Category: news

Roy Khan has confirmed a series of headline shows in South America where he will celebrate Kamelot‘s 2005 landmark album, The Black Halo. He will be joined by special guest Zoë Marie Federoff.
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“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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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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