticy‘s The Non-Return!
Begin departing with the previously revealed “Hypatia’s Heresy” HERE at Memento Mori‘s official YouTube channel. Aforementioned cover artwork and tracklisting are as follows:
Tracklisting for Krypticy’s The Non-Return 1. Infected Pharaoh 2. Hypatia’s Heresy 3. Texas Chainsaw Massacre 4. The Void 5. The Water Street Butcher 6. UGH! 7. Krypticy 8. Virgins Recently Fucked Sacrifice
