Album Review: Goreworm – Miasmic Solitude

Reviewed by Sam Jones

I do enjoy technical death metal; I recall when Goreworm release their debut album six years ago though I never got round to it, though with their upcoming sophomore release, Miasmic Solitude, I’ll be able to form my opinion at last on the band. Formed in 2017 out of Ontario, Canada, Goreworm’s first release came with their 2018 EP, The Path To Oblivion, soon succeeded by that aforementioned debut 202 album titled Prodigy Of The Grotesque, the recipient of much acclaim internationally. Now picked up by Transcending Obscurity Records and penned in for a June 12th release date, Miasmic Solitude sports a striking cover from none other than Leanna TenEycke and shall be the band’s first studio release in five years; their last work being their 2021 EP Plague Of Shadows.interestingly this rendition of Goreworm now features newcomers Kyle Sharp on drums, as well as bassist/vocalist Spinny Guilbault. I was curious. Goreworm have changed half their lineup after their last full length so I wanted to get stuck in to see what this new dichotomy sounded like on record.

Setting the stage early Goreworm plunge us into a world of blast beats and sharpened vocals with riffs as enormous as they are malleable; the guitar work hardly sits still for a second before changing up, there’s no way to predict where the band will be in the next ten seconds. It’s evident the band are adept with speed for most of their songwriting sees them perform with breakneck tempo, but then there are sequences where the aesthetic changes on a whim, where the pace suddenly ceases and angelic vocals rise from the background. The band are forever playing with your expectations, ensuring no track is penned down.

The amount of material they inject into any given song is staggering. Throughout a four minute piece they’ll throw enough at you to satisfy several longer pieces by another band and it’s not like they signal these momentous developments specially, Goreworm alter the direction of their tracks at will and whether or not you can keep up isn’t their prerogative. There could be this intricate neoclassical styled riff occurring, you’ll be in their throes, and Goreworm will caution to the wind by employing huge bass drum onslaughts and riffs the scope of mountain ranges. If nothing else your money and time is rewarded with Miasmic Solitude; plunging headfirst will find your entire body pulled in owing to its astonishing depth.

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I liked how it has the technical edge without needing to slam it in our faces. There’s no instance where the band slow themselves or prepare sections where you need to pay attention or where the band believe attention needs directing towards. Goreworm are going to play and if you miss something? Well, that’s remedied on another listen; what matters is what do you feel during that first experience? The technicality inherent is towards the overall songwriting as opposed to instrumental affinity, where the band have deigned to make each track as fascinating and enamouring as possible, all without losing touch of the ground beneath them. One can only imagine the planning and written technicality to actually perform this record in the studio, owing to how many components are in active use at any time.

But we mustn’t think this some condensed, slab of tech death that’s hard to follow, on the contrary Miasmic Solitude is surprisingly intelligible, sporting a wonderfully clean production with little to no dirt at times. A lot of tech death follows this approach as bands want audiences to notice their performance, but it feels so apparent regarding Goreworm since the technicality is within the songwriting. That ease of conveying their sound towards their audience allows the band to instil confidence in fans, a confidence they can return again and again and receive the same level of quality, if not more owing to the smaller niceties not picked up first time round. Goreworm can hurl vast surges of energy your way without it becoming some formless mass; you’ll always have an understanding what part is playing and how it’s contributing to the wider picture. The record manages to feel relentless and biting whilst possessing a strongly polished aesthetic with hardly a bump on the road.

In conclusion, I think Miasmic Solitude is a fantastically written technical death metal album that showcases exemplary ways of incorporating technicality into extreme metal without shoving it in fans’ faces. I think this is the approach that works best as honing in on instrumental affinity will only get you so far but writing interesting songs, that pull us in and don’t let go, that’s what will keep fans invested. There’s so much going on and so many moving pieces at a single moment and yet Goreworm never lose sight of what matters to themselves nor us. At just over forty minutes Miasmic Solitude doesn’t overstay its welcome but every single minute is justified in its longevity with material that swells each song to bursting point; there are enough ideas within to fill three albums by other bands. Miasmic Solitude has helped raise Goreworm firmly to my attention and when a new release comes, I’ll be there first in line.

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(written by Islander) Today we turn our attention to the Vienna-based black metal band Ill Tidings and a song we’re premiering from their new album Seeds of Rebirth, which will be released by the esteemed Vendetta Records on June 26th. They have provided this précis of the album as a whole: The album balances aggression […]

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Underoath are set to celebrate two decades of one of their most seminal albums, with a whole host of very special bands as support.

‘Define The Great Line’ was released on June 20 2006, and has come to be a definitive statement of what Underoath is, and continues to be sonically and emotionally. Beautifully constructed, effortlessly ethereal and wonderfully bold, it still sounds as fresh and nailed on relevant today as it did back then.

And in taking the album on the road to celebrate, they are bringing along bands that share in their vision as well as who perfectly define the scene at the time as well as today. They are August Burns Red, Atreyu, As Cities Burn and Emery. Wow.

Keyboardist had this to say about the tour stating, “What this album has meant to us, and so many others, over the past 20 years is hard to quantify. It gave us permission to be ourselves. It sent us around the world. It gave people the freedom to say (and scream) the things out loud they had buried deep. It will outlive us. We still play these songs on stage 20 years later and get those chills. The opportunity to devote an entire tour to presenting this album in the best way it ever has been, alongside friends we’ve had since before it was released, is going to be bucket list material for us.”

Here are all of the dates:

NOVEMBER

05 – ST. LOUIS The Pageant *
06 – OKLAHOMA CITY The Criterion *
07 – ALBUQUERQUE Revel Entertainment Center*
09 – PHOENIX Arizona Financial Theatre *
10 – SAN DIEGO SOMA *
12 – LAS VEGAS Brooklyn Bowl *
14 – SAN FRANCISCO The Masonic *
16 – SEATTLE Paramount Theatre *
17 – VANCOUVER PNE Forum *
19 – SALT LAKE CITY The Union Event Center *
21 – DENVER Fillmore Auditorium *
23 – MINNEAPOLIS The Armory *
24 – CHICAGO Aragon Ballroom *
25 – GRAND RAPIDS GLC Live at 20 Monroe *
28 – MONTREAL MTELUS ^#
29 – BOSTON MGM Music Hall at Fenway ^

DECEMBER

01 – PHILADELPHIA The Fillmore ^
03 – LANCASTER Freedom Hall ^
04 – CINCINATTI The Andrew J Brady Music Center ^
05 – INDIANAPOLIS Egyptian Room at Old National Centre
06 – DETROIT The Fillmore ^
08 – BROOKLYN Brooklyn Paramount ^
11 – RALEIGH The Ritz ^
12 – MYRTLE BEACH House of Blues ^
15 – AUSTIN ACL Live at the Moody Theater ^
16 – HOUSTON Bayou Music Center ^
18 – TAMPA Yuengling Center ^ 

* As Cities Burn
^ Emery
# – Atreyu not performing

The post Underoath Announce ‘Define The Great Line’ 20th Anniversary Tour appeared first on Rock Sound.

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On the back of their AMP Award-nominated debut album Strange Love, latest single ‘Black & White’, their headline tour, festival appearances including Golden Plains and handful of shows as special guests of Pulp, Bleak Squad – Adalita from Magic Dirt, Mick Harvey from Bad Seeds/Birthday Party/PJ Harvey, Mick Turner from Dirty Three/Mess Esque/Fancy Weapon and Marty Brown from Clare Bowditch and Art of Fighting – have a run of shows coming up in late July and August. In addition to previously announced shows in Brisbane, Eumundi, Murwillumbah and Adelaide, the band has just announced a new Melbourne date. And it’s one with a twist; the venue won’t be announced until the day of the show, Friday August 7.

The band has announced and explained the show on their socials: “OK, we’ve added a Melbs show to our run in August. But it’s a little bit different. You know how it’s always the twenty-somethings that do secret, pop-up shows in super cool spaces? And we’ve all gone to the same venues a thousand times to the point that they feel like an extension of our lounge rooms?

Well, we might be just a couple of years past our twenties, but we thought we’d get in on the secret venue action too. So on Fri Aug 7th we’ll be presenting just that. Melbs, Inner north, venue location will be disclosed on the day of the gig, 7:30pm doors, everything wrapped up by 10:30pm. Lighting design by Let There Be Light. Interstitial music by Matty Vehl and Daisy Kilbourne. Super limited capacity in what we think will be an adventurous, immersive night. Tickets only available to people on our emailing list (coz we need to email you the address!)”

Sign up at www.bleaksquad.com (probably best to now-ish, and make sure you click on the Confirm Subscription link to ensure you get all the info.)

Tickets onsale this Weds morning 10am.

In other (big) news, Bleak Squad are happy to let it be known they’re working on album #2 and they’ll be playing UK and European shows in November. Stay tuned for updates.

Bleak Squad 2006
Jul 30 – Princess Theatre, Brisbane
Jul 31 – Imperial Hotel, Eumundi
Aug 1 – The Regent Cinema, Murwillumbah
Aug 2 – The Gov, Adelaide
Aug 7 – Secret Venue, Melbourne
Tickets and more info from www.feelpresents.com

The post BLEAK SQUAD Add Mystery Melbourne Show To Upcoming Run appeared first on The Rockpit.

In a new interview with Matty Roberts of the Percussion Discussion podcast, former Motörhead and current Scorpions drummer Mikkey Dee discussed how he keeps his drumming in shape when off the road, and why his nearly six decades of experience have made him a more precise performer than ever.

Dee said (transcribed by Blabbermouth) about staying active between tours: “I do different projects… I play drums when I’m off, yes. But right now, the body, actually, after a long tour with SCORPS, it’s important for your body to rest also — your shoulders, your elbows, your wrists. But I am doing some shows with ‘Mikkey Dee With Friends’; we’re out playing some stuff. And I do session work… And so I try to play as much as I can, but I also need the rest for it.”

He elaborated on how maturity has reshaped his technique: “I think I’m way more mature on my drums. The routine I have, the lack of physical power you compensate with routine and knowledge, if you will. And I compare this to ice hockey as well, because when you were 20, you had so much physical ability, you were skating all over the place like a f***ing moron. And then when you meet the older guys, old pros and stuff, they spend maybe 40% of their energy because they are at the right place at the right time all the time. While we were skating 100% just to make it to these areas and to be right, but they already know that. Why do they do that? Well, because they have the routine and knowledge where to be on the ice. Same as a drummer. I know where to back off today. I know where I can push. I feel so much more secure behind the drums.”

On his reputation for zero-mistakes performances, Dee recalled what he told his new bandmates when he joined the Scorpions: “I told the Scorpions boys, I said, when I joined them [a decade ago], I said, ‘I don’t do f***-ups.’ And they were laughing, and I said, ‘No, no, I’m serious. I never f*** up.’ ‘Yeah, yeah, Mikkey. We understand. It’s okay. It’s no problem. Everyone f***s up.’ I said, ‘I don’t,’ because I don’t. I don’t f*** up. I do my homework, and I know by the time I sit behind the drum kit, I don’t f*** up. And that’s because of routine. You know how to prepare yourself. You do your homework in the right way.”

Dee also addressed the physical side of longevity at the drum kit: “You don’t have to have the same energy when you are 15, 20, 25 years old anymore. I hit the drums with a different approach. You don’t need that much muscle and energy. You have a different snap in a way. So, it compensates. And I try to stay fit, and I stay the f*** away from drugs, and I drink only beer. And so my hair keeps growing, and that’s about it. And I play a lot of hockey when I can, and I do sports and try to live a decent life. And keeping up on my drums. And that’s all I have to do, really, to stay on the level that I wanna be.”

Earlier this year, Dee announced more than a dozen European shows for 2026 on which he will perform Motörhead classics alongside The Drippers members Viktor Skatt (bass/vocals) and Stig William Rickard (guitar).

A Swede of Greek descent, Dee rose to prominence with King Diamond in the mid-1980s, recording the albums Fatal Portrait (1986), Abigail (1987) and Them before serving as a session drummer on Conspiracy (1989). He then joined Don Dokken for Up From the Ashes (1990), with the videos for “Stay” and “Mirror Mirror” receiving airplay on MTV’s Headbanger’s Ball, and briefly filled in with World War Three. Having been courted by Lemmy Kilmister since 1985, Dee accepted the invitation in 1992, replacing Phil “Philthy Animal” Taylor as Motörhead’s drummer; his first show with the band was Aug. 30, 1992, at Saratoga Performing Arts Center. Following Lemmy’s death and Motörhead’s dissolution, Dee joined the Scorpions in 2016. His only studio album with them to date is Rock Believer (2022).

The post Drummer MIKKEY DEE: “I Told the SCORPIONS Boys: ‘I Don’t Do F***-Ups.’ And They Were Laughing. I Said, ‘No, No, I’m Serious’” appeared first on Sonic Perspectives.

Wishy Wishy Wishy, can’t you see. Sometimes your tunes just hypnotize me. And I just love your catchy ways. Guess this why they’re broke and you’re getting so much love from what remains of the independent music blogosphere.

The post Wishy Announce New Album <em>Nature’s Pill</em>: Hear “Lovesick” appeared first on Stereogum.

EDM DJ John Summit is a huge deal in the dance world, a big enough name to headline a festival like Bonnaroo or Outside Lands. But when another artist randomly and unexpectedly makes an appearance during one of his sets, the whole thing might get shut down. On Sunday night, Summit played a set at Lilly’s Club in Monte Carlo, as part of an afterparty for the Monaco Grand Prix, but the set ended early because another artist bum-rushed the stage. According to TMZ, that artist was Travis Scott.

The post Travis Scott Reportedly Forces Early End To John Summit’s Monaco Grand Prix Show appeared first on Stereogum.