Category: news

“View From Nemeton”, the newest preview tune from Hulder‘s upcoming record Verbolgen, has premiered online in the form of an official music video. The latter was filmed and edited by Liana Rakijian and Hulder.
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After releasing debut LP Prodigy of the Grotesque in 2020, Canada’s Goreworm re-emerges from their burrow with follow-up full-length Miasmic Solitude. Prodigy of the Grotesque enchanted me when I ran across it a few years ago—sweeping guitars, slick bass grooves, and a deliciously vigorous percussive cannonade made for a tasty tech death treat. Now six years later, Goreworm has metamorphosed from the band that dropped Prodigy. Vocalist Jesse Suess and founding members drummer Sean Bruce and bassist Derek Gibbs bid adieu, leaving guitarists Jordan Estrela and Brent Moerschfelder to carry the torch. For Miasmic Solitude, Goreworm rounds out the ensemble with session drummer Robin Stone (Ashen Horde, Chestcrush), who flayed the skins on 2021 EP Plague of Shadows, and vocalist Robert Miller (Antheraea). With a revitalized crew and a fresh batch of jams in hand, can Miasmic Solitude worm its way into your heart?

Technical death metal can be a tough genre to craft thoughtful songs within. The most immediate hurdle is technical chops—if you can’t muster the dexterity to pull off instrumental mayhem, you’re sunk. Yet the ability to play at blistering speeds with robotic fidelity isn’t enough on its own; it’s merely the price of admission. To transcend in the genre as the best from Necrophagist, Obscura, and Archspire have, you need crystalline mechanics embedded within engrossing and memorable compositions. Goreworm’s brand of death metal lands amidst the likes of The Black Dahlia Murder, Vale of Pnath and Abysmal Dawn, sporting burly riffs played at head-spinning velocity with occasional splashes of neoclassical color. This, at least, ensures the price of admission has been paid in full.

Goreworm members old and new unleash the razzle-dazzle on Miasmic Solitude as they pump gallons of adrenalized ear candy into its compositions. Estrela and Moerschfelder beget a sinewy string section, uncorking spidery leads that dash along fretboards with muscle and venom (“Monuments to Murdering,” “Miasmic Solitude”). Moerschfelder pulls double duty on the low-end, too, clanging and banging with satisfying heft. I only wish he broke away more from playing under the guitars and locking into root notes. To be clear, this is a nitpick on style and not a comment on his ability to bring the thunder. It’s just that compared to Gibbs’ bass on Prodigy of the Grotesque, Miasmic Solitude loses a dimension that helped set Goreworm’s debut apart. Meanwhile, Stone supplies a magnificent performance behind the kit, unfettering smooth rolls à la Chris Adler (“Amor Vincit Omnia”) and hammer-smashing cavalcades that recall the ferocity of Cannibal Corpse’s Paul Marzurkiewicz fused with the grace of Dirk Verbeuren (“No Reprieve”). Robert Miller proves a capable vocalist, and though his performance isn’t particularly dynamic, he supports the music well and sounds credibly savage throughout.

Goreworm crackles with vitality throughout Miasmic Solitude, yet the entirety falls short of the promise of its performances. The production proves a mixed bag, allowing the guitars and vocals to shine at the expense of the drums, which sometimes cut through but often become muddled during furious blasts, obscuring the pop of robust drum tones I loved on the debut. Perhaps the intent was to thematically embrace what a cloudy, claustrophobic atmosphere achieves, shining the spotlight on a single focus at a time. If so, I can appreciate the attempt, but it fails to properly incorporate all the ingredients into what Goreworm is cooking. Besides the mix, the songwriting highlights Goreworm’s technical acumen without sharpening their hooks enough to reel me back in once the music fades. To be fair, Miasmic Solitude rips throughout its runtime and is a qualified neck-wrecker—I just don’t feel compelled to revisit it afterwards.

Ultimately, Goreworm exhibits a myriad of traits I love to hear in technical death metal. With a more well-rounded production and carefully honed compositions that transcend being platforms for flexing technical mastery, Goreworm bears all the potential to annihilate expectations. As it stands, after several listens through Miasmic Solitude, there’s no doubt that Goreworm possesses the prowess necessary to deliver on the technical front. I’m just unconvinced of the magnetism their material yields to keep me coming back past the pyrotechnics.

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Rating: Mixed
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Transcending Obscurity Records
Websites: Bandcamp | Facebook
Releases Worldwide: June 12th, 2026

The post Goreworm – Miasmic Solitude Review appeared first on Angry Metal Guy.

Taake have disclosed details and first single connection with the new album announcement. Entitled En Skog Av Nidstang, it will be unleashed on July 31st through Dark Essence Records. Pre-orders are available at this location.
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Hint: It's not the first time Geezer Butler has praised this "ultimate hero bass player." Continue reading…

To promote their forthcoming studio release Curse Of The Beast, due out July 14th on Fireflash Records, Ruthless offer in listening the third advance single “Raging Violence”.
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Wednesday 13 have recently announced US and European touring plans for the second half of this year. The US dates will go through in September and October while the European ones in November and December.
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Icelanders Fortíð have checked in with a short statement that they are working on new material. More info soon. The band’s last studio album, Narkissos, was released in 2023.
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Dead Kosmonaut have premiered “View From The Future”, the third single and final glimpse of their soon-to-be-released third long player Retrospectre.
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Germans A Secret Revealed are ready to unleash their new full-length offering, The Ruin I Summoned Forth, on October 16th 2026 via Lifeforce Records. It w as mixed and mastered by Nico Gwozdz at Spiral Music Studio.
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On Friday, May 29, the Marshall Tucker Band brought their legendary Southern rock sound to the historic Elsinore Theatre in downtown Salem, Oregon. The evening was especially meaningful as the landmark venue celebrated its 100th anniversary since opening in 1926. Original founding member and lead singer Doug Gray, still commanding the stage with remarkable energy, led the band through a spirited greatest-hits performance that delighted a packed house of longtime fans.

Gray, who co-founded the Marshall Tucker Band in 1972 after returning from Vietnam and receiving his Army discharge, remains the heart and soul of the group. During the show, he reflected on his journey, including surviving triple bypass open heart surgery nearly twenty years ago. Despite these challenges, he continues to tour with the same passion that has defined the band’s 54-year career, which includes more than twenty studio albums and dozens of live and compilation releases.

The night focused heavily on the band’s classic 1970s material, with twelve of the sixteen songs performed written by the late founding guitarist Toy Caldwell. Chris Hicks, a veteran of the Allman Brothers Band and Lynyrd Skynyrd, ably filled the guitar and vocal role once occupied by Caldwell, delivering strong leads and heartfelt singing throughout the set. The current lineup also featured solid contributions from guitarist Rick Willis, keyboardist and multi-instrumentalist Marcus James Henderson, bassist Ryan Ware, and drummer B.B. Borden.

The band opened strong with “Hillbilly Band” and “Heard It in a Love Song,” quickly warming up the crowd. Early highlights included “This Ol’ Cowboy,” a song Gray noted was on their Where We All Begin album in 1973. The band stretched the track into a fiery jam, with both Hicks and Willis trading raging guitar leads before Henderson stepped forward with an expressive flute solo as Gray danced across the stage, energetically shaking his tambourine.

“Cattle Drive” kept the momentum high with its driving flute lines and powerful guitar interplay, while “Desert Skies” showcased Henderson singing lead and delivering soaring flute work backed by an infectious rhythmic foundation. The band hit another peak with “Searchin’ for a Rainbow,” where Hicks handled lead vocals and guitar, joined by the full group on the harmonious chorus about chasing that pot of gold.

Other memorable moments included the mellow “Georgia Moon,” featuring a smooth saxophone interlude from Henderson, and the epic “24 Hours at a Time.” Gray polled the audience on whether they wanted the long or short version, and the crowd overwhelmingly chose the extended take. The song became a highlight of the night, featuring blistering guitar runs from Hicks and Willis, a wailing saxophone solo, and a showcase bass solo from Ryan Ware.

The emotional high point arrived with the classic “Can’t You See.” Hicks sang lead while the rest of the band provided rich harmonies. Gray encouraged the audience to clap and sing along, turning the song into an extended, feel-good communal moment complete with dueling guitar leads. The band closed the show on a high-octane note with “Dog Eat Dog World,” a guitar-driven jam that featured strong saxophone work and B.B. Borden’s driving drumming.

Throughout the evening, the Marshall Tucker Band delivered exactly what fans hoped for: authentic Southern rock with plenty of room for improvisation, soulful vocals, and the signature flute and guitar textures that have always set them apart. Doug Gray’s enduring stage presence and the band’s tight chemistry proved that after more than five decades, the spirit of the Marshall Tucker Band remains as strong as ever.

The post Marshall Tucker Band Gig Review at the Elsinore Theater appeared first on Blues Rock Review.