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FOR IMMEDIATE RELEASE
NEFARIOUS GRIME UNLEASHES DARK AND ATMOSPHERIC EP “DEATH IS IMMORTAL”
Cuban-Born, Miami-Based One-Woman Project Blends Symphonic Black Metal, Gothic Atmosphere, Dungeon Synth, and Avant-Garde Darkness

Miami, Florida — Nefarious Grime, the eclectic one-woman musical powerhouse led by Cuban-born, Miami-based multi-instrumentalist Niúvis Martin , invites listeners into a shadowy world where symphonic black metal, gothic darkness, dungeon synth, and avant-garde experimentation collide on the haunting five-song EP “Death Is Immortal.”
Originally released on August 5, 2025 , Death Is Immortal delivers a brooding and atmospheric journey steeped in dark poetry, ominous melodies, haunting symphonic passages, and the raw spirit of old-school black metal. Rather than relying solely on extremity, Nefarious Grime builds its sound around atmosphere and contrast, shifting between ferocious black metal riffing, memorable rhythms, ethereal keyboards, and clean vocal passages.
For listeners drawn to the theatrical darkness of Cradle of Filth , the gothic and symphonic traditions of Opera IX/Cadaveria , the grand melodic sensibilities of Nightwish , and the avant-garde black metal world of Diabolical Masquerade , Nefarious Grime offers a distinctly personal take on the darker side of metal.
At the center of the project is Niúvis Martin , handling vocals, keyboards, bass, and recording duties, with Dexter13th providing drums. Guitars, mixing, and mastering were handled by Armando Doval of Electric Halo Recordings , giving the EP a polished yet appropriately sinister production that allows its layers of atmosphere and instrumentation to breathe.
The result is a release that feels rooted in the underground while refusing to remain confined to a single genre.


“For anyone seeking an old-school, atmospheric approach to black metal, Nefarious Grime treats us to a 5-song EP replete with spooky symphonic passages and thoughtful inflections of clean vocals above a satisfying array of BM riffs and catchy rhythms.”


Released through Northern Hell Kult of Maine and Hypnotic Dirge Records of Portugal, Death Is Immortal stands as a compelling introduction to Nefarious Grime’s dark musical universe.
About Nefarious Grime

Nefarious Grime is a Cuban-born, Miami-based one-woman project created by Niúvis Martin , exploring the darker territories of gothic music, symphonic black metal, dungeon synth, and avant-garde experimentation.
Serving up dark, poetic, and brooding tunes, Nefarious Grime embraces the theatrical, atmospheric, and unconventional sides of extreme music while maintaining a strong connection to the spirit of underground metal.
“Death Is Immortal” EP

Artist: Nefarious Grime
Release: Death Is Immortal
Release Date: August 5, 2025
Genre: Symphonic Black Metal / Goth Metal
Label: Northern Hell Kult / Hypnotic Dirge Records
Format: 5-song EP
For Fans Of: Cradle of Filth, Opera IX, Nightwish, Diabolical Masquerade
Production Credits

Niúvis Martin: Vocals, keyboards, bass, recording
Dexter13th: Drums
Armando Doval: Guitars, mixing, mastering
Recording/Mixing/Mastering: Electric Halo Recordings
Listen to “Death Is Immortal”

Bandcamp: https://nefariousgrime.bandcamp.com/album/death-is-immortal
Spotify: https://open.spotify.com/album/3pNvk368mb8rbZc5DSZjH0
Apple Music: https://music.apple.com/us/album/death-is-immortal-ep/1830937289
Check out the video: 


Connect With Nefarious Grime

https://www.facebook.com/NefariousGrime666
https://www.instagram.com/nefariousgrimeofficial
https://nefariousgrime.bandcamp.com/album/death-is-immortal
Press & Management Contact:
Nefarious Grime
nefariousgrimeofficial@gmail.com

Right now, Usher is on a giant stadium tour with his fellow R&B megastar Chris Brown, and he keeps going viral for goofy reasons. A couple of weeks ago, he invited a female fan to the stage for grinding purposes and then promptly disinvited her when she clearly wasn’t into it, which led to a whole online fracas. Now, Usher is going viral for a couple of other reasons — one involving door-holding etiquette, one for allegedly pulling an MF DOOM and sending a lookalike out onstage.

The post Usher Goes Viral For Beckoning Doorman, Allegedly Using Lookalike At New Jersey Show appeared first on Stereogum.

Here are some of our favorite releases from the past month.

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Witchsorrow – The Devil and All His Works | Church Road (July 3)

As I joked two years ago about Temple Witch, you can generally guess that a band with “witch” in the name is probably gonna be doom and/or stoner metal. Witchsorrow, naturally, have kept that assumption safe for two decades by answering the question, “What if Ozzy’s Sabbath went full-on bludgeoning doom?”

With their fifth LP, and first since 2018, the English trio decided to make doom metal that’s fuckin’ heavy and fuckin’ fun, mostly a result of the stoner-rock element that’s been in the background since their 2010 eponymous debut steadily creeping to the foreground. Indeed, there are pockets of thrashy stoner rock all over this record, and the band’s better for it. It doesn’t hurt that there’s catchy riffing and shit-hot soloing, either. As such, The Devil And All His Works might be the best place to start for newcomers.

–Steve Lampiris

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Lander – Acid Jungle | Wergild (July 3, 2026)

I don’t know about you, but the best thing to come out of America’s semiquincentennial other than the word “semiquincentennial” was the new Lander album Acid Jungle, and not just because its titular landscape sounds like a welcome reprieve from the erratic weather around these parts. Acid Jungle is yet another outstanding release from the Wergild collective that further explores the grim, interplanetary campaign that began with Lander’s 2023 EP. Artificer has once again outdone himself with this vast array of riffological weaponry: streams of tremolo chords like energy beams sizzle through the underbrush; punchy heavy metal chugs in 5/4 announce the arrival of a mech brigade; nebulous synths and clean guitar arpeggios hang in the air with an eerie phosphoric glow. And all the while, Krieger’s nimble percussion dictates the flow of battle during armored cavalry blitzkriegs and temporal skirmishes alike. Read enough? Then queue up Acid Jungle and get to the necrothopter.

–Alex Chan

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Luminous Veil – Agita Knelling | Independent (July 1)

Agita Knelling remedies the ails of American post-2010s black metal, those from scatterbrains trying to overhaul the genre with sentimentality and kaleidoscopic influences but without arresting songwriting. Atmospheric black metal with progressive rock stains and an optimistic wish, this is indeed, and Luminous Veil go so far as to include “shoegaze” and “post black metal” on the Bandcamp page. “Oh no,” you may say. Fortunately, there are a few fundamental aspects that Agita Knelling possesses that make it a breath of fresh air instead of, insert PR voice, “a breath of fresh air.” Luminous Veil have sharpened their skills and writing through releasing 10 full LPs since 2018. So, although their playing is janky and crooked, it offsets the sepia-stained atmosphere. That’s especially apparent on the title track, which throws away any concerns with a DSBM intro and shoves them in a trash compactor with melodeath riffs. On a “post-black metal” song, by the way. This comes in a package rallying against nihilism and attempting to uplift, and Luminous Veil actually accomplishes that by getting their hands dirty and dingy.

–Colin Dempsey

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Götterkrieg – Mortífera Volúpia Ancestral | Madre Muerte Productions (July 26)

Götterkrieg has expeditiously become one of my favorite things out of Brazil in recent memory. They’ve played a black metal and dungeon synth hybrid similar to Summoning up through last year’s Chronicles of Domination, but have re-emerged as a symphonic black metal force with their new EP Mortífera Volúpia Ancestral. Even the intro track “Prelúdio” is an improvement over the intro tracks on the band’s previous material. However, the most crucial element that told me this would be excellent is the pristinely photoslopped album cover. They even used the excessive outer glow that I’ve begged for in my previous photoslop articles here. It’s nice to feel listened to.

Mortifera’s metal tracks start off hot with “Clamor Triumphalis Antitheonis,” whose first riff would be right at home on any number of ‘90s symphoblack gems. No sooner do the blast beats fully kick in that we get timpani rolls and some sensationally old-school keyboard tones. If you love the first couple Dimmu Borgir records and Limbonic Art, Obtained Enslavement, or early Hecate Enthroned, Mortífera Volúpia Ancestral is right up your alley. “Solve Et Coagula” is a ton of fun too, and the title track is no slouch despite being the longest track here. This thing isn’t just all sizzle either; there’s some exceptional songwriting on display from mastermind Allocerius, and the vocal performance is top notch–vocalist Anubious did not hold back whatsoever. Mortífera Volúpia Ancestral is outstanding, and by all accounts should be the beacon of a return to unhinged symphonic black metal as it was meant to be.

–Eric Wing

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At this point, King Gizzard & The Lizard Wizard’s new album could arrive at any moment. The prolific, ever-morphic Australian psychedelic wizards previously announced that the rave-centric Alien Metal, their 28th studio LP, would come out this summer, and they shared “Level 5” and the title track. The band still hasn’t announced a release date for Alien Metal, but the third single from that record is out today. You have to figure that the album isn’t far behind.

The post King Gizzard & The Lizard Wizard – “Kill For The Steel” appeared first on Stereogum.

Texas-born singer-songwriter Sam Morrow returns with Southern Boogie, his latest studio album. Over the past decade, Morrow has carved out a place for himself by blending Americana, country, blues, and rock into a roots-focused sound. With Southern Boogie, he continues on that path while steering his sound in a slightly different direction.

Recorded in Austin with producer Jonathan Tyler following Morrow’s move from Los Angeles to Nashville, Southern Boogie marks a gradual shift away from the Americana-heavy approach that shaped much of his recent work. Instead, the album leans more heavily on blues rock and Southern rock, favoring rawer guitar tones, analog production, and a loose, live feel. It is a change in emphasis rather than identity, and one that defines much of the album’s character.

Musically, Southern Boogie is a blues-based rock record with a healthy amount of fuzz, swagger, and Southern attitude. ZZ Top is the most obvious point of comparison, although traces of Grand Funk Railroad, Mountain and even Lynyrd Skynyrd surface throughout the album. The production complements that approach perfectly, giving the songs plenty of warmth while allowing the guitars to remain front and center. Morrow’s vocals are confident without becoming overbearing, and the band’s performance prioritizes groove over technical showmanship.

“Cruisin’” opens the record on a strong note, pairing a swaggering rhythm with fuzzy riffs and stinging slide guitar work to create an inviting introduction. “Lucretia” keeps the momentum going with another solid blues rocker, while the slower “Hard Lessons” brings a moodier atmosphere through its fuzz-laden guitars and restrained pacing. “South Texas Women” leans slightly more toward a countrified approach, offering a memorable chorus and a particularly satisfying guitar solo that lifts the song in its second half.

Arguably the album’s strongest track, “Saturday Night” is a hard-driving rocker built around rugged ZZ Top-inspired riffs, excellent organ work, and one of the catchiest choruses on the record. It captures the carefree spirit that runs throughout the record without sacrificing the grit that defines its sound.

“Juanita” introduces welcome touches of funk and soul, its infectious groove and slide guitar making it another standout, before “Wedding Ring” closes the album with lively riffing and enough energy to send listeners off on a high note.

Overall, Southern Boogie rarely strays from its blues rock foundation, but it remains an enjoyable listen thanks to its competent songwriting, warm analog production and convincing performances. It is an unpretentious collection of feel-good, blues-based Southern rock that knows exactly what it wants to be, delivering plenty of satisfying riffs and grooves along the way. That easygoing spirit also makes it an album worth returning to whenever the mood calls for fuzzy riffs and Southern swagger.

The Review: 7.5/10

Can’t Miss Tracks

– Cruisin’
– Hard Times
– South Texas Women
– Juanita
– Saturday Night

The Big Hit

– Saturday Night

The post Sam Morrow: Southern Boogie Review appeared first on Blues Rock Review.

Louisville, Kentucky’s Strange Birds releases its Little Victories album via Sweet Cheetah Records on September 4. Preorder it here. Strange Birds is a post-punk

They turned to a pair of familiar faces when long-time frontman Max Carl suddenly retired earlier this year. Continue reading…

Mighty Music is proud to announce the release of ‘What Are We Waiting For‘, the brand-new studio album from Danish rockers Electric Guitars, due out on October 30th, 2026. The band’s sixth studio album marks a bold new creative direction, with drummer Morten Hellborn taking over production duties and leading Electric Guitars into fresh sonic […]

The post Electric Guitars New Album ‘What Are We Waiting For’ Out October appeared first on ROCKPOSER DOT COM.

Steve Stout leans into nostalgia on i wanna buy a beach house, a hazy, guitar-driven indie rock track that gradually opens into a more polished pop-inflected sound. Built around a dreamy guitar riff, the song moves between wistful textures and a warmer, more expansive section that recalls the music of Stout’s formative years. The loose, conversational lyricism adds personality, while the layered guitars and live drums give the latter half a natural sense of lift. Warm, melodic, and soaked in nostalgia, i wanna buy a beach house captures the bittersweet feeling of looking back while still dreaming about what comes next.

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Metal is filled with reluctant vocalists. Whether it’s Dave Mustaine ultimately deciding to front Megadeth, or Mikael Åkerfeldt hesitantly filling the void in Opeth, or Troy Sanders and Brent Hinds eventually co-voicing Mastodon,¹ vocals often exist in the genre as an afterthought. But what happens when there’s no after to the afterthought? You get something like Only Echoes, an instrumental post-metal quartet from Denver, CO. In their promo materials, Only Echoes explain that they formed expecting vocals to play a part in their music, but ‘when the time came to decide who would sing, no one raised a hand.’ This lack of vocals, however, became a staple of the band’s identity, fueling their self-titled EP (2018) and debut LP Sunsickness (2022), both of which were independently released. Arriving via Braeburn Records, sophomore album Born Adrift promises ‘an internal narrative without relying on lyrics to explain it.’ Said promo materials do, however, sketch the narrative: the album charts ‘a journey through survival, uncertainty, and the strange momentum that keeps a person moving through hostile waters.’

Without a vocalist, Only Echoes rely on the versatile arsenals of their instrumentalists to convey Born Adrift’s arc. The band references several acts one would expect as influences on an (instrumental) post-metal album: Russian Circles, Pelican, Isis.² On the guitar front, Austin Minney and Dustin Yourishin combine for a menagerie of flickering melodies, glimmering clean chords, and chunky chugs. Drummer Zach Sirotkin lays down a bevy of blast beats, d-beats, and double-bass thunder. Meanwhile, bassist Ben Rosenberg periodically pokes through the mix with some upper-fret flourishes. As some elements of this description of Only Echoes hint at, Born Adrift doesn’t quite channel the spirit of the bands cited above. Yes, there are some well-earned quiet-to-heavy, heavy-to-quiet transitions across the album. But by and large, Only Echoes play far less patiently than these groups, swiftly shuffling between blissed-out breathers, punk-rock paces, and core-ish chuggery. Despite their mostly 6–8 minute lengths, the songs tend to sound like bursts of metal grab bag.

Because all but one song on Born Adrift briskly bounces between styles, any sense of album-spanning narrative is hard to detect. My criticism of the grab-bag songwriting notwithstanding, “Born Adrift” and “Tempest” do open the record with excitement, showcasing a band capable of moving melodies and infectious tempos. “So Tightly Bound” seems like it will be compositionally different; it develops an enchanting vibe across three minutes. But then the song quickly jumps into a d-beat-driven punk part, capped off with some obligatory chugging. It’s as if there’s a missing middle between the beginning and the punky outburst. After the aptly titled interlude (“Inter”), the album closes by showing some signs of patient development (“Steps Ahead of Drowning”). But then Only Echoes revert back to their familiar mode, jarringly contrasting serene buildups with breakneck speed (“Shimmering Death”). At 35 minutes, Born Adrift isn’t exactly a chore to get through, but it often feels longer than it is. I almost get the sense that Only Echoes tried to cram an album’s worth of material into nearly every song.

Unfortunately, sonic missteps also become a barrier to enjoying Only Echoes’s sophomore outing. On the production end of things, Born Adrift does seem cognizant of intentional mixing: the drums and bass grow more present in sections where the guitars are textural and ambient. The guitars, however, unpleasantly dominate the mix when Minney and Yourishin turn towards chugging rhythms. The bass, when it sticks to lower registers, gets lost and feels inessential. The big issue, however, concerns the low bitrate of Born Adrift’s audio files (128 kbps). At lower volumes, the album sounds compressed and mushy; at higher volumes, it’s clippy and grating. As a metal album in want of blasting, this latter fact is quite unfortunate.

Born Adrift ultimately disappoints, but not for its lack of vocals per se. As instrumentalists, Only Echoes clearly possess chops, and they show a knack for crafting and connecting affecting passages (“Born Adrift,” “Tempest”). Too often, however, these passages are disrupted by abrupt stylistic changes that come off as contrived. Additionally, the sonic flaws sadly hamper an album that does, at times, sound massive and powerful. In my view, Only Echoes don’t necessarily need someone to step up and command the microphone. They might, however, exercise the kind of restrained patience that, for me at least, tends to make for notable instrumental metal/rock.

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Rating: 2.0/5.0
DR: 6 | Format Reviewed: 128 kbps mp3
Label: Braeburn Records
Websites: Official | Instagram | Facebook
Releases Worldwide: August 14th, 2026

The post Only Echoes – Born Adrift Review appeared first on Angry Metal Guy.