Ace Von Johnson grew up as a punk rock kid, missing the vaunted ‘80s hair and glam metal scene by a few years. But after moving to L.A. and becoming a part of that scene in his 20s, things changed. Things changed so much that Von Johnson found himself a member of not one, but eventually two classic groups from the Sunset Strip era: Faster Pussycat from 2010 to 2020, and since 2018, L.A. Guns. As for what he’s learned along the way, Von Johson tells ClassicRockHistory.com, “Now 25-plus years in, and I have no delusions of grandeur as far
Here’s the logline on Screams from Beneath the Surface, the seventh full-length album from Florida mainstays Monstrosity:it’s a calorically dense slab of death metal that doesn’t even attempt to compete on the level of ferocity with today’s brutal-tech boundary pushers, but it carves out a comfortable niche for itself with sharp riffs and professional songcraft. Though so much has changed for Monstrosity since the days of their rightly hailed debut, Imperial Doom, and its sneakily superior follow-up, Millennium, this project still resides in the deregulated borderland between death and thrash. While those first two largely comprised riff-n’-blast bombardments rounded into form by sheer force of will, Screams is a songs-first affair.
Take album intro “Banished to the Skies,” a proper slow-burning mood setter that strikes a series of traditional heavy metal poses (clean-channel arpeggios, melodic leads and galloping triplets) to gradually ratchet the tension before paying it off with a bona fide betcha can’t play THIS-er of a solo. Paired with an Audiohammer/Morrisound engineering job that is suitably modern but not noticeably overcooked or quantized to my ear, and you’ve got a final product that sounds a lot like a modern Kreator record, but without the fist-pumping overtures to those European mega-fests. Does that sound pretty good to you? Hope so, because Screams offers ten tracks of it. “Colossal Rage,” the lead single, is of a more distinctly death metal mien, with a particularly nasty riff that chases its tail up and down the fret-board at around 1:14. Then we’re right back to death-thrash land at 2:10 with a barrage of pummeling gallops into minor-third dyads that is exquisitely simple and tuneful in equal measure.
Here I’ll note that while drummer Lee Harrison is Monstrosity’s sole consistent member since its inception and has never once employed the same lineup on consecutive albums, he does deserve credit for letting his guitar co-conspirators bring their best to the pot-luck, however brief their engagements may be. Here, as it was on 2018’s The Passage of Existence, it’s Chaos Inception’s Matt Barnes bringing his A-game to his B-band. On “The Spiral” and “Fortunes Engraved in Blood,” Barnes employs the occasionally misplaced art of writing interesting riffs for himself to solo over, creating a more expansive playground to dance through moods and modes.
Release date: March 13, 2026. Label: Metal Blade Records
Of course, there are a few catches. Just today, I was chatting with a pal who explained he was glad to be exploring more technical, brutal death and generally psychotically extreme metal as a means of reliving the pure exhilaration he felt when first diving deep into metal. At its best moments, Screams won’t appeal to the tired ears of such novelty seekers. And even those who still derive a simpler kind of satisfaction from taking the measure of a well crafted composition may find they’ve had their fill somewhere around Scream’sfinal act, especially as itsettles into a comfortable-veering-on-complacent cadence.
But, well, let me just run this by you. I recently conducted a poll of my fellow Last Writers, which produced a not totally surprising result:
I chose these two because I generally regard Vader as a band that’s achieved legendary status in the field of death metal through metronomic consistency. And Monstrosity? To be completely honest, it sometimes feels like we don’t regard them as much of anything at all.
I don’t view the results of this poll as some sort of world historical tragedy or feel particularly inclined to shake my colleagues by the shoulders to disabuse them of an inclination I shared myself before diving deep into some previously uncharted corners of Monstrosity’s catalog. But, you know what? This is a good fuckin’ band. And Screams is at least competitive with the kind of albums self-respecting death metal vets put to market 30+ years into their career. Since faint praise never did anyone any favors, I feel duty-bound to repeat that this album gets a little over-long and dun colored as it proceeds, and I think a band of this caliber is capable of better. But in the final analysis, there are a few tracks on here that will go on my all-time best o’ Monstrosity playlist, which’ll get spun on chest/back days in the gym. I’ll look forward to listening to the whole thing when I binge the band’s catalog, and when I rank all seven this is going closer to the top than the bottom. It is, if not in sound, at least in spirit, a lot like a contemporary Vader album. And for the record, those two votes that marked it as close? Pretty sure they’re the only fellers who’d had a chance to hear Screams from Beneath the Surface.
With A Name I Once Belonged To, Michael Millerman delivers a deeply personal and stylized autobiographical piece that unfolds with reflective sincerity. The song moves patiently through its narrative, allowing its lyrics to take center stage as they trace themes of identity, memory, and emotional transformation. Millerman’s storytelling approach gives the track a confessional tone, where love and self-reflection intertwine across a carefully structured composition.
Thoughtful and intimate, A Name I Once Belonged To feels less like a typical single and more like a musical chapter from a life story still unfolding.
One of the masses of Death Metal bands that lurk in the shadows, Monstrosity has been kicking hard for 35 years. For those in the know, I am sure the band are ranked amongst the old school legends Deicide, Master, Obituary, Cannibal Corpse (whose vocalist George Corpsegrinder Fischer sang on the first two Monstrosity albums) and more. But if, like me, you have merely dipped into their discography from time to time, their sixth album, and first since 2018’s The Passage Of Existence, provides a timely reminder of their potent aural assault.
As Monstrosity begin their next chapter, we herald their rejuvenated line-up, comprising drummer, founder, and primary songwriter Lee Harrison, long-tenured guitarist Matt Barnes, with the return of original bassist Mark Van Erp, and vocalist Ed Webb.
Monstrosity – Screams From Beneath The Surface – One of the masters who have returned with another fine release.
The first thing to notice is the production. A combination of cutting-edge and classic Death Metal styles brings with it a punishing aspect that takes no prisoners. Ten tracks that rampage over the best part of 45 minutes allow plenty of time to absorb the crushing approach of a band well into veteran status.
The musicianship, as one would expect in high-quality Death Metal, is impressive, with Harrison’s drumming as much a focal point as the rasping growls of Webb, who makes a fine debut here.
Banished To The Skies is a brooding, malevolent opener that sees the band focus on intensity in their delivery above full on face blasting. There are even some clean bursts of melody, with Barnes’ lead work razor sharp as it cuts through the pulverising maelstrom that reigns supreme.
The delicate ending is a curveball, but one that demonstrates that writing a good song is not limited to other genres. This is an opener by which to set out their stall and announce that Monstrosity are back.
It is followed by the vaguely oriental flavour of Colossal Rage, a serious upturn in pace and tempo which tears along at high speed. Once more, the drumming is explosive, anchoring the song and allowing Webb to demonstrate his worth.
Webb is no novice, having a stint with Massacre amongst numerous other behemoths on his CV. His gravel-throated growl fits with the overall sound of the band, and there are some huge performances here. Webb dominates Spiral with his guttural delivery.
Throughout Screams From Beneath The Surface, Monstrosity remain true to their old school roots. They bring a contemporary edge to their sound, but at the same time they never stray far from the underlying foundations that has served the band so well over three decades.
Technically precise, there is little for one to dispute here. Sledgehammer tracks like Fortunes Engraved In Blood, the blistering Vapours, which rage like an uncontrollable fire, and the shimmering blasts of closer Veil Of Disillusion all reinforce the fact that when done well, Death Metal is as powerful a force as any in the world of Metal.
Screams From Beneath The Surface is likely to resonate well with those already onboard with the band, whilst the generations of new Death Metal fans should be directed towards one of the masters who have returned with another fine release.
With tour dates imminent, this is another band whose approach remains as focused as it was 35-years ago.
Monstrosity release Screams From Beneath The Surface on 13 March 2026 via Metal Blade Records. For pre-orders, visit https://www.metalblade.com/monstrosity.
With The Waking Dream, The Enigmatic Foe explores the hazy space between reality and introspection through a polished blend of indie pop and new wave textures. Shimmering synths and steady rhythms create a dreamy atmosphere, while the vocals guide the listener through reflective and emotionally layered lyrics. The track balances melodic accessibility with a subtle sense of unease, capturing the feeling of drifting through thoughts that feel both vivid and distant. The Waking Dream stands as a sleek and contemplative entry in The Enigmatic Foe’s evolving sonic universe.
With Terrified, Glasgow-based singer-songwriter Kerr Mercer delivers a heartfelt alt pop confession shaped by vulnerability and youthful honesty. Built around emotive vocals and a warm, understated arrangement, the track captures the overwhelming fear of not feeling like you’re enough for someone you care about. Mercer’s delivery feels sincere and unfiltered, allowing the emotional core of the song to resonate naturally.
Intimate and relatable, Terrified highlights a promising young artist capable of turning personal doubt into a moving and authentic musical moment.
With Where Are My Flowers?, Heaven Swan drift into a hazy shoegaze dreamscape where emotion dissolves into layers of reverb and shimmering guitars. The track floats between melancholy and beauty, its blurred textures and distant vocals creating the feeling of being lost inside a dream. Gentle yet immersive, the song embraces the genre’s signature wash of sound while maintaining a fragile emotional core.
Where Are My Flowers? unfolds like a faded memory—soft, nostalgic, and quietly haunting.
Take album intro “Banished to the Skies,” a proper slow-burning mood setter that strikes a series of traditional heavy metal poses (clean-channel arpeggios, melodic leads and galloping triplets) to gradually ratchet the tension before paying it off with a bona fide 
