Category: news

Today, Portuguese black metallers Black Cilice premiere the new track “Into the Inner Temple” at heavily trafficked web-portal NoCleanSinging.com. The track is the second to be revealed from the band’s highly anticipated seventh album, Votive Fire, set for international release on May 1st via Iron Bonehead Productions. Hear Black Cilice‘s “Into the Inner Temple” in its entirety exclusively HERE. By now, Black Cilice require no introduction. Undeniably THE most influential raw black metal […]

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Sacred Oath: Temple Of Death, the ferocious new seven-track split between Indonesian death metallers EXHUMATION and US blackened death bringers FUNERAL CHANT is now streaming in its entirety! The premieres comes on the eve of the record’s official release Friday, April 3rd on Carbonized Records. Forged in 2008, EXHUMATION hails from Yogyakarta. Conceived as a project rooted in primordial darkness and […]

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Connecticut-based brutal death metal band Vomit Forth have officially signed with Pure Noise Records. The band announced the partnership alongside plans to release a new three-song EP, In The Name Of The Father, on April 23rd. A music video for the lead single “Prophecy Of Defilement” can be found below.
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Posted on November 6th 2026, 11:28am

UK brutal death metal / deathcore outfit Ingested have released their new single, “Watch You Fold”, ahead of their forthcoming album Denigration, set for release on May 8th via Metal Blade Records. The track features guest vocals from John Gallagher, frontman and founding member of Dying Fetus. Go check it out below.
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“We are living through dark, disturbing and dangerous times. But do not despair, the cavalry is coming”

After years of fronting some of rock’s most iconic acts, Erik Grönwall returns with his new solo album ‘Bad Bones‘, set for release on May 22nd, 2026. The album’s title track and first single ‘Bad Bones‘, released earlier this year, has been warmly received by fans and media alike. The song has already been picked […]

The post Erik Grönwall Releases New Single & Video ‘Born To Break’ appeared first on ROCKPOSER DOT COM.

Less than a year after the release of I Don’t Want To See You In Heaven, mathcore provocateurs The Callous Daoboys have revealed a brand-new single, called “Gigantic Parasite Tongue”. Check out the music video below.
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Los Angeles thrash/death metal duo Whipworm return with their fifth full-length album, “Death Beyond,” a conceptual journey that pushes the band’s signature blend of aggression, intensity and storytelling even further. “Death Beyond” follows the story of a man who receives a mysterious letter describing future events that should be impossible to know. As the story unfolds, he soon realizes […]

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[Cover art by Eliran Kantor]

What exactly do we expect from Immolation at this stage of their career? This is a band whose legacy was set in stone decades ago by their impeccable early run of albums; I’m of the opinion that their first five records are as good a run as any death metal band has ever put out. Ever. But they’ve long since been a very high quality veteran act, no longer innovating but also refusing to release a bad song. Sometimes, as with the last couple records, they achieve a little late career bump in quality, sounding a bit more inspired and ferocious than your usual veteran act. And at other times, such as on new record Descent, things feel a little more, well, not exactly phoned in, but definitely a little more formulaic.

Because of this, one word that keeps coming to mind when spinning Descent is predictable. Before you assume that is meant only as derogatory, know that it’s partly complimentary: Descent is a predictably very strong death metal record, as you’d expect from Immolation. However, never before has it seemed more possible to know where each song is headed, what beats are coming next, or when a churning death metal verse is about to be traded off for one of the bands twitch-a-thons.

Part of that is due to the sheer volume of Immolation music we have now – Descent is album number 12 – but part of that is due to the material within. Whereas both Atonement and Acts of God had at least a little bit of distinction about them, particularly for a band so experienced, Descent almost feels paint-by-numbers Immolation. Again, this isn’t necessarily a bad thing, as Immolation is painting with some of the raddest numbers in death metal, but you’ve definitely heard all these numbers before. The closing title track, for example, might be the best tune here, but much of the way it progresses calls back to certain songs from Unholy Cult. A pretty great place to mine, for sure, but experienced Immolation listeners will find moments like that throughout the record.

Of course, that could almost be said about every Immolation album going back to Harnessing Ruin (the first inessential but still quite good Immolation record), so the fans that have stuck around are obviously going to find plenty of fun within this latest offering. And like all of the albums of this period, the band remains absolutely beastly in sound. Ross Dolan still has more conviction in his vocal delivery than nearly all of his peers and Rob Vigna is still one of death metal’s greatest riffsmen and underrated lead players, helping to guide the narrative of each song with his solos as much as Dolan does with his words.

Immolation clearly meant to use their still-monstrous sound to make a more direct, universally aggressive record with Descent than they did with the expansive and (very relatively) melodic Acts of God, and to that end they’ve succeeded. Descent is certainly more direct (and 10 minutes shorter) than its predecessor, and certain songs emphasize brutality over just about everything else. “Adversary” isn’t even three and a half minutes long, and spends its entirety pummeling the listener, right down to its dominant finish; “Bend Towards the Dark,” meanwhile, blasts its way into existence but shows a touch more dynamics during the midpaced chorus and vicious build towards its climax; and the ensuing “Host” is among the most restrained songs on the record, layering melodic lines with blasts and featuring a particularly great Vigna solo (also, that’s either a guest spot, or Dolan introduced a high-pitched screech for the first time in his career). Again, this is a very good collection of songs, it’s just not a very original set of songs.

Overall, Descent probably compares most closely to Kingdom of Conspiracy in its more efficient form of violence, but also in the impression that it’s more a collection of songs than a cohesive album. Unfortunately, Steve Shalaty’s drums also sound like they did on that album: up in the mix and somewhat plastic. Not a deal breaker by any means, just a mystery that a band that has worked with the same producer (Paul Orofino) for decades can’t find a more consistent drum tone. Even with this slight downside, Descent still sounds like it wants to hurt you, a trait achieved by everything else sounding positively massive.

The dilemma for anyone writing about this record (or deciding whether or not to shell out cash for it), is deciding how much Immolation’s stratospheric pedigree as one of death metal’s all-time greats outweighs the impression that things might be a little formulaic. Ultimately, your need for this record is really based on what you expect from Immolation at this stage. If you love this band and have continued to love this band, buy this record. If you’re a little more emotionally tied to the early stuff, Descent might not be on your list of essentials for 2026.

The post Immolation – Descent Review appeared first on Last Rites.